birminghamreview, Author at

November 15, 2016November 25, 2016

BPREVIEW: Laura Mvula @ O2 Institute 19.11.16

Words by Ed King

On Saturday 19^th November, Laura Mvula performs at the O2 Institute in Birmingham – with support from Oliver St Louis.

Doors open at 7pm with an 11pm curfew. Tickets are priced at £22 (+booking fee) as presented by Metropolis Music. For direct gig info & online tickets sales, click here.

Did someone say homecoming..?

Laura Mvula was quickly added to the list of Birmingham’s musical luminaries following the release of her stellar debut album, Sing to the Moon, in March 2013. Signed to RCA after a series of showcases, and building more industry momentum than live gig experience, her debut LP would chart across the world – reaching No9 on the UK album charts and No1 on the UK R&B Album Charts.

Nominated at the 2013 BRIT Awards, BBC’s Sound of Poll, Mercury Music Prize, Q Awards, and winning at the MOBO and Urban Music Awards, that year Laura Mvula was a rising balloon. Her music is original yet traditional, with deep rooted gospel and classical strains pushing a mellifluous yet firm vocal lead, alongside choral support and a slight harmony obsession. Her work speaks of relationships, family, home, empowerment and loss. It connects. And by the end of the 2013 it was hard to not know the name Laura Mvula, or the musical endeavors of an artist who was, until relatively recently, penning ‘song structures’ during her breaks on the CBSO reception desk. Birmingham born and raised, schooled at Swanshurt then the Conservatoire, the city had another artist with real depth to be proud of.

Now, time to do that all again… no pressure.

Just under three years later and Laura Mvula released her follow up album, The Dreaming Room, in January 2016 (although there was a re-recording of Sing to the Moon with Metropole Orkest in 2014 to distract us for a bit). Guests on the sophomore LP include Nile Rodgers with ‘Overcome’ and Wretch 32 with ‘People’, released as singles in January and April 2016 respectively.

There was a shift in the production team too, with the man who first lined Laura Mvula up with RCA, Steve Brown, being replaced with Mvula’s now Musical Director, Troy Miller. Instrumental members of the London Symphony Orchestra further helped to produce The Dreaming Room, developing the multi-layered character of Mvula’s musical approach.

The Dreaming Room was released through RCA in July 2017 – with its latest single, ‘Show Me Love’ released on the imprint in May the same year.

‘Show Me Love’ – Laura Mvula

Laura Mvula comes to the O2 Institute in Birmingham on Saturday 19^th November – with support from Oliver St Louis. For direct gig info & online tickets sales, click here.

__________

For more on Laura Mvula, visit www.lauramvula.com

For more from Oliver St Louis, visit www.olivierstlouis.net

For more from the O2 Institute, visit www.academymusicgroup.com/o2institutebirmingham

For more from Metropolis Music, visit www.metropolismusic.com

For full gig listings & online tickets sales from Gigs and Tours, visit www.gigsandtours.com

November 12, 2016

BPREVIEW: Kristin Hersh @ The Glee Club 15.11.16

Words by Ed King

On Tuesday 15^th November, ‘An Evening with Kristin Hersh’ comes to The Glee Club in Birmingham, where the singer/songwriter and author will present ‘songs and readings from works spanning her entire career.’

Doors open at 7pm with last entry at 7:45pm – tickets are priced at £17.50 + booking fee. For direct gig info & online ticket sales, click here.

So, this is the kind of gig to invite a preamble; let’s start at the beginning… (cue wavy dream sequence…)

Kristen Hersh and her bestie/step-sister, Tanya Donelly, pick up teenage guitars and form a duo. About a year later they recruit some schoolmates. A band grows. The name of the band grows. The name of the band shortens, and after meeting a couple of limey label execs Throwing Muses release their eponymous debut album. This is still the mid 80’s and Throwing Muses’ indie rock paves the way for further US signing to 4AD, including Pixies – a good few years before SubPop would sign Mudhoney and a couple of nihilists from Aberdeen.

Throwing Muses were heralded as a break to the norm; traditions and song structures be damned. Throwing Muses became a success, both critically and commercially, with Kristin Hersh writing the majority of the songs – lyrics that fused a still-water anger, folk storytelling, visceral self-dissection and a good old rock war cry.

Three albums later and Sister Donelly leaves to form and front Belly. Three albums later still, after ‘a band who’d leave me one by one’, and Sister Hersh goes solo – piping the final Muses’ LP to the post with her own debut album, Hips and Makers. Cue the single ‘Your Ghost’, cue Strings EP, two novels, a children’s book, eight further solo albums, and we’re queuing up for tickets to spend ‘An Evening with Kristin Hersh.’ And if I was to give you some more Google/Spotify fodder, Sunny Border Blue.

I should, also, not skip quite so quickly past the literature that Kristin Hersh has penned and produced: Toby Snax (2007), Rat Girl/Paradoxical Undressing (2010), Don’t Suck, Don’t Die: Giving Up Vic Chesnutt (2015). Truthfully, I’ve not read them, so it’s a little presumptuous to comment. But I can tell you the first is an illustrated children’s book, the second is about Hersh’s early touring days with Throwing Muses, and the third is a posthumous celebration about her friendship with singer/songwriter Vic Chestnut. And added to the ferocious honesty and habitual nature of Kristin Hersh’s musical accomplishments… well, fuck me.

Kristin Hersh has also released a triptych of book/CD combos, starting with Throwing Muses’ first studio album (including Sister Donelly) in a decade, Purgatory/Paradise (2013) – apparently named after a intersection on Rhode Island and not Dante’s infernal struggle. This collection was followed up with Hersh’s solo release, Crooked, in 2015.

The lasted installment is titled Wyatt at the Coyote Palace, an anthology of ‘essays and lyrics with two CD’s included’ – released as a hardback on 15^th November (the day of this gig) and named after the exploration of an abandoned building behind the studio the LP was recorded in. Wyatt is Kristin Hersh’s son.

So, that’s us all caught up then… kinda, sorta. 50FOOTWAVE. There you go.

The last time I saw Kristin Hersh was shortly after her solo debut, Hips and Makers, had been released; Hersh was playing in the New Bands tent at Glastonbury Festival. I think it was 1994, but it could have been a year later. Or even two. There were a lot of drugs in my system during the mid 90’s. But the girl-guitar on stage stuck in my mind, with a flicker of precocious excitement that I’d be able to see her perform again. Only took me about 20 years.

Plus this is ‘An Evening with…’ so I may get to extend my knowledge, with readings from her prose also being performed.

But in the interim, I ‘m going to leave you with an album track from the LP that started this solo machine. One of my favourites. So look down. Click. Listen. And I’ll see you next Tuesday..?

‘Me and My Charms’ – Kristin Hersh

An Evening with Kristin Hersh comes to The Glee Club (B’ham) on Tuesday 15^th November – alongside the release of Wyatt at the Coyote Palace. For direct gig info & online ticket sales, visit www.glee.co.uk/performer/kristin-hersh

For more on Kristin Hersh, visit www.kristinhersh.com

For more from The Glee Club, visit www.glee.co.uk

November 11, 2016

THE GALLERY: Submotion Orchestra @ O2 Institute 09.11.16

Words & Pics by Michelle Martin (Visual Voice Media)

The sound system lowers. A man appeared awkwardly centre stage. Speaking ends.

“The show has been cancelled to due a member of the band taken ill backstage”.

You could hear a pin drop.

At other cancelled shows, audience members could boo and jeer at the announcement – but surprisingly the crowd was sympathetic and shouted support for the person now waiting for an ambulance.*

It was a shame to miss The Cinematic Orchestra.

But I shot the supporting act, Submotion Orchestra; I didn’t research anything about the Leeds based ensemble, typically I don’t, but safe to say I was surprised by the music they played.

Ruby Wood’s outstanding vocals shone throughout their set. Bobby Beddoe commanded the stage with his chosen weapons, a microphone and trumpet. The sounds he produced are still stuck in my head, and this is over 24 hours later. Cheesy as it sounds but there is no other way of describing it – tingles all over my body. Simply beautiful. The biggest crowd reactions of the evening were in response to this maestro doing dominating the solos.

The only downside to Submotion Orchestra’s set was the god awful lighting – please get this sorted. And what’s with the consistent use of red lights? I’d best cease the potential rant on light rigs at venues.

Anyway, here is a quick gallery from Submotion Orchestra’s performance.

Here is THE GALLERY from Submotion Orchestra’s performance.

Submotion Orchestra @ O2 Institute 09.11.16

*A message from Leftfoot – promoters

First off a huge thank you to everyone who attended last night’s show and a huge amount of respect for the patience and understanding shown.

Unfortunately moments before the band were due on stage, one of the members became very unwell which resulted in the need for urgent medical attention. Given the gravity of the situation, it was impossible for the show to continue. We’re in the process of discussing a rescheduled date, but have nothing confirmed just yet. All tickets will remain valid for a rescheduled date, however refunds will be available at point of purchase for all those that wish to.

Apologies from us and from The Cinematic Orchestra, everyone was genuinely devastated about this unfortunate turn of events and we wish Dom a speedy recovery.

For any further enquiries, please email tom@leftfootvenues.co.uk

-ENDS-

For more on Submotion Orchestra, visit www.submotion.co.uk

For more on The Cinematic Orchestra, visit www.cinematicorchestra.com

For more from the O2 Institute, visit www.academymusicgroup.com/o2institutebirmingham

__________

For more from Leftfoot, visit www.leftfootevents.co.uk

For more form Ninja Tunes, visit www.ninjatune.net

November 10, 2016November 10, 2016

BPREVIEW: SHOUT Festival 10-20.11.16

Words by Ed King

Running from 10^th to 20^th November, SHOUT Festival returns to Birmingham – presenting a 10 day celebration of ‘Queer Arts & Culture’ in venues across the city.

Expect film, theatre, seminars, stand up, club nights, and a bevy of both performing and visual arts on the 2016 programme. Held as a series of satellite events, entry to each can range from free to £13.50 – but for a breakdown of the full SHOUT programme, including individual show times, locations, prices & online tickets sales, click here.

Now in its 8^th year, SHOUT is a locally programmed festival that ‘brings the best in queer and Lesbian, Gay, Bisexual and Trans* (LGBT) artists, work, and culture from across the UK and beyond to Birmingham.’

Headed by the great, good and garrulous of Birmingham’s LGBT community, SHOUT holds a firm focus on both expression and education – aiming to establish an annual ‘place to celebrate diversity, push boundaries, challenge views, explore meaning and provides a platform for the voices and experiences of queer people.’ So… probably not so many 80’s throwbacks on stage.

But pride is rife across the SHOUT mandate, with an arguably more intelligent approach to the sexual politics that – as the festival organisers say themselves – have ‘become more prominent in the public eye than ever before.’ No longer are we being asked to get used to anything, but instead celebrate all the colours of the rainbow through an innovative and inspirational programme. That and the darker side of cabaret. And establishment support: we’re here, we’re queer, now where’s our arts funding..?

But whatever your predilection, sexual or artistic, SHOUT Festival has a solid array of events to incite and attract – all of which have been seemingly priced with consideration. Not one will cost you over £15 with a packet of crisps in the interval. Loads to check out; here’s a couple of event that grabbed us by the short and curlies:

Miss Behave’s Game Show @ Chic Nightclub / 10.11.16

Kicking off the SHOUT programme, Miss Behave presents her ‘renegade Gameshow for the austerity generation’ as part of the festival’s official launch shenanigans. Watch with wonder as the audience battle through pint drinking, head banging, number dialing, in an evening of ‘brand new idiocy, fun and chaos’.

The latest incarnation from Amy Saunders, one of ‘the world’s last surviving’ and self taught female sword swallowers, Miss Behave’s Gameshow looks as riotous, without being an actual riot (although…), as ou’re going to get. Bonkers fun; at the time of writing only a handful of tickets are available on the door at Chic Night Club, with an after party… well, afterwards.

For more on Miss Behave’s Gameshow, visit www.missbehavegameshow.com

Joe Black: Meet Me at the Eldorado @ The Old Joint Stock / 11.11.16

I’m going to try and write this without getting sued by either Richard O’Brien or Bob Fosse… Meet Me at the Eldorado is the new show from ‘notorious cabaret reprobate Joe Black’ – giving two performances at the Old Joint Stock, as part of SHOUT Festival ’16 and her/his wider UK tour. ‘A villainous maestro of the cabaret genre, Joe Black blurs the line between utterly sinister and completely delightful’, in a one woman/man show that teaches you everything from where not to put clothes pegs to which existentialist to keep away from your dinner table (and not, as my addled brain first heard it, a ‘lioness’…).

Taking its name from the Eldorado establishments of Weimar Berlin, a city with a prominent LGBT community until some hateful little Austrian sat there and ruined the world, Joe Black’s new cabaret has been sweeping up accolades. At the time of writing an extra 10pm show had been added to the SHOUT programme, with the early 8pm performance already sold out; moving quickly wouldn’t be a bad idea if you want to see this in Birmingham.

For more on Joe Black, visit www.misterjoeblack.com

Douze: XNTHONY & The Penny Slots @ The Old Joint Stock / 12.11.16

DISCLAIMER: I don’t watch a huge amount of telly (I don’t have a telly) so I’m still not 100% sure if this is a spoof. So if it’s not… dear god almighty, and good luck/God bless. Make sure a grown up goes with them.

XNTHONY is a self made pop star. XNTHONY has ‘a collective’ behind him. XNTHONY believes he should, nay must, represent Ireland in that most hallowed of artistic endeavours, the Eurovision Song Contest. He’s got the glitz, he’s got the spandex, he’s got a song about numbers (it’s just numbers) and he’s got both a blonde and brunette backing singer (both the backing singers have scrunchies). He’s even already performed in front royalty, Prince Edward no less, so all that’s left is the nationwide support. That’s where you come in, as XNTHONY & the Penny Slots tour the UK on self driven their campaign to make it into the 2016 Eurovision Pop Contest. Or the 2017 contest, that would be ok too.

‘An x-posé into the edible world of pop spectacle, fame and fandom,’ Douze looks like a real treat. For anyone who has sat staring at a screen, jaw dropped in both abject horror and gallows humour, this is a kind of must see. Or if you were ever a member of Bucks Fizz.

For more on XNTHONY, visit www.xnthony.com

Polari Literary Salon @ mac / 19.11.16

Described by writer Ali Smith (Like, The Accidental, How to be Both) as ‘a blend of audience sweetness, panache, cleverness and really good fun’, Polari is a monthly meeting London based literary salon. Award winning, publically revered, generally given an enthusiastic thumbs up, Polari was set up by writer/journalist Paul Burson to focus on the literary endeavours from, of and about LGBT culture.

Coming to back to SHOUT as part of a UK wide tour, supported by the Arts Council England, Polari enjoyed ‘a big hit’ at last year’s festival – with Paul Burson hosting the 2016 event. Also in discussion will be writers Kiki Archer (Too Late… I Love You), Scott Campbell (The Strange Adventures of Mavis Street), VG Lee (Mr Oliver’s Object of Desire) and Karen Mcleod (In Search of the Missing Eyelash).

For more on Polari Literary Salon, visit www.polariliterarysalon.co.uk

Also work checking out at this year’s SHOUT Festival are Deep in the Heart of Me at The Wellington Hotel (Sat 12^th Nov), My Comedy at The Loft Lounge (Sun 13^th Nov), A Boy Named Sue at the REP (Fri 18^th & Sat 19^th Nov), Slope-tend-big at Grand Union (Fri 11^th to Fri 18^th Nov), Big Girl’s Blouse at mac (Sun 20^th Nov). Click on the highlighted links for more info & online ticket sales.

SHOUT Festival runs from 10^th to 20^th November, with satellite events held in venues across Birmingham. For more on SHOUT Festival, visit www.shoutfestival.co.uk

November 9, 2016November 9, 2016

BREVIEW: The Hungry Ghosts + Goat Girl @ The Victoria 25.10.16

Words by Jay Dyer / Pics by Claire Leach

I have long been an admirer of The Victoria. It’s a quaint, traditional pub, at the heart of this vastly changing city – one which has not been hit quite as hard by the wide gentrification across the road, in the new (sterile) Grand Central/New Street station. Plus The Victoria has a wonderful stage room upstairs, which is sadly not utilised enough. It is the perfect venue for the city; it’s neither too large nor too small, and I am joyed (and somewhat surprised) to see The Hungry Ghosts on their bill – blowing away the establishment’s Tuesday night cobwebs.

I arrive early, embark up the stairs and into the gig room. I take another look at the date on my phone to make sure I have the right night, as I find myself all alone. The date is right. I grab a beer and waste a bit of time downstairs so I look less weird. As I swig from my glass of unpronounceable lager, finally people arrive so I head back upstairs to find Terror Watts setting up their equipment.

Terror Watts are a band that I enjoy live and tonight is no different. They hit you with bursts of energy, married with fine-tuned garage rock songs. In other words everything I love to see live. Their set is tight as can be too, something I imagine has taken some time in the practice room to get right. However I am getting a strong sense of déjà vu; it takes 2 or 3 songs for it to dawn on me that Terror Watts have not altered their set in the slightest since I last saw them. With such a condensed music scene in Birmingham, being original and taking pride in variety is key to making a name for yourself. Terror Watts ignite with a flash to some delight, but after a while I long for something bigger.

The next band on stage are Goat Girl, a 4-piece garage rock outfit from London. Goat Girl have recently signed to Rough Trade so I feel a bit of buzz and anticipation for what’s to come. On paper, they are everything I love in a band; raw garage rock, forged through simple chord structure and dancing harmonic melodies, is what I absolutely yearn for. I’ve listened to some of Goat Girl’s music online and I love it, it really engages with me with its energy and production.

However, after they finally get pulled away from their cocktails downstairs (where Goat Girl have been residing all night) they embark on a set which neither inspires or encapsulates my eager mind. Tonight Goat Girl come across as overly self-absorbent, looking as if they’re only thinking about what next to order from the cocktail menu.

The music I loved so much on record is diluted by a lack of live dynamic range; the set is void of energy. I want to shout, “hey, it’s a Tuesday, it’s not a big crowd, but show some energy to those who came out to see you”. Somewhere buried deep down I can hear some wonderful hooks and rhythms, but played with such reluctance they lose the audience in large parts. Goat Girl do play well, I just don’t ‘get’ what they are trying to do live. But somehow they bagged themselves a Rough Trade deal.

The Hungry Ghosts are next up, bringing their self-titled ‘slaughterhouse blues’ to the stage. The four piece have been making quite a name for themselves over the past few months; The Hungry Ghosts have recently released their debut Blood Red Songs EP and played a barrage of shows around the country.

The Victoria‘s upstairs venue has now filled to about half capacity, which is alright for a Tuesday night, and The Hungry Ghosts’ set is an unforgiving and brutal display – marrying gloomy bass with screaming highs. Each song is played with such precision and energy it makes them perfect to watch; effortlessly playing their way through a destructive set.

Front man, Joe Joseph, becomes a focal point of the performance as he looms over the microphone with one eye darting behind his cascading hair. It really is the eyes; they unnerve me slightly. They remind me of an overly exuberant actor I watched portraying the blind old man in a performance of ‘Antigone’ a few years back.

Joe Joseph seems to react to every single movement of the music, his body jolting with the beat. This is peaked when he ends up laying in the foetal position in the middle of the audience, screaming into the microphone.

There’s nothing ‘quaint’ or ‘traditional’ about The Hungry Ghosts, but they can fill up a room no matter how many people are in there with them. When you go to watch The Hungry Ghosts you are watching a band perfectly navigate the line between destruction and control; I absolutely love it.

For more on The Hungry Ghosts, visit www.thehungryghosts.co.uk

For more on Goat Girl, visit www.facebook.com/goatgirlofficial

For more on Terror Watts, visit www.facebook.com/terrorwatts

________

For more from The Victoria, visit www.thevictoriabirmingham.co.uk