Author: birminghamreview

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INTERVIEW: Camilla Staveley-Taylor, from The Staves

Birmingham Review first saw The Staves in April this year, playing at The Glee Club, and have kept them hovering on radar ever since.

With pitch perfect harmonies, the Staveley-Taylor sisters ‘have been singing for as long as any of us can remember’; and now have a firm footing in the UK’s folk revival.

Playing their first gig in 2005, the past seven years have seen Emily, Jessica and Camilla perform from Watford to Texas, and appear on albums with Fionn Regan and Tom Jones. Not bad for three sisters who started at an open mike might in their local.

But Nov ’12 saw The Staves release their own debut album, ‘Dead & Born & Grown’, which they‘re now out promoting with a headline tour of the UK; playing at the Hare and Hounds in Birmingham on November 28th.

Birmingham Review managed to grab Camilla for a quick Q&A from the road.

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BR: Congratulations on the release of ‘Dead & Born & Grown’, released Nov 12th, are you excited?
CST: Yes, we’re very excited to have the record finally out – it feels like it’s been a long time coming.

BR: On the run up to its release, and subsequently, ‘Dead & Born & Grown’ has been getting some pretty widespread attention. Some of the words I’ve seen used to describe the album are ‘charming’, ‘comforting’, and my personal favourite, ‘a woven oneness of lustre and poise’ – how would you surmise it?
CST: Well… it’s hard to describe your own stuff. I think that the record is unpretentious in that we aren’t trying to be anyone but ourselves, and I think, hopefully, that comes across when people listen to it.

BR: And the ‘F word’ halfway through ‘Pay Us No Mind’..?
CST: If anyone is surprised by that then haven’t listened to the lyrics of that song or really understood the vibe.

BR: I read somewhere that ‘Dead & Born & Grown’ was the first song you ever wrote, hence being the name of the album. Does that seem like a long time ago, and are you in a stronger place as songwriters?
CST: I doesn’t really seem like it was that long ago. I think we have improved as songwriters, but I wouldn’t change anything about that song. Sometimes it’s the simplicity in songs you write that gives them that magic.

BR: How about in the studio? You worked with Ethan and Glyn Johns, who have some pretty heavyweight acts in their portfolio; what was it like working with such established producers?

CST: They have an amazing back catalogue of records they’ve worked on. It was great seeing their techniques in the studio – they work on tape which is really dying out in studios. We recorded almost the whole record live and that was a lot of fun and really kept us on our toes.

BR: The last time Birmingham Review covered you was in April, what’s been going on since spring?
CST: We’ve managed to support Bon Iver twice – once around the US/Canada and once around Europe – which has been incredible. We played a lot of festivals this summer and the rest of the time has been spent on the record. Plus I did all the artwork, which took a while.

BR: And you were recently invited onto ‘Later… with Jools Holland’, where you performed the purely vocal/harmony track ‘Wisely & Slow’. Was that more nerve wracking than with instruments?
CST: No, weirdly enough we feel more relaxed and confident doing the a capella stuff. I guess as singers you have more control when it’s just you up there.

BR: Your next single is ‘Tongue Behind My Teeth’, and in the video – a Western pastiche, you look very convincing with a rifle. Is there anything we should know about?
CST: I got into a cab the other day with my guitar and the driver made a joke about there being a machine gun in there. I felt like Antonio Banderas. I have never used a real gun – the ones in the video were fake, sorry to ruin the illusion.

BR: You’re all from Watford; is there a big folk scene in your home town?
CST: There is a folk scene in Watford but we’ve never been a part of it. Like most towns there’s music going on and that’s where we played our first gigs and sang with other bands and learned to do what we do. That all took place in pubs and bars for us, not folk clubs. I think Watford suffers by being in such close proximity to London where there is so much going on musically so a lot of people end up migrating there instead.

BR: So what encouraged and inspired you, musically?
CST: Just hearing good music is the most inspiring thing. It can be listening to a record old or new, going to a gig or just having a conversation with a musician and absorbing all the different ways that people approach music. In terms of encouragement our family and friends have always cheered us on at gigs since the beginning and told us not to be shy.

BR: Vocally you are all clearly proficient, and I know Jessica plays the guitar and you play the Uklele. Are there any other instruments in the closet?
CST: We played piano, clarinet and flute when we were kids but were just taught boring songs so we ditched them. I try and play most stringed instruments – I have a banjo and a mandolin at home and I play a bit of piano and harmonium on the record.

BR: And finally… you are granted one wish from the genie of music, what do you ask for?
CST: Neil Young’s guitar, it’s a Martin D-28 that used to belong to Hank Williams.

The Staves debut album, ‘Dead & Born & Grown’, is out now – available in store and online. For more on The Staves, visit http://www.thestaves.com

The Staves play at the Hare & Hounds on November 28th, for more information visit http://birminghampromoters.com/Events/the-staves

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PREVIEW: Akala @ 02 Academy Birmingham, Nov 26th

Akala, aka Kingslee Daley, released his first single in 2003 – ‘Welcome to England’, a track that would again feature on the artists’ debut ‘War’ mixtape in 2004.

Akala’s latest mixtape, ‘Knowledge is Power – Vol 1’, was released in May this year, seeing the London born rapper, poet and Edutainment emcee tour the UK; performing at the 02 Academy in Birmingham on Nov 26th.

Arguably a bastion of intelligence and education, in a music industry that often resorts to MTV glamour and X Factor aspirations, Akala uses his art to explore ‘race, class, sexism, history, war, hip-hop culture and what it is to live in a world one knows to be inherently unequal.’

His current three studio albums, four mixtape and fourteen single releases, have all ‘reflected Akala’s personal struggles’ – using a considered blend of words, pentametre and ‘harsh truths’ to deliver his message through ‘barbed comedic satire’.

Citing Gill Scott Heron, Saul Williams, KRS One and Wu Tan Clan as inspirations, Akala’s commentary on social conditioning – and challenges to the political mandates of ignorance, distraction and a divide and conquer governance, are a prominent thread to his work.

And whilst his many literary influences, including continued references to Stratford’s Bard, have earned him the moniker ‘the rap Shakespearean’, Akala also claims his lyrics reflect inwards; poking fun at his own ‘furrowed brow reputation’ and understanding that sometimes ‘heavy topics need to be got across lightly’.

An energetic on stage performer (Birmingham Review last saw Akala at The Flyover Show 4 in 2011), Akala was awarded the ‘Best Hip Hop Act’ at the 2006 MOBO Awards.

His debut studio album, ‘It’s Not A Rumour’ – released on Akala’s own Illa State Records, gained significant attention; becoming a counterpoint to the mysognanism and money centric attitudes of many more widely promulgated Hip Hop.

On this reception, Akala’s website states his ‘refusal and inability to conform to prevailing stereotypes means that his records are largely ignored by the sections of the media that proclaim to speak authentically of the “urban experience”’.

Akala also founded The Hip Hop Shakespeare Company in 2008, a production company that ‘offers young people a different view of the arts and ultimately themselves; through education programmes, live music events and music theatre’.

Akala performs at the 02 Academy in Birmingham on Monday Nov 26th. For information and tickets on this, and further gigs at the 02 Academy in Birmingham, visit http://www.o2academybirmingham.co.uk/event/46168/akala-tickets

For more on Akala, including his latest mixtape release ‘Knowledge is Power – Vol 1’, visit http://www.akalamusic.com

For more on The Hip Hop Shakespeare Company, visit http://www.hiphopshakespeare.com

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COMPETITION: The Staves @ H&H, Nov 28th / Win a pair of gig tickets

The Staves are coming back to Birmingham, for a headline performance at the Hare & Hounds on November 28th.

With less than a handful of tickets left, Birmingham Review has secured a pair of passes for one lucky reader. Or writer. Butcher, baker or candlestick maker.

All you have to do is send us a Direct Message via our Facebook page, or email ed@birminghamreview.net, answering the following question:

Q: What well known Welsh singer had The Staves sing on his album?

And if you don’t know, or have an allergic reaction to Google, you might find a clue in our event preview – http://birminghamreview.net/preview-the-staves-hare-hounds-nov-28th

The winner will be announced on Tuesday 27th Nov.

Competition tickets supplied by Birmingham Promoters.

**ONLY A FEW TICKETS REMAINING. If you want to guarantee entry to The Staves @ H&H on Nov 28th, we’d recommend buying in advance.

The last tickets are on sale through the Birmingham Promoters website – http://birminghampromoters.com/Events/the-staves**

For more on The Staves, visit http://www.thestaves.com

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PREVIEW: The Staves @ Hare & Hounds, Nov 28th

Presented by Birmingham Promoters, in media association with Birmingham Review

The Staves released their first EP, ‘Facing West’, on Tom Billington’s Daddy Max Records in 2010. Now signed to American major – Atlantic Records, the folk harmony trio are touring the UK; promoting their debut album, ‘Dead & Born & Grown’.

Performing at the Hare & Hounds on Nov 28th, with support from Luke Sital-Singh, The Staves are back headlining after several months on the road with Bon Iver; whom they supported across America, Canada and the UK.

Previous tours have seen The Staves support Fink (aka Fin Greenall), and Nashville singer/songwriters – The Civil Wars.

Pursued my music press, pundits and punters on both sides of the pond – The Staves have also received support from artists including Fionn Regan, Tom Jones and Ethan Johns; the latter producing The Staves’ ‘Motherlode’ EP and recent debut album.

Championed as a key newcomer in the UK’s folk revival, The Staves also carry a distinctive Americana edge to their music. Citing Crosby, Stills & Nash as an influence; sisters Emily, Jessica and Milly alternate lead vocals over pitch perfect harmonies – with Jessica and Milly accompanying on the guitar and ukulele.

Birmingham Review last saw The Staves in April, enjoying an impressively tight performance with lively sibling banter filling the gaps between songs. A recent appearance on ‘Later… with Jools Holland’ saw them perform ‘Wisely & Slow’ – the A Cappella introduction to their debut album.

‘Dead & Born & Grown’ is a 12 track ‘mid Atlantic compromise’ (Tom Lamont – The Observer), produced by Glyn and Ethan Johns; a father and son team with Ryan Adams, Kings of Leon, Laura Marling, The Who, The Eagles and Eric Clapton on their respective portfolios.

‘Dead & Born & Grown’ marks the first time Glyn and Ethan Johns have collaborated on an album.

Released on Nov 12th this year, a few weeks after the original release date of Oct 22nd, ‘Dead & Born & Grown’ has received widespread attention; with many pundits pegging The Staves as ‘one to watch’ for 2013.

Birmingham will get another chance to decipher the hype on Nov 28th, when The Staves headline at the Hare & Hounds in Kings Heath.

‘Dead & Born & Grown’ is available in store and online now.

The Staves perform at the Hare & Hounds on November 28th. For tickets and info, visit http://birminghampromoters.com/Events/the-staves

For more on The Staves, visit http://www.thestaves.com

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SECRET MEAL: ‘Vive la résistance!’ @ The Church Inn, Great Hampton Street, Hockley

Words by Ed King / Pictures from http://thechurchinnjq.co.uk

I don’t eat mussels. I don’t eat cockles, whelks, oysters or clams. So as the medicine ball sized bowl, full of the hard shelled sea treats, is placed on the table – I cringe. My colour coded companion loves mussels, and I begin to regret our decision to share dishes.

But tonight is about trying new dining experiences, on the table and off.

Carl Finn has been challenging the restaurant status quo for a couple of years now; first with the music centric Soul Food Project, and most recently with his series of ‘pop up’ Secret Dining Society events; many of which I had promised to attend. Although ashamedly, this steaming bowl of possible food poisoning (as I see all shellfish) is my literal first taste of Carl’s cooking.

Recently taking over The Church Inn on Great Hampton Street, an old man boozer of Birmingham yore, Carl has cozily decked out the back room whilst he renovates around it.

There are about 12 covers, it’s reassuringly warm, and the evening’s theme is French Resistance; only gaining entrance after flashing La Croix de Lorraine and saying the password ‘Gestaposlap’. In itself, worth leaving the house for.

Carl – who tonight shares an uncanny resemblance to a young Rene from ‘Allo ‘Allo, dutifully makes us all stand ‘for ze French National Anthem’. Imitating his proud hand across the chest stance, we all adopt the evening’s proxy patriotism; being thrown together for the night whether we like it or not.

A creative mixologist, Carl serves us two Courvoisier V.S.O.P. and egg white based cocktails; a ‘Little England’ – a creamy foam topped fruit affair in a tall stemmed Martini glass, and a ‘Bull Ring Market’ – a punchy mix of brandy, bitters and orange in a Old Fashioned rocks glass. Both are “pokey” and very smooth; but the ‘Bull Ring Market’ is clearly going to kick my face in.

Carl recommends the house white; a “cut grass and fruit” Grenache Vementino from Vaucluse, which is excellent – before leaving us with some duck mousse pate and kirsch.

I select the bœuf bourguignon, which requires a shift to Les Volets Malbec; and despite a sporadic toughness to some of the meat, is delicious. The broth is rich and strong, with a slick blend of wine, garlic, onions and juices from the beef. A few hunks of fresh bread later and we stare mournfully at an empty bowl; if it wasn’t the last one available I might be ordering it again.

Skipping dessert, neither my companion nor I are particularly sweet toothed, we move straight onto a delicious array of Fourme d’Ambert, Mont d’or and Comté cheeses; served with the seemingly omnipotent and excellent fresh bread.

I demand “the finest red wine available”, and (after publically disparaging Australian and Californian grapes) get treated to a rich, but dangerously drinkable, bottle of Marciac 2010 – or “duck in a bottle” as Carl initially pitches it. Again, it is excellent. I proceed to drink more than is healthy.

Staying around to chat with the table next to us, my companion and I eventually leave around 11pm; full, happy and about ₤40 a piece lighter.

Carl Finn is a classically trained French chef, and despite the joviality of “hiding from ze sea of Germans” at the market on New Street, delivers an excellent menu.

I am impressed, by the food and the ambiance; and I looked hard for faults all evening – finding only the overstretched talents of the host-chef-bartender a possible future thorn.

But The Church Inn, Carl’s first bricks and mortar adventure, feels like the start of something I’ll be back to explore; with plans to be fully operational next spring.

Plus I ate mussels; which were, in all honesty, fantastic.

‘Vive la resistance!’ continues at The Church Inn until Nov 18th.

For further details, and reservations, visit http://thechurchinnjq.co.uk