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May 4, 2014

REVIEW: Rae Morris @ Institute, Tues 29th Apr

Words by Jay Airey / Pics by Lucy Heath

Entry to The Institute was easy; name on the door, two press tickets and a pleasant ‘have a good evening’ from security as we make our way upstairs to The Temple room. Life isn’t always so simple.

I immediately spot Cannon Street sitting at a table, and excitedly learn they are here as support. I worked with the pair at the Moseley Folk Festival in 2011, as a steward, and my ‘+1’ had seen them perform at the 2013 event. Both on stage and off they are brilliant, but their vocal harmonies and connection whilst performing is and are beautiful.

From a rather muted applause after their opener, at the end of a five song set the terrific twosome reached enthusing acclaim. Matt Sheehan follows as Rae Morris’s main support; classic man-with-guitar, singing strong with a good range and playing with aplomb.

The Temple is the smaller of The Institute’s rooms and can create a pleasant and intimate environment; the low stage, coupled with Rae Morris‘s decision to sit on a low stool (presenting herself at audience head-height) helps to maintain this ambiance tonight.

Rae Morris’s first song produces an attractive echo between her lead voice and the voice of the drummer – almost as if her line is being sung back a few moments later. It’s an impressive technique and one that makes her opening track a ‘stand-out’ moment for me. Diminutive and a little shy, Morris’s voice carries her as a powerful and stronger force than she might first appear.

Rae Morris’s band – a drummer, keyboard player (synthesizer heavily in play and an excellent accompaniment) and guitarist (playing guitar, bass & double bass) sing well together; some excellent harmonies, with the guitarist providing superb support to the lower tones of the keyboards.

Smiles are exchanged between the two, bringing a harmony that emits a sense of the band, in its entirety, having fun. Morris too throws an indirect gaze and regular smiles back out at the crowd, helping The Institute‘s smaller room warm to what’s happening on stage.

‘Way Back When’, the track that first brought Rae Morris onto Birmingham Review’s radar, brings an edgy and emotional feel early in the set – also an excellent showcase of Morris’s talent for whistling.

Throughout her set Rae Morris’s voice provides a varied range, often betraying the soft and breathy characteristics her speaking voice carries. When engaging the audience, between tracks, Morris is softly spoken – before the strength and emotion of her vocals delivers sophistication arguably beyond her years. There is also an occasional inflection which evokes a fleeting similarity (to me) to Edie Brickell.

But what is missing for me is the interaction between Rae Morris and her band, who are instrumental (excuse the pun) to her performance. Rae Morris is an accomplished pianist with a sophisticated singing voice, but when performing alone can miss a certain distinction between songs.

Each individual band member is worthy of a mention tonight, and I especially feel drummer’s contribution is unmissable – who does get singled out for applause as Morris leaves the stage.

But perhaps life on the road, with a band in tow (Rae Morris is no stranger to live solo performances), requires some getting to know you time. After all tonight is only gig two on the first of Rae Morris’s headline tour. And as I say, life isn’t always so simple.

For more on Rae Morris, visit http://www.raemorris.co.uk

For further listings from The Institute, visit http://mamacolive.com/theinstitute/listings

April 28, 2014

PREVIEW: Rae Morris @ Institute, Tues 29th Apr

Back in Birmingham on a headline tour, Rae Morris performs in The Institute’s Temple venue on Tuesday 29^th April.

Penning emotive keys driven melodies, owned by subtle yet soaring vocals, Rae Morris has been gathering momentum since being picked up by BBC Introducing in 2011 – with notable performances at the Reading & Leeds Festivals in the same year.

Last in this city with Bombay Bicycle Club, on the O2 Academy stage in March this year, Morris has chalked up some impressive supports in Birmingham – previously playing with Tom Odell and Lianne Le Havas.

But it was on the North East gig circuit that the fledgling performer cut her teeth, arming her promising musical precocity with a tough live gig skin. Not an easy trick, especially for a one-person-one-piano singer/songwriter.

The release of Don’t Go in March 2012, Rae Morris’s debut single, gave her growing online audience something to take home; with her following three track EP, Grow, released 8 months later – including the addictively acoustic Way Back When.

As album demands grew (and grow) Atlantic Records, whom Morris signed with in Oct 2011, began the precarious balance of creative space Vs public demand. The ‘first taster’ came at the start of 2014, in the form of a slickly packaged free download single called Skin. Read the Birmingham Review here.

On April 28^th the Blackpool born vocal/pianist embarks on a headline tour – visiting 8 UK cities from Sheffield to Brighton and squeezing in a few festivals en route. Birmingham is the 2^nd stop for Rae Morris; preceding the release of Do You Even Know? on May 6^th – the first commercial single from her forthcoming album.

To watch the official video for Do You Even Know? click here or on the image below.

Rae Morris performs in The Institute’s Temple venue on Tuesday 29^th April. For gig information and tickets, visit http://mamacolive.com/theinstitute/listings/general/16447/rae-morris-special-guests

For more on Rae Morris, visit http://www.raemorris.co.uk

For further listings from The Institute, visit http://mamacolive.com/theinstitute/listings

April 18, 2014April 24, 2014

Cherry Reds (Kings Heath)

Small yet sumptuously formed, Cherry Reds opened on York Road (off Kings Heath High Street) in December 2010.

Taking over from an old, old-skool greasy spoon, this pocket-sized café/bar brought in a well considered menu of homemade food (from Vegan to beef burger), garish cupcakes, outlandish beers & cider*, as well as a healthy, or unhealthy – depending on the time of day, cocktail menu with incentives.**

An overtly personal venue, adorning itself with soft furnishings, home from home décor and popular culture cuttings on the wall, Cherry Reds found the balance between creative endeavour and commercial nous – nurturing a loyal core of enthusiasts, whilst welcoming the stranger in with generous arms. A rare and reassuring approach. One that works so well, you sometimes have to sit on the benches outside.

From the board games to sports days, acoustic music to quiz nights, this Kings Heath (ad)venture introduced a now blossoming bohemia to the High Street side street. An injection of culture that arguably paved the way for other fledgling York Road venues, whilst underpinning the hubris of those more established.***

And so successful was this approach, Cherry Reds are at it again on the once beleaguered John Bright Street in Birmingham’s City Centre.

But Kings Heath is where the first Cherry popped, and remains a turning point in the chequered evolution of a once desperately formulaic High Street – nestling into a side road that (as certain quarters will not stop reminding us) saw ‘all the greats play here’ when the Ritz Ballroom was in literal full swing.

And whilst today’s fast food franchises play Jacobs Ladder with bus stop friendly outlets, and the Wetherspoon vultures seek out more self hatred and carrion, Cherry Reds continues to strive.

A quiet example of Birmingham getting it right.

Operating times
Monday to Saturday: 9am – 11pm
Sunday: 10am – 11pm
*Cherry Reds has a licence until 2am, but must refuse further entry after the above operating times

**Happy Hour, from 4-7pm each day
Cocktails £3.50
Selected beers £2.50
Bottles of wine £8

Contact
Cherry Reds,
16 York Road,
Kings Heath,
Birmingham,
B14 7RZ

Tel: 0121 441 3155
Email / general: people@cherryreds.com

***Cherry Reds is available to hire each night – except Friday. For Saturday night hire please contact as early as possible, due to demand

For further information, on both Cherry Reds Kings Heath & John Bright St, visit http://www.cherryreds.com/

__________________________

Ed’s note…

I used to live opposite where Cherry Reds (Kings Heath) now stands, frequenting the diseased lung that was York Road Café – the site’s A2 only predecessor. So when my cholesterol-challenging-lazy-breakfast closed its shutters for the last time, I felt a twinge of regret.

But like all good fires, colourful wings came to brush away the smouldering rubble and nostalgic detritus – replacing battery farming and unquestioned cheap meat, with a much healthier animal. Cherry Reds was born, marking the first truly grass roots changes to a High Street splinter.

Plus they make excellent cocktails, good burgers, and were kind to my mum. So we love them. And the name makes me think of teenage crushes, pigeon park and The Hummingbird.

Cherry Reds is a genuine home from home experience, with the only downside being a) it’s not actually my home, and b) it’s too small for all the people who ‘live’ there. Such is the burden of a good idea – people want in.

So grab your favourite seat, mark your territory, and defend it with a fortress of alcoholic ginger beer & White Russians. I can think of worse ways to pass an afternoon.

April 18, 2014April 24, 2014

Ort Cafe (Balsall Heath)

Opened on the 11^th of November 2011, Ort Café is situated in Grade II listed The Old Print Works on the Moseley Road – opposite the (also listed) Balsall Heath swimming baths.

A self described ‘community café’, Ort has a fully licensed downstairs bar* & pescatarian eatery**, with a matching gallery premises upstairs.

A constant event & exhibition programme fills both spaces with local/touring artists, language lessons, live music, films, workshops & talks. Ort Café is open and active 6 days of the week – tell me WHY, they don’t like Mondays.

Populated by (and actively catering for) a variety of people, Ort Café has a familiar and friendly atmosphere – run and managed by Josephine Reichert & Ridhi Kalaria.

Open to community groups and running subsidised meeting & display spaces, Ort Café welcomes ‘activities without consumption’, building a ‘space where people can drop by without having to purchase anything’.

And they’re productive with it too, reinvesting much of their profits back into a rich event & exhibition calendar – one that has introduced Birmingham Review to some deservedly well lauded musicians.

Ort Cafe is one of the first venues Birmingham Review checks when compiling our monthly listings. Even if you don’t know who they are, if they’re booked at Ort Cafe, chances are they’ll be worth finding out.

Operating times
Monday: closed
Tuesday to Thursday: 10am – 11pm
Friday & Saturday: 10am – Late
Sunday: 11am -7pm

*Ort Café is fully licensed to serve alcohol until 11pm on weeknights & Sundays, and 1am on Fridays & Saturdays.
**Serving food until 8pm every night, except the Breakfast & the Sunday Roast which are served until 6pm.

Contact
Ort Café,
500-504 Moseley Road,
Balsall Heath,
Birmingham,
B12 9AH.

Tel: 07845 083 322
Email / general: info@ortcafe.co.uk
Email / bookings: josie@ortcafe.co.uk

For further information, menus, listings & details on space hire at Ort Café, visit http://ortcafe.co.uk

For the official Ort Cafe Trailer, click here or on the logo to the left

________________

Ed’s note…

I’d heard about Ort Café long before I first went to see it, reviewing Louise Petit in August 2013. I was on my own, tired, and hoping to just sink into the back of the room. I remember getting a glass of wine in a mug and feeling immediately at ease.

Ort Café appears to have been thrown together with love, and is run with seemingly inexhaustible patience. The doors-open-to-all policy, especially if you just want to sit-and-not-buy, is one I’d not manage very well.

But Ort has struck a balance between meeting its self set social agenda and a sustainable business model. Not an easy feat. And I could be wrong of course, with the shards of violently thrown crockery still decorating the kitchen, but its feels this way to me.

The furnishings are soft, rustic and comfortable – begged, borrowed or otherwise. The menu is non-pretentious and homemade. There’s a foosball table, old leather, a door that one day I’ll remember you slide to open. They show live bands, solo artists and screenings of Harold & Maude. Ort is both a ‘community’ and ‘not a heath food’ café.

Plus, and this is really the point, Ort Cafe‘s programme of events is excellent – from philosophy discussions to touring Folk artists, there is a lot worth paying for and attention to.

So Ort works, where so many others with similar agendas have failed, because it actually delivers; an ideological venture that’s commercially worth every penny, pound & act of good will.

Stick that in your community peace pipe, gawd bless ’em.

April 11, 2014July 23, 2016

BREVIEW: Lang Lang @ Symphony Hall, Fri 4th Apr

Words by Jonathan Glen / Pics by Steve Thorne & external sources

Performing: Mozart Piano Sonatas 5, 4 & 8 / Chopin Ballades 1, 2, 3 & 4

It can’t be easy walking out on stage as ‘one of the world’s greatest pianists’. Having the knowledge that if this is not the best performance the audience has ever heard, they may just be a bit disappointed.

The lone piano on stage in the vast Symphony Hall, before the music even starts, is a metaphor for the solitude of tonight’s performer – singled out under the spotlight. But if this does go through the head of Chinese born pianist Lang Lang then you certainly wouldn’t know it. After all, this is a man who played an anti-American song at the White House.

Lang Lang begins his night by casually picking up an honorary doctorate from Birmingham City University for his work with teaching students around the world.

After much congratulation from both sides Lang Lang gets down to what he does best, immediately displaying the playful movements that have seen him be compared to his musical hero, virtuoso pianist Franz Liszt. His body echoes the tempo and mood of the music, occasionally he looks wistfully into the audience, almost saying, isn’t this music beautiful? Such is his love for playing.

The night begins with three of Wolfgang Amadeus Mozart’s piano sonatas. First up is Sonata No. 5, a wonderfully eclectic piece which begins light-heartedly before becoming richer and more romantic. Lang Lang swoons from his piano ostentatiously, his famous behaviour occasionally verges on ridiculous though you know he feels every keystroke. It appears all too easy for him as he goes up and down the gears, soft melodies are left behind as he is off to the races with such speed and power it’s a wonder he doesn’t break more pianos.

The second Mozart piece is Sonata No.4, opening with much melancholy – our star seems to be signing some unknown lyrics to its touching melody. Though this piece becomes more jovial it never loses focus, as its builds its tempo and aggression Lang Lang runs through his set stock of vigorous gestures.

Sonata No. 8 begins with a pacy allegro, the majestic low minor notes building to a fantastic crescendo as Lang Lang stares to the heavens as though the music were helping him find nirvana. The piece is perfect for his bombastic style though his magical fingers are perfect for every tone, light as air or heavy as iron.

After a short interval Lang Lang is back in front of the piano, this time taking on Chopin’s Ballades. No.1 has a sumptuous, off-kilter melody that is distinctively Chopin; the loneliness and sorrow of the composers time in Vienna is conveyed in piercing notes of sadness.

Ballade No.2 has none of the punch of the first piece, though it comes to life a little way in. Though there may have been a hint of a mistake during this piece, and you get the feeling that Lang Lang’s supreme confidence masks potential errors. Ballade No.2 has always been criticised in comparison with the others and it is easy to hear why as it plays out.

Ballade No.3 is an incredibly intricate piece, very rarely delicate. It is harsh and raucous, suiting Lang Lang perfectly as he gesticulates wildly. The contrast going in to Ballade No.4 is stark; a joyous, soft piece, and a favourite of this Chopin loving reviewer. Lang Lang plays out one of the most beautiful melodies of the night, though is perhaps a touch too effusive in the up tempo finale.

It is hard to criticise Lang Lang in any way, he is note perfect playing some delightfully complex pieces and his love for playing them is infectious. He is greeted with a standing ovation before throwing in two encores, one of which, a Chinese piece named ‘Seaweed’, is one of the highlights of the night with a melody of such grace it seems to soar into the rafters of this great Symphony Hall.

And with the equally imposing accolade that surrounds tonight’s pianist and performer, Lang Lang more than fulfills the promise. Long may he long continue to grace this and other stages.

For more about Lang Lang, visit http://langlang.com/

For further listings from the Town & Symphony Halls, visit http://www.thsh.co.uk/