And Also The Trees @ Southbank Centre, London, Saturday 23rd June 2018

Much like post-punk legends, The Chameleons, I never considered I'd get the chance to see And Also The Trees perform live. I had heard the band mentioned alongside The Cure, and that Robert was friendly with and a fan of And Also The Trees, that the two had toured together - and Lol Tolhurst had produced the band at times. Moreover, that the musical similarities were/are striking. Only in recent years did I hear about the band being active, and - though I missed the chance to see them at the Garage in London a couple of years ago - I started picking up their music at record fairs and online, and became quite fascinated.

That Robert Smith selected the band for his personally curated roster at his Meltdown festival this summer was a brilliant piece of news. An intimate venue, too.

So it was that I sat a couple of rows away from the stage, bathed in amazing purples and glowering reds, entranced by winding, textured, emotively woven musical soundscapes.

Singer Simon Huw Jones cut a stark figure in his frock coat, waistcoat and romantics' pale white shirt. Suddenly, a creak like the coffin lid of a vampiric creature in some gothic tale. 'I like that,' he announced. It was people creeping out to the bar, the heavy doors cranking. The noise came again. 'But not too much.' We laughed aloud.

But the mood was mostly beautifully sombre, dreamy, and filled with silent awe.

Saxophones, clarinets glazed the songs that were generally heavy in bass and drums. 12-string guitar pickings sounded flamenco-like at times yet still gloomily beautiful. Keyboard strings also iced the set.

It felt like the best band you could see, the closest you could get, to seeing The Cure. My Bloody Valentine might have been pedalling away and creating sensory noise in another building nearby, and Suzanne Vega sounded golden caramel wonderful next door in snatches as I passed by, but And Also The Trees created amazing atmospheres, tension, emotional release, poetic phrasings, all delivered with vocal intent, and it was incredible.

Nice one, Bob, for booking them! (I bet he enjoyed a few glasses of lemonade with the band afterwards).

Support band A Dead Forest Index were not only aptly chosen by name but pleasingly evocative and musically innovative, on a similar wavelength, too. Sadly no guest spot from Bob Smith, but maybe that is happening at today's big gig he's doing.

Belly, live @ Shepherds Bush Empire, Thursday 21st June, 2018

I have been a fan of Belly since I first heard the band on The Evening Session on Radio One in 1995. King remains a classic indie-rock album with all their best tunes on. Tanya Donelly possesses one of my all-time favourite singing voices - low, rich, high, sweet, strong, vulnerable, warm, ecstatic, fearsome.

Missed the first part of the show - it was a stupidly early start, I hate to say, with no support band, which had not been clear on the tickets/when booked. A meeting up went slowly and we had to leg it in one song from the interval before part two.

I love venues like The Forum and Shepherds Bush Empire - old cinema theatres, grand, art deco (at least in the Forum's case). We need to treasure and keep using these venues, and not lose them. The plush cinema seats are great, and even from the back - wherever you're sat - you have a grand view.

I was not so miffed at missing out as I had seen the band in their first reformation show in two decades, this time last summer, after all. They blew me away then, as they did tonight.

I adore the new album. Tanya's honeyed voice, the melodies, the themes of the songs. There is no doubt that Belly's return is fantastic.

Bassist Gail was on fine, energetic form, as usual, and Tanya was equally mobile and keyed up as she wielded her guitar. Gepetto was a storming starter as we sat down with our drinks.

Many of the star tracks from King were rocked out again and again across the night. I kept hearing a tease of the opening notes and key to Superconnected but that came later. It is one of my favourites. I sang my heart out about angel wings and throwing clothes around.

Feed The Tree was another fond highlight, and I was caught up in its chorus as ever, enjoying Tanya's demand that some feller take his hat off to her when he's speaking to her.

The light shows were brilliant - confetti-like, snow-like at times, glittering on the stage floor. Later on, rainbows (I know from Tanya's Twitter she is a staunch LGBTQ ally).

I had wondered if there would be antidotes to the American President's current policies towards innocent children in need of help. As I type, there has been condemnation by the UN that Trump's policies amount to 'toture' - the camps set up which keep young, vulnerable kids - some of whom are disabled and not getting their needs met - confined from their parents while their parents are treated like criminals, simply for seeking a safer, better life. And, sure enough, both Gail and Tanya spoke out against Trump - and looked to the day when the US and the rest of the world are free of him, punching the air in fighting spirit.

New songs Human Child and Shiny One sounded brilliant and, live, they had sing-a-long attraction.

Full Moon, Empty Heart was the great surprise of the night. Those killer vocals and melodies, that incredible voice of Tanya Donnelly's. It also struck me just how much the band rock - loud!

An amazing night, and so lucky to have the band back. A band I have loved since 1995, but never thought I'd see live, as I was just a year or two too young for gigs then, and they broke up soon after King. I have followed Tanya's solo works and adored all her songs, though. I never went to the Throwing Muses' reunion gig in recent years as I pined for Belly and I think they are a band that should be celebrated and remembered much more.

Paul Draper @ Electric Brixton, London, 8th March, 2018

I never thought I'd hear these songs performed, hear of Mansun again. More than 20 years on, pink light glowed with appropriate celestial splendour to gesture in The Chad Who Loved Me, strings all swaying. Totally absorbed and in awe, I felt sheer gratitude. I was basking in younger years, taken aback, knew all the words.

The album I'd first heard from a library loan, the band I'd seen on the covers of the NME. Mansun represented, replicated a whole other world. Pen pal circles, adoring fanzines with ridiculous titles and frivolous expeditions, my first music festival, instant friendships in Freshers' Week, and all the blissing out to their music, words, revelling in characters and ridiculousness...

Mansun were one of the first bands I saw at a gig venue. They weren't like other bands, they toured relentlessly and favoured small places where fans greeted them with fervour. They came to my humble hometown Milton Keynes! Played in the local leisure centre. Summer holidays 1998 - that early July afternoon, I decided to dye my hair cobalt blue, wear it in two plaits. Second-hand army shirt, cord flares, purple Doctor Marten boots, maybe a baggy t-shirt, and off I strode with glee. I'd meet a pen pal or two there, get there a few hours early to enjoy the clamour for the band. A 45 minute walk later, and I was joining the circle of female fans who travelled up and down the country to see Mansun. Excitable stories about encounters with band members, here a fanzine tale about tinned soup, flyers for our latest fanzines exchanged, postal addresses noted and promises of letters so we could keep in touch (no internet in our family household till 1999). I remember days like that crystal clear and fond.

Mansun were this perfect embodiment of the kind of dreamy, zany, brilliant parallel world you could escape into as an aside to your sixth form studies.

Back to the beautiful gig. It was simply special hearing Paul Draper's silken voice again. And some of the solo songs swirl about like the most elegantly melodic and shimmering of Mansun classics. We heard a hotch potch of chosen songs from Paul's recent career, rather than a straight-up rendition of his entire debut solo album. The collection of songs we'd waited years for, kept hearing about, then crept up and arrived of a sudden..

Opening with Don't Poke the Bear may have had an ulterior message due to some recent upset, but let's just think on the music and that night. It was a gem to hear Paul announce that he was about to play "a string of B-sides." A long lost, forgotten art. Mansun ruled supreme with B-sides, and it was the best of their art. Memories of Everyone Must Win blisteringly closing live sets chiming in my ears in distant memory... I took a lot of quiet moments to remember fond times, people I'd been afforded to meet purely because of the band.

More blazingly bright lights, seering sapphire and purples - the trademark Attack of the Grey Lantern purple... strings and bliss.

I'd been giving the old album a spin in the kitchen in the last week and I was gearing up for Taxloss. Got to dance about for that one - climax of electronic wigging out. Remembering those: "We're a Taxloss" Mansun fanclub t-shirts - never did buy one but probably still have the postal order form in a box of momentoes somewhere!

All night, just kept thinking how special it felt to be hearing Pauls' voice and these songs again, as well as the new songs. It's hard not to think track by track and write on and on but every song was truly momentous. Had never heard You, Who Do You Hate? played live, it really kicked in.

More nostalgia and dancing beyond my years for Wide Open Space - total bliss. I'll use that word again and again.I was fourth or fifth row down the front, like the old days, good view and bit of room to manoeuvre, there was no way I wasn't moshing for old time's sake to Stripper Vicar with its killer chorus and lyrics. Less thought about the pulled muscles in my sides from doing so, as I type this now, the better. I was probably alone in pogoing and I still don't care. All this too-cool attitude, posing still... I was there to feel the years fall away and enjoy myself and it was the best feeling to just let go and not care like when I was in my teens and 20s. I wore heart on sleeve with my 1998-circa Mansun fan gear. I had drawn the line at wearing the old army shirt and added safety pins on the arm though... Mansun's image changes were legendary, it must be recalled and celebrated and I loved indulging in all that in my teens.

Disgusting was intriguing to hear live, and then it was into another mosh-a-thon with She Makes My Nose Bleed. Only thing missing was Steve Lamacq back-announcing it on the radio!

Naked Twister was swirly and squally as of yore. Then a massive sing-a-long to Egg Shaped Fred, with Paul joking about the lack of lyrics at the end... na-na-na-Na-na-Na-na-na.... 

Dark Mavis was epic and it was one of several moments on the night where the humour of Mansun shone through so much - and I realised how lost it must have been outside of the dedicated fanbase. The descriptions, the wryness, but in such straight-up delivery. The subtlety. I found a lot of hilarity in the lyrics of the album, as if understanding them all anew.

"You can kiss his vase until the end of the month" sung over and over was a high point.

I exited the fray, but I was keeping an ear out just in case. I mean, a band so famed for quirks and B-sides and so much oddity... The familiar piano riff kicked in and a great big sing-a-long ensued, music hall style... "The lyrics aren't supposed to mean that much, they're just a vehicle for a lovely voice..." All the arms aloft and silly delight, it was fantastic and the best end to the night. I finally got myself a long-sought-after roses t-shirt with Mansun logo, so beautiful.

Sir Draper said he'd see us all "next year" for a rendition of the album Six... I'm counting on it!

Brix and The Extricated @ Oslo, London, 3rd November, 2017

My 5th Brix gig! She's a legend of The Fall. Backed with other revered former members such as Steve and Paul Hanley, the band just gets mightier and mightier.

I had a different song from Brix and the Extricated's first album in my head each day in the week leading up to this, and the week after. It's an outstanding collection of new songs, livid with grinding bass and alive with the powerfully confident vocals and surefire lyrics of Brix.

Old Fall songs are in the mix live - but just three make the album: LA, Feeling Numb and Hotel Bloedel. All of which, Brix co-wrote or wrote. Hotel Bloedel was actually the first song Brix wrote - before she even met Mark E Smith. It was the song he first heard that inspired him to call her a "Genius" and invite her to join the band - when she played him a tape of it in his car one night, after they met in a bar, post-Fall-gig. So any detractors who think The Fall is all about Mark E Smith and his ego can do a runner. Brix is a talented component of The Fall past, and a remarkable force right now, on stage and performing once again.

She'll draw you in with her hectic vocal delivery, all full of intent and infused with a smashing passion and defiance.

Something to Lose has a Fall clatter intro and bursts into a percussive, driving grind, Brix carefree and singing to us directly. Steve Hanley's bass playing is obviously an almighty part of the force of the band too.

Damned for Eternity and Pneumatic Violet are catchy as hell. And Brix's persona as frontwoman doesn't need to convince anyone. She asserts her vocals half-rap style, strutting around the stage, here a punch to the air for emphasis, here a kick to emphasise her words.

I love her new t-shirt that suggests a double-meaning: LIVE.

Perhaps the best moment comes as Siobhan Fahey - one of her old pals in pop - joins the band on stage to duet with Brix. If a member of Bananarama singing Totally Wired kitted out in glitter is any Fall fan's idea of crossing a line - bring it on. Brix and Siobhan are having a ball, reeling off the lines normally ranted out by Mark E Smith. It feels like necessary defiance, rejection of the bullshit notion of only men being allowed to own guitar music and that it must be done SERIOUSLY!

But that's a fun gig climax, when everyone's clearly had a few. It's not to be forgotten that Brix is a songwriter to be taken seriously and in her own right. I celebrate every gig, every time she sings out and crushes all the times women were never afforded equal respect and the chance to take centre stage with guitars. Brix is brilliant, and bring on her rightful recognition in rock stardom.

Slotface @ The Cellar Bar, Oxford, 23rd November 2017

Norwegian indie-rock act Slotface are part roaring Nirvana-style grunge guitars, part careful string-picking, melodic indie pop - and it works a treat.

Haley's vocals are rasping, growling at times, but give way to gentler, more thoughtful moments. Scandinavian indie-pop has been known to be incredibly marvellous over recent decades, but it's mainly been led by Sweden, what with the gigantic splendour of Labrador Records leading the charge with the Radio Dept., The Shout Out Louds, Sambassadeur, and more. The rockier, heavier end of things has probably been best represented by the part-Danish Raveonettes, but I'm open to hearing about more bands I've missed along the way.

It's welcoming, refreshing to hear some new, young upstarts from Norway, I'd say. Plenty of highs in tonight's basement bar gig. The Cellar Bar is a trove of a venue and has just recovered from threats to its future, so tonight feels like a celebration and we're celebrating in other ways with a special occasion around this date being the reason for our trip to Oxford city, and this very gig. Note that, please, Oxford City Council - small music venues bring in tourism too !

One highlight had to be seeing all the young fans at the end of the night, crowding round singer Haley at the merch stall, telling her how brilliant the band's performance was. Towards the end of something like a 50-date tour, those must've been warm and wonderful words. I also liked being reminded of the years I spent approaching bands like that, nervous, young, in thrall and praise. Long may that all live!

Desperate Journalist @ The Dome, London, 19th October, 2017

A Fierce Panda Records bop with one of Britain's best indie bands of the day.

I hadn't been back to the Dome in Tufnell Park since my indie-rock student dancing days of the late 90s when they had Loony Tunes night! It's a great, medium-sized venue with a friendly air, and suited Desperate Journalist well.

Me and a friend burst into the venue just as Young Romance were tearing into their instantly anthemic Wasting Time. I was reeled in right away by the pounding Jesus and Mary Chain stand-up drumming, melodic synths and guitars swirling to perfection. 

The comparison of singer Claire's vocals to Kate Bush is easy and true, the high pitch pop and light delivery. 

One of the best moments comes through with the persistent refrain: 'I don't want a love like this anymore / No, I don't want a love like this anymore!' followed by 'Get out, get out / Be on your way.' More in the melody and emotion than anything, so immediately anthemic, Danceable bliss!

They are, quite simply, fabulous, and I have lacked the nous to find them up to now. Album was instantly bought, and I greatly anticipate the second one that's currently being recorded, along with a 2018 spent gadding about watching them lots!

Desperate Journalist have been at the uppermost end of my list of favourite, emerging, young indie bands since I caught them at a nascent gig supporting Six By Seven in 2013. Many a gig, CD, badge, and t-shirt from the band has been snapped up eagerly by me since. I went onto to see the band again within a couple of weeks of this gig, as I clamour at any opportunity.

Since I've not written about the band on here just yet, I need to point out the shiny layers of Cure and Smiths influences - hypnotic guitars all atmospheric and emotive, aching, impassioned vocal deliveries and the most thoughtful and lyrical song words I've heard from a band in quite some time.

The melodies are entrancing, Cure-perfect with vocals delivered in the most Morrissey-idolising way - sometimes drawn out, always with meaning, emotional emphasis, intent - but still Jo Bevan's own style with it all. There's also the added kick of Manic Street Preachers' rock bluster, epicness of Suide, and other British rock influences both musically, lyrically, and in the band's star-like garb and cosmetics. Now that I'm aware that Jo is in the premium Duran Duran tribute band, Joanne Joanne, I can also pick up on 80s synth-op influences more.

On stage, Jo and her band are heroic. They ought to become massive any day now. They've been working away, and their second album advances much of the qualities of their first, in catchiness,  delivery, production, everything. The strength of the musicianship has reached an ideal.

I love the emphatic singing, the way Jo adorns the mic to her, wire winding and close, so the music becomes a meaningful appendage. She sings with power and strength. She sings with Moz-like tremulousness. 

The newer songs feel more tender at times, and many are more forthright in their outright melody, with Why Are You So Boring an all-out pop hit, if you ask me.

All a bit glorious and special - onwards to further brightness they stride.

Madame So @ The Islington, 13 June 2017

From the incredible Madame So - Solange, singing solo and acoustic at The Islington last night.

Any fears Solange expressed about the acoustic format were exploded, as her voice is as almighty powerful without her electric band backing her. It's in the way she plays with wordless sounds as well as her detailed, emotive, intelligent lyrics. There's conviction and a sense of release, not just simple anger.

Solange wants us to take notice, her strong and personal delivery commands it constantly, as her songs offer something that's missing from music - a meaningfulness that's so often lacking. Backed with a plugged-in rhythm section her songs rock the place but it's no less so when you focus on how and what she delivers vocally.

When she breaks into "anything you want, I got it!" you can feel her self-belief in her music, and the cover version tagged along to one of her own songs sits perfectly - she's shouting it now, demanding we absorb not only her attention but also her sheer confidence and passion.

This is songwriting that will go far, far beyond tonight's pub backroom. Solange's presence and performance scream out superstar in all the best ways.

Goodbye Allo Darlin, 10 December, 2016

Photos taken from the middle gig of Allo Darlin's three farewell gigs, before the band is over:

There was a great sense of emotion from the offset - as I entered the bar, second song in, late from being lost in the rain, the band's set was being piped through speakers in the former ex-servicemen's members club bar, and I heard Elizabeth Morris's voice crack.

The set was a really nice mixture from Allo Darlin's history. It was lovely to see the band having a lot of fun on stage, smiling and laughing, joking with each other. At one point, Elizabeth ensured that guitarist Bill's Stephin Merritt-style solo singing was supported with a huge, warm round of applause and cheers. The band recounted memories from their tour bus travels, and thanked their parents for their journeys from the Antipodes to be part of the festivities.

The Moth Club is a fantastic venue, with its gold, shimmering stage backdrop, glittering ceiling, and cosy old bar. The place was packed to burst, and I was stuck by the door, the person everyone had to squeeze past. I grinned and bore it, just one of those things and most folk were polite about it. Gradually, I found myself moving further in bit by bit as more and more people traversed to bar or conveniences. A third of the way into the gig, I found a space to settle and relax in, able to dance and sing a bit and feel immersed in so many of fond, old songs I've known and loved for a few years.

It was 2012 when I first saw the band live - Easter weekend sunshine casting light on Elizabeth in giant sunglasses, singing in front of Rough Trade record shop near the Portobello market, celebrating Record Store Day. I felt like I'd found the meaningful, melodic and personable indie band that had been absent in my life since Tilly and The Wall stopped touring the UK about five years before. My friend bought the album Europe on the spot, after the soaring set.

Allo Darlin became a band I treasured, and whom I could rely on to tour regularly. I saw them throughout the years, most memorably in the back room of Herne Hill's Half Moon pub, which felt like indie gigs of the 90s, captured that spirit. I created the print version of this blog, sold it in fanzine format on the night of the gig. I was inspired to create the fanzine, amidst the rush of the band's songs carrying me away around the year 2012.

Another memorable Allo Darlin gig was at the student bar at Kings College, when it felt like the band were on the brink of fantastic, big things. I spotted a longtime NME journalist at the gig and was sure the band ought to make a front cover - but the corporately curmudgeonly lot only gave the band an enthused live review. The band went on to play bigger things, including at The Scala.

Last night at the Moth Club, I was having a really nice time, feeling it was a cheerful farewell to a beloved band.

But as I raised both arms to photograph the band (as above) in high spirits, wanting to capture the fun, a complete stranger suddenly came from behind me, placed both their hands firmly on both my hips, lewdly whispering 'ooh, hello, how are you?' in my ear, as they brushed too much and too long past me to get out the door. It was done in such a casual, overly "friendly" manner that anyone who'd seen it probably assumed it was someone I knew well/my boyfriend. And that's what left me shocked, feeling sickened, and stuck to the spot. No stranger has the right to get that close. This is my body. I turned around to show my dismay and fear as the man went past. I turned around again, to see if anyone had witnessed what had happened, to see if they shared my dismay, would ask if I was all right. No one acted whatsoever. I was alone. That shocked me further, upset me more.

I thought about trying to continue enjoying the gig, not let things be ruined. But it was impossible. I spent a few confused, sad minutes with the gig just washing over me, unable to identify any songs anymore. Despite me hating it happening, the tears started pouring, angrily. I had to leave.

It only occurred to me then, in the horrible confusion of things, to seek help from staff. I had seen friendly security about but they had been no where in sight at that point. I went to the bar and spoke to staff. They immediately radio-ed to security who turned up in seconds. They were professional and fast acting, listening to me, acting on the incident. But I had no chance of finding the culprit by this point. Security were friendly but firm about the incident, saying to contact them if I saw the culprit or if anything were to happen of the sort again.

I went back into the gig, tried to enjoy the end. By now things were joyous, the band linking arms, bowing, smiling: you could read each, individual tee-shirt spelling out: ALLO DARLIN LOVE YOU. There was a big singalong with ukulele.

But I just had to rush out of the building and get away, get home. Tears and upset. The incident had ruined the gig for me. I didn't even get to buy the band's farewell single as intended.

But I wanted to post my photos, and write the good things I enjoyed from the night. It's just a sad fact that some people have no idea that they have no right to cross the boundaries of complete strangers, to make people feel like an object, humiliated and vulnerable. That's not what gigs are about. And it certainly has nothing at all to do with the brilliant band Allo Darlin who spent many years making shining bright indie pop that lit up lots of lives.

ADDENDUM: Can anyone tell me if Elizabeth Morris will continue singing? She was a fantastic part of Tender Trap as well as Allo Darlin, and has one of my favourite ever female singing voices. I would miss her voice heaps.

Brix And The Extricated, Live at The Lexington, London, 4 November, 2016

My fourth time seeing Brix And The Extricated play live. [Click here for an older live review]

Tonight at The Lexington, Brix's entrance was dramatic, she sparkled from head to foot in shining headdress, glittering eye make up, twinkling gold guitar strap, and (hopefully faux !) fur coat. I have to admit to feeling emotional, even tearful - I think it was feeling overwhelmed and glad to be bestowed a female heroine, centre stage, at last. Decades of gig-going, but back in my teens and the most part of my 20s, what I would have given to have a rock goddess of a frontwoman/role model...! Chrissie Hynde has had a similarly powerful effect, in my 30s, and [I wrote about that here]

The songs and Brix's singing are so powerful. The strength of her voice, so commanding. There were only two moments where Brix lent a slower, quieter quality to her voice (as heard in The Adult Net). Primarily, Brix is unafraid to be loud and insistent, and to sing in a talking punk or rap style, and deliver everything with intent, dead serious. At one point, in a new song, she was pointing, and reaching out to the audience from lowdown, in-your-face, in a 70s punk style: confrontational, or just wanting to demand a direct communication with the audience, on our level.

With Steve Hanley's expert bass, we've obviously got another legend of The Fall. The full band sound is huge and rhythmically spectacular. Hearing songs like 2 X 4 - that rockabilly influence was one of the key things to draw me to The Fall. I'd play along, in my bedroom, with newly bought electric guitar, frantically, inspired. Now I'm dancing along, propelled in awe.

Big New Prinz is the pinnacle of the night, once again. But this time it is epic. We're led in with a slow, swirling intro, wondering what's coming next - Brix whispers the words, and we're taken aback when the song suddenly explodes into action. Winding and grinding on, hypnotic trance effect successful, the song then plays out to its end with every band member leaving one by one. First, it's Brix, and I have to smile that it's her walking out of a song a bit early and not Mark in his trademark nonchalant style. Then the instrumental chords and rhythms dwell magically, before guitar is gone... leaving only that monumental bass with drums. I think we could listen to that legendary sound all night, but soon it slows to an end, and we're left transfixed.

Watching Brix perform, again and again, as I have done, I come away feeling blessed by her confidence, self-assurance. She may be singing songs she wrote in her time in The Fall where Mark E Smith tyrannically ran the show, but now she's the frontperson, she's centre-stage. She's the star.

Chorusgirl, live @ The Finsbury, London, 12 October, 2016

One of the best new indie-pop bands to come from Fortuna Pop, and of recent times. I am hooked on the bright and melodic, chorus-pedal-laden brilliance of Chorusgirl, and glad of their being around right now.

This was a free gig, which also introduced me to Dream Nails, who were bouncy, giddy fun - the kind of female-gang, punk-pop we took for granted in the mid 90s. I've just been reading about their feministic drive and zine-making, which makes me love them even more.

Interview with Chorusgirl over at Godisinthetv.

The Chameleons, live @ The Crauford Arms, Milton Keynes, 28 July, 2016

Spellbinding gig in a small city - just a couple of photos of Mark Burgess for now, still need to write up my thoughts!

Brix And The Extricated, at the 100 Club, 29th May 2015

Brix was a pivotal part of many of The Fall's best creative periods. The thrill of her returning to music, with intentions to publish an autobiography, is still reverberating. A moot point for some, but for me this club gig with other former Fall members outstrips anything the Mark E Smith group have done in a decade. While Kicker Conspiracy, CREEP, Hit The North, Dr Faustus, LA, Big New Prinz, Totally Wired, Cruisers Creek are songs that wouldn't fill up a usual Fall setlist nowadays, they are played resoundingly powerfully tonight – and are all we could wish for and more. It's not the hankering for the old, but hearing these songs fronted by the almighty and wonderful Brix in such a commanding manner.

Whilst Brix is clearly reliving the glory of 80s and 90s Fall, and must have a lot of great memories, she is also buoyant about the present moment, being frontwoman, innovating a cracking set of songs. This is a new and absorbing experience. Certain Fall fans faithful to Mark E Smith as centrifugal overlord are wrongly wary. Questioning Brix's credentials is not an option: she has nothing to prove. Hearing this batch of songs and many more from those years, emphasises her imagination, ideas, contributions through several crucial epochs of The Fall. In the interim between her departure from the MES-led Fall and this current venture, Brix had a pop career – Adult Net, a sunny sounding rock act with gentle, lovely vocals that represent a different side of her – now she's here playing her favourite old Fall songs, and she's singing with more fierce force and power than Mark E Smith. Her voice is deep and dark. The intent in her delivery is full of sure-fire strength. Wilful ignorance or gendered contempt from a certain kind of Fall fan is not to be tolerated. Pining for MES ('it's not The Fall without Mark!') is tiresome. How about instead opening your ears and mind to a positive alternative from someone who was equally a key player in the finest Fall achievements? Mark E Smith is a great, but it must be admitted that the live shows have become poor: continual celebration of frothy, drunk mutterings as spectacle becomes hollow and sad (Mark can be sharper, and all the better for it).

Brix's confidence and control show her seriousness of purpose. With the celebrated Hanley brothers on bass and drums, and Fall Heads Roll era Steve Trafford on guitar, this is no tribute: this is still the music of legend very much alive. Lay of the Land is a surprise highlight of the set, and that classic, crunching, tight, rhythmic sound so definitive of early Fall kicks up a storm. Likewise, 2 X 4 is a surprise and heavyweight addition. We are spoilt with Hit the North and Mr Pharmacist - and Big New Prinz, possibly Brix's defining moment (from The Fall's most overlooked LP, I Am Kurious Oranj), is the perfect closer to a compelling gig. Brix shouting the lyric: 'He is not appreciated!' seems at odds and feels poignant (she must be appreciated!). This isn't about nostalgia because the new songs sound beyond worthy in comparison, and the old stuff has been enlivened anew. If Brix and The Extricated are to be a long-term concern, they threaten to surpass current Fall standards by a long shot. These are invigorating times.

Setlist:

U.S. 80s-90s

Feeling Numb

Leave the Capitol

2 X 4

(a new song)

LA

CREEP

Cruiser's Creek

(2 new songs)

Hotel Bloedel

Dead Beat Descendant

Totally Wired

Lay of the Land

Hit the North

Mr Pharmacist

Big New Prinz

Chrissie Hynde live at Koko, Camden, 16th December, 2014

Brass in Pocket was instantly put onto one of the first compilation tapes I made, as a teenager, in the 90s*, at a time when I was digging around for music from the past that fascinated me. It's strange that I never pursued the band beyond that one song, somehow, until recent years. First, acquiring the band's debut LP from someone who was happy to pass it on. Then, late last year, I was curious about seeing Chrissie Hynde live, when a date was announced in London. I have a friend who is a great fan, and the idea of seeing a strong voiced female performing really appealed. I don't have enough musical heroines, least of all whom are frontwomen. I instantly booked up, despite the hefty fee, as I was working my socks off and deserved some fun.

I bought Chrissie Hynde's solo album, Stockholm, amazed that this album was not only recently released, but was her first solo work. It's a marvellous album! Strong, deep, low female voices are the ones I love best, maybe because I more easily match that if singing along. The album lit up my world, felt strident, ace. So many good tunes, excellently produced, and with her brilliant voice and lyrics to the fore. It's odd that at the age of 34 I should be seeking strong female icons to admire**, but I revelled in finding Chrissie Hynde to be just this, last autumn. A couple more Pretenders albums on vinyl were bought up in secondhand record shops, and many instances of singalongs and euphoric dancing followed... until it was time for seeing Chrissie live.

I don't know all that much about Chrissie Hynde, personally. The music stands strong alone, for me, and that's also what counts. I've heard negative things said about her, derision, but I'll go with forming my own opinion based absolutely on her musical output.

It felt genuinely exciting to be heading over to the gig, and I rarely feel that old, pure, innocent feeling about gigs. My friend felt the same. We were instantly engrossed by the range of merchandise on sale at Koko, sweatshirts and fanzines. I bought the fanzine style programme right away, it was only £5 too, rare to find such things so affordable! Gazing at a T Shirt resplendent with a full length Chrissie Hynde rocking out with her guitar, I just thought how rare it is to see the image of women with guitars, on T Shirts, in culture, anywhere...

Seeing Chrissie Hynde centre stage, with guitar, blew me away, too. I cannot apologise for saying all this, because what I felt are revelations, and that's to be celebrated. I found myself dumbstruck and thinking: just when have I seen a female, right up in the centre of attention, playing rock music, leading a band, all eyes on her, screams of adulation from both women and men? People were just shouting her name. She replied with a playful 'f*** off', which was hilarious and humble. She had so much presence, and her voice was incredible. Her guitar sparkled gold and felt like an emblem to me and my friend. We both left the gig, saying how we wanted to pick up our dusty guitars and play music again.

Since this gig took place, in November, last year, my friend has bought a new guitar from Denmark Street, and I have been there to pick up new strings and music books. I like to think that we've both become more powerful, impassioned, inspired, driven!

It was a really emotional gig. I loved hearing all the songs from Stockholm. You Or No One is fabulously 60s shimmery girl-group pop. Like in the Movies is really cool. And, Dark Sunglasses has a great pop hit sound.

I wasn't expecting Pretenders Greatest Hits territory, but we were privileged to be gifted Don't Get Me Wrong, a pure groove-along. Then there was Back in The Chain Gang, which has really grown on me lately. We also got Precious (!), and a pre-Christmas present (alas without faux snow), in 2000 Miles.

The dance at the end that the band did 'for the grebo fans' was surreal, and felt like it showed humility towards the Pretenders' roots and a sense of fun for the original fans. I can't escape mentioning: that pout! Chrissie pouts away to perfection, as she ever did.

I'm looking forward to the wealth I have to read about and hear from Chrissie Hynde, in interviewee mode, and musically. And to dancing my vegan boots till their worn, again, some time...

Found a gig setlist for that night, here.

*The song was wedged in between Teenage Kicks by the Undertones, and Somewhere in my Heart by Aztec Camera... I took a little while to improve on the ways of mix tapes...

**Interesting to note that Chrissie Hynde was 34 years old when Don't Get Me Wrong was in the charts. Inspiring to know!

The Pop Guns, at The Borderline, 22nd November, 2014

The buoyant return of The Pop Guns was one of my favourite gigs in recent months. I was familiar with a couple of records and a flexi disc care of my boyfriend, who is a long time fan. Waiting for The Winter was the song I knew best: melancholy in sentiment yet soaringly bright, hopeful pop. I was looking forward to seeing the band who'd hit their stride in one of my cherished periods for indie (the start of the 90s).

I was also thrilled to take the chance to get over to the Borderline off the Charing Cross Road in London - one of very few gig venues remaining in that once thriving area. We've just lost the 12 Bar Club on Denmark Street, and we were forced to say goodbye to the once dependable, pivotal Astoria and LA2, as well as the fantastic basement bar Metro (indie club extraordinaire + spotlight for new bands). The Borderline was a great choice for gathering the band's original fans, as well as new ones, in an atmosphere akin to a student union circa the 90s. Big 80s pop hits played as we waited, mixed in with new wave bands like The Go Gos, and the Buzzcocks.

As soon as Wendy Pickles and band stepped on stage, their sense of jubilance to be playing together for a crowd could be warmly felt. If memory serves, it was City Lights, the opener to their newest album that dazzled us first. Bold, strident, twinkling and tuneful, it felt like a well-worn favourite. Lovejunky had a similar effect, so immediately catchy, kinetic and smoothly sung. It's a song worthy of indie club playlisting and delighted dancing.

Wendy's singing was complemented with brilliant effect by Kate Mander - 60s girl band backing style, or lending strength with joint lead. This had resonance with me, as this sort of female-led, jaunty, jangy, guitar pop is all too rare in current times, and we need more. There simply hasn't arrived a new female indie singer who is equivalent to Wendy Pickles or, say, Amelia Fletcher, another longstanding indie great. At times, I found it hard not to be reminded of the great Amelia Fletcher. Wendy too has the knack of singing with a full, genuine smile, which only makes the Pop Guns' songs seem all the more gleeful, giddy, model pop, much like Amelia's many ace bands over the years, Tender Trap/Marine Research/Heavenly/Talulah Gosh.

Waiting for the Winter was received with appreciative ebullience by the audience. Pleasant heckles about 80s and 90s Pop Gun gig memories came along with other older songs.

I ought to add that the Pop Guns are not typically sensitive, gentle, jangly indie pop -there is a real sense of punk influence at work, which thrives when played live. Guitars are as threshing, thrashing as the Buzzcocks. At times, The Pop Guns are more akin to the heavier moments of The Wedding Present than anything from Sarah Records.

But, given there is also the reminiscence of Amelia Fletcher and jangly indie pop, it did come as a huge surprise to witness an encore that night of Wendy Morgan expertly rapping (!) A Tribe Called Quest's hot song, Can I Kick It....! She sang an unfaltering version of the 90s novelty hip hop song. It was the perfect bit of pre-Christmas fun. It turns out the band recorded it as a B-Side years ago.

I don't bother much with thinking about albums of the year type lists, but Pop Fiction by Pop Guns was a highlight of 2014. It lends memories of that perfect indie pop from the early 1990s, but also sounds very now, and is very essential, emotional, confident pop. The charcoal drawn album cover also gives smitten delight:

Elefant Records' 20th Birthday party

An excellent Elefant Records party at the weekend. Coinciding with the anniversary of John Peel's passing on, it felt right to be at a night filled with upbeat indie and lo‐fi pop bands, joyously running amok! A fledgling outing for Amelia Fletcher's new band with her husband, Rob Pursey was really welcome. Acoustic guitar and voices alone laid bare how wonderful Amelia's voice is, and how it's one of the best sounding voices in pop, ever. To hear her singing fill up the room so much, with just gently strummed strings backing it felt really moving. When Rob joined her on vocals, the music was very reminiscent of Magnetic Fields ‐ no bad thing, especially as they're pals!

Evans The Death may have passed me by up till now. I think they played a Twee as F*ck Night years ago. Hearing them live, their music really appealed. Strong vocals, and atypically structured indie guitar rock backing, quite chaotic as well as heartfelt. A lively set, and me and my friend were really sold! 

Another draw of the evening for me was Wild Balbina, all the way from Spain. I'm always after recommendations of Spanish indie, and Elefant Records is something of a bastion for such things, so there was already a feeling that I'd enjoy this band. All female singing, fuzzy guitars, and a surfing feel. Excellent fun!

Bought the single and a mini album on vinyl, one for me, one for a friend. Also got a Helen Love album for my boyfriend, and there was a free Elefant Records sampler on double CD which can't be bad!

I love the Parks and Recreation quote in the title of Wild Balbina's mini album!

Eat Tacos is one of the best recent singles of any band, so much fun. I really hope Wild Balbina have much success and can come back to the UK really soon.

Go Kart Mozart, live in Bristol, 12th September, 2014

Hats off to The Brilliant Corners for organising the above event at The Exchange in Bristol over one weekend recently. Chance to catch the rarely seen Go Kart Mozart, as well as Amelia Fletcher's latest excellent musical endeavour, and lots of other great bands and nice touches in the mix. 

Having missed a Sarah Records inspired live event in the city this year, it was time to jump at the above. Sadly, I have to admit that it was only possible for us to hang round for the first leg of the event, with Go Kart Mozart, and how hard it was to miss Amelia Fletcher sing with both The Brilliant Corners and her new band The Catenary Wires...as well as missing the incredible Haiku Salut, missing out on more free gummy bear sweets, and just the general ace atmosphere. I love Bristol for gigs. There is such community, and so much of a free and easy feel. It's an incredible city.

We did get the chance to chat to Amelia Fletcher on the Saturday, which was kindly and lovely. You can still get hold of copies of issue two of The All Thrills No Frills Music Bill paper fanzine, from the Etsy shop with this link, resplendent with a really in depth article on and interview with Amelia Fletcher/Tender Trap.

Go Kart Mozart/Lawrence were written about in our first issue of the fanzine, and since the event had the title of Fanzine, I managed to bring a bunch of copies along. Why do I keep ending up drinking halves and folding and stapling fanzines in the pubs of Notting Hill? I even copied the fanzines up in the area beforehand too. I ran out of staples, and have to apologise for that. Copying up issue two went awry and had to be forfeited for sale as well, which was glum.

There were some smart Go Kart Mozart keyrings on sale on the merch table, alongside copies of The All Thrills No Frills Music Bill fanzines... Earnings from the fanzines basically went on the keyrings. Sad that there were no Go Kart Mozart Tee shirts though.

It was surreal hearing that Lawrence had made it and was in the building about to perform. I mean, the last tour was pretty much all cancelled and I had never seen the band live up to then. I felt a genuine excitement, anticipation that I don't often get at gigs anymore, having been to so many. It was the most brilliant extravaganza of 70s style synth pop, and I was startled at the lack of dancing.

Couldn't really have asked for too much more from the setlist, it was an even mixture of stuff from all the albums. No Denim songs is a shame but totally expected. Some heckling requests for them, though not Felt for a change. I haven't much love for Felt in the face of Lawrence's newest material. I can't understand all the indie kids that go for all that, its comparably drab and they're missing out on ridiculously bright, fun, amusing, off kilter pop like no other with Go Kart Mozart.

Setlist, as transferred from my handwritten one on the back of some hotel stationery, went pretty much like this from memory:

West Brom Blues

Lawrence Takes Over (excerpt)

Come on You Lot

The Sun

Summer is Here

Electric Rock and Roll

We're Selfish and Lazy and Greedy

Retroglancing

Donna and the Dopefiends

Glorious Chorus

Drinkin' Um Bongo (!)

White Stilettoes in the Sand

(a new song)

Donna and the Dopefiends (again!)

The most memorable, enjoyable gig in years.

Laetitia Sadier, Islington Union Chapel, 19th October, 2013

Holy wonderful beautiful to have Laetitia Sadier come and play at Union Chapel in Islington on a rainy Saturday afternoon. I'm not sure if she resides in London or came all the way from France, but she is formerly of electronic act Stereolab, in case you don't know, and it was a total joy for her to be performing here. Her voice soars and plays around so magically, melodic, swirly, entrancing. Hearing her solo songs with just her voice and her electric guitar so sparse, so uplifting, was really something special.

Laetitia was politically outspoken throughout the short, low-key set, which surprised and interested me - I must say, I am not overly familiar with her work beyond the obviously known Emperor Tomato Ketchup (though I did get an older Stereolab album as from the gig, as there was a superb merchandise stall). I think she must be quite thrilling to talk to, so perhaps a future interview may lie in store some time soon when we are feeling more settled down to doing the paper fanzine again!

It was really moving to have Laetitia dedicate a song to the late Trisha Keenan, singer of electronic act - and Stereolab's contemporaries - Broadcast, too.

Details of future Daylight Savings gigs on Saturday afternoons (they're free, and always great!), here:

http://www.unionchapel.org.uk/

Keeping It Peel

Loads of excellent goings on to celebrate John Peel and his music ethos this October. Wasn't coming up in my regular gig searches, but then I came across this website by chance - hallelujah - Keeping It Peel has the listings all in one place. Everything from gigs to pub quizzes, to club nights with guest DJs... All looks brilliant fun.

Luke Haines, The Borderline, London, 30th July, 2013

A trip to the Borderline, a venue off Oxford Street that, mercifully, didn't succumb to Crossrail's clutches - the last significant rock venue left round that area, save the 12 Bar Club. On entering, realise we're 'fashionably late' as we hear ladies exclaiming: 'Why, thank you, Sir John Moore!' at the guestlist - as the dapper, suited man strolls coolly into the venue with them (and he does forever cut cool).

 

A couple of minutes to get a good spot near the front, and then Luke Haines is up, painted rock n roll animal versions of Nick Lowe, Gene Vincent, and Jimmy Pursey lit up behind him.

 

The set is entirely Haines on acoustic guitar - with added beats of a small hand drum, the odd keyboard moment (jokes about how he can't fucking play everything at once, if I recall). The set is primarily from the new Rock n Roll Animals LP - which would be a brighter performance had comedienne Julia Davis joined in on her spoken-word bit, surely? She is in the venue, hanging with fellow comedians, and I feel let down that she isn't adding to the performance, instead watching as we are.

 

 

Haines in his ROCK/ROLL shades:

 

There's a powerful moment when Haines reads from a Mick Farren book (rock journalist and musician Mick Farren having recently passed on, and Haines being saddened by his death). Tell of poor Gene Vincent and his ailing leg, followed by his painful death by stomach ulcer. Crowd are laughing, I suppose at the uncomfortable, and also amidst the long, slow, deep, laconic vocal delivery of Haines, and how Haines speaking is somehow comedic whatever he utters tonight. But it's really sad, and I never fully knew all this (sweet Gene Vincent died - aged 36) , and Haines reads with such wonderful, wry, horse, commandeering panache...

 

Long-term Haines fan with me was ecstatic to hear Leeds United, Baader Meinhof, and Lenny Valentino.. But, tonight, it was also, here we go again, satin wrestler suited feller (probably a drunken John Moore), passing round bonafide liver sausage sandwiches for the crowd, during the 'wrestling album' numbers, not a best Haines album effort to either of us (old fan and new) - albeit there are a couple of great saving graces of songs, and we did enjoy those. But really we wanted oodles of songs from the similarly recent but truly remarkable 21st Century Man album, and didn't get them, bar maybe one. The off-the-cuff seeming song about certain 60s/70s bands/singers being name-checked and all said to be 'righteous' was something I could pass on, if I'm brutally honest.

 

A quirky gig, with a lot of charm - just cut so short, and in need of more favourite songs.

Allo Darlin' @ The Half Moon, Herne Hill, London, 20th June 2013

The Half Moon in Herne Hill is a stone's throw away from Brixton. It's a stunning, historical pub, with a brilliant backroom for gigs. Last time I was here was for an all-day shoegaze/dream pop festival with a record fair. I was thrilled when one of my favourite current indie pop bands, Allo Darlin' announced a 'compass' tour of London - playing in four different corners, north, east, west, and here in Herne Hill: south (west). Tickets were instantly bought.

it's so nice to have a gig that is not in the typical, clichéd, 'cool' places of the moment like Shoreditch or Dalston - moreover, this was a pretty local gig for me, and travel was a joy.

I'm afraid the night was tinged with a little sadness, though, since - whilst looking online for stage times - I had come across a website noting the possible plans to convert the gig room into flats ! This trend - and the trend for converting pubs into mini, big chain supermarkets - is heartbreaking to a music fan like me, who thrives on tiny gigs. So I made the most of being in the venue with the utter privilege of this wonderful, fun band tonight. I took photos of the venue, although sadly it was too dark to capture the golden stars and chandeliers adorning the ceiling. I got a nice red-lit shot of the stage before the bands came on. And those plush, turquoise velvet curtains surrounding the stage too.

It was such a fun gig. This was my third Allo Darlin' gig, and the band always put a smile on my face. Elizabeth Morriss's own smile, and her pure, obvious enjoyment in singing and playing is so infectious. The new song sounded so strong. Since I didn't have names to note down set-list style, I, er, just wrote down the themes of the new songs: being stronger, nostalgia, Australia, living in a cupboard. The Allo Darlin indie pop songwriting skills are at work, so much melody, energy, and genuine emotion. Elizabeth Morris has one of my favourite singing voices, lots of warmth and feeling.

Sad for the blurriness of these photos, but we are lo-fi here.

The Wave Pictures were in support, with Darren Hayman style vocals, and songs of Johnny Cash's shoes, and whisky, and tales of the heart.

I had a good time, chatting to the Fortuna Pop people, who were kind to put the paper zine of The All Thrills No Frills Music Bill on their merchandise stall. Allo Darlin are featured in two issues! Another Fortuna Pop band, Tender Trap are also interviewed in issue two of the zine. Nice to bump into two people that were dining with Tender Trap and us the night we interviewed them, including a sound engineer for various bands including The Wave Pictures and The Lovely Eggs, and a DJ from Atta Girl club. I passed some zines on to be sold at the next Atta Girl club night, in Birmingham, which is this coming Saturday 22nd, at The Hare and Hounds pub. Wish I could go!

Rounded off the night by transporting myself back to my youth and trying on band t shirts for size in the gig venue toilets! Came home with a bright orange, sunny, lovely Allo Darlin' t-shirt, plus replaced our digital version of the recent, very excellent Tender Trap album, with a physical CD version. And that's how gigs should be, amazing venues, full of community, supporting independent bands and labels and promoters who work damn hard in really harsh times, and where you come away smiling.