Author: birminghamreview

Hot off the Moseley Folk Festival heels, Rachel Sermanni returns to Birmingham – headlining her own show at The Glee Club on 27^th September.

Touring her debut album, ‘Under Mountains’, the Scottish singer/songwriter has had a busy summer playing festivals all across Europe; from the Motel Mozaique arts fest in Rotterdam – to the beer, cider and energy drink sponsored, Reading and Leeds.

Rachel Sermanni returns to Birmingham as part of a substantial UK & European tour, finishing up in Brussels this November.

Sermanni’s strong vocals over lone acoustic guitar have engaged the ‘nu folk’ and singer/songwriter enthusiasts – sparking the touch paper of online support through various one off recordings.

Many of her tracks have been widely promulgated via ad hoc ‘sessions’ on online broadcaster sites like YouTube and Vimeo. 2012 has also seen Sermanni release two physical EPs, ‘Black Currents’ (Jan 30^th) and ‘Eggshells’ (May 7^th).

Released on September 17^th (Europe) and October 8^th (US), Rachel Sermanni’s album, ‘Under Mountains’, has been eagerly awaited by her growing legion of support.

And although no doubt to be well received, Sermanni’s 12 track debut arguably falls short of sufficiently new material; with seven tracks having been previously released, six of which in 2012.

Rachel Sermanni headlines The Studio Room at The Glee Club on Sept 27^th. For details on this, and other gigs at the venue, visit http://www.glee.co.uk/birmingham-music

For more info on Rachel Sermanni, including her debut album ‘Under Mountains’, visit http://www.rachelsermanni.net/

Words by Helen Calcutt, Holly Pyke & Cesilia Oriana Trecaquista

(Ed’s… by Ed King)

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Ed’s… Intro

Returning for its second year, Espirito Brum is the UK arm of the Espirito Mundo project – Eduardo Louzada’s brainchild of Brazilian culture exchange.

Describing itself as ‘a cross cultural celebration’ that would ‘welcome a roster of highly talented Brazilian artists into our multicultural and vibrant fold’, Espirito Brum 2012 promoted an impressive line up. A healthy mix of contemporary and traditional; all soon arriving in Birmingham, to perform across a handful of venues. Plus each event cost about a fiver – which is politely accessible.

I’m a great supporter of ‘cross cultural celebrations’, but the back slapping rhetoric that can surround them sometimes turns me away. Do I really need to know if the ‘internationally renowned’ will be ‘staying in our houses and using our toilets’?

But Espirito Brum 2012 appeared worth all the… enthusiasm.  E cavalo dado não se olha os boca, artistically speaking.

So with some tasty treats being cooked up, the Birmingham Review sent along a sprinkle of reporters – to give such a far reaching endeavour the attention it deserves.

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Wanderson Lopez / Tuesday 11^th @ The Spotted Dog

By Helen Calcutt

Unfortunately, I saw nothing of this event. The start time, as listed on the press release and PDF, was 6pm. The actual start time ended up ‘between 8-9pm’, with further performances promised to run ‘long into the night’.

Lovely, if you have nowhere to be or nothing else to do; but not if you’re working the next day and you have a last train to catch.

After some helpful chats with Mr Tighe Jnr and Mendi Singh, plus a fruitless Q&A with the work experience entrusted to manage the event (I couldn’t find any festival staff), I regretfully called it a night. For the opening event of a festival that ‘supports an abundance of creative collaborations’, there didn’t seem to be much happening beyond the bar.

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For the Catraeiros / Thursday 13^th @ Ort Cafe

By Cesilia Oriana Trecaquista

This was the first time I’d visited Ort Cafe since its opening in November last year. A curious place; offering a hippie commune sense of homeliness, yet awash with a sea of Macbooks. I ordered a Green Tea and settled in on a comfortable sofa, watching some beautiful visuals provided by Brazilian artists collective, Expurgação.

After some initial confusion as to when (and in which order) the acts would take place, Expurgação presented a fascinating short film – telling a transfixed audience about Friction Arts’ community led project to help the centuries old tradition of ferry boatmen, known as the Catraeiros, in Vitoria.

Next was a delightful performance from Dea Trancoso, the Brazilian folk singer and composer who had arrived in Birmingham only hours before. Her beautiful a Capella was both fascinating and lyrically incomprehensible to me, spurning an incessant need to learn Portuguese as soon as I got home. Trancoso was then accompanied by the Rabeca – a traditional North Eastern Brazil instrument, not unlike the violin.

Finally, a performance by TiãoDuá. The contemporary three piece, led by Gustavito (a popular singer songwriter from Belo Horizonte), played energetically and acoustically for almost an hour; with a vigour and character that made you feel totally involved. Especially during their final song, a Beach Boys-esque number they’d written only a few days before.

A very successful evening, both entertaining and informative. My only gripe would be the lack of organisation – with Espirito Brum seemingly handing the reigns to the venue, leaving a few things lost in translation both on stage and off.

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Sonic Asylum / Friday 14^th @ The Edge

By Helen Calcutt

Starting a little later than scheduled, the first act at the Sonic Asylum was Déa Trancoso. A true musician and truly inspiring; her performance included song, dance and accompaniment from sitar and violin (custom made by a 70 year old illiterate/innumerate musician, who also composed one of the songs).

Reminiscent of Cardea; elemental, warm, and primitive – Déa Trancoso uses her voice as its own form of resistance, genuinely becoming her art through the physical realisation of the performance. Wonderful.

UK tabla player Mendi Singh then performed a breathtaking solo, receiving rapturous applause, before joining Brazilian guitarist Luiz Gabriel Lopes; a curious mix, but nonetheless beautifully executed.

Birmingham based Jolt followed with their ‘radical and peculiar musical endeavour’, which was both fun and not particularly special; before Manchester’s Honeyfeet closed the evening with their ‘ethio-trad, folk hop and barrelhouse pop’. Always a joy to watch.

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Mistura / Saturday 15th @ The Edge

By Holly Pyke

The Edge is a small venue; a warmly converted warehouse, with a stand alone bar in the corner of a large open space.  All decked out in an urban banksy-esque style, complete with old fashioned red telephone box.

But the evening started outside, which once the Geofest Fire Show had finished left the yard unlit and uneven to the point of dangerous.  A point I proved, to myself and those around me, by falling over a dip in the concrete and badly cutting my knee.

Next up were Oya Batucada (whilst Geofest impressively continued to eat fire and dance with devil sticks on a low roof), performing with their usual energy and enthusiasm; one that translated especially well to the half of the audience who hadn’t seen them before. In my research, there is only so much interest anyone can have for continuous drumming and whistle blowing.

Moving inside we saw Ireyam Squire; who, although having a good sound, encouraged the audience to proudly admit cannabis use. Not a message I feel needs glorification, and somewhat inappropriate from the band member who also works for a substance misuse service.

But it was TiãoDuá that really got the crowd going. Their relaxed yet upbeat, swing inspired style evoked much applause, dancing and general merriment – a well deserved response to a charismatic and thoroughly enjoyable set.

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Culture Freedom / Saturday 15th @ PST

By Holly Pyke

At this point we had to leave The Edge for PST; unfortunately missing Ska’d For Life, who despite being scheduled for 11pm had not appeared by 11:30pm. Our haste was unnecessary, with the PST Saturday night finale not actually starting until 12:30am Sunday morning.

So we stood around for over an hour in an empty venue; the only excitement being the deadly journey to the toilets, down a steep concrete stairway with no railings. PST’s general air of dilapidation made The Edge feel like a haven of cotton wool and bubble wrap.

The event stumbled on, with DJs playing generic, mainstream hip-hop play lists; showing neither individuality nor cultural representation. And although Dragões De Komodo were introduced to the crowd early on, being the major Brazilian act on the bill, no one else was – a courtesy perhaps moot, as the majority in attendance appeared to be linked to the festival.

After chatting to several of the artists in the downstairs bar, a frustrating drinking annex to the main room, I still couldn’t ascertain a running order. The lack of planning or management (and communication between venues) was making the event too disjointed to enjoy.

So at 2:45am I gave in to my painful knee, boredom, and went home; consoling myself that I could still catch Dragões De Komodo at The Bulls Head the following Monday.

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Ed’s… Conclusion

It seems self defeating, to bring artists over 5,000 miles to play at events that start so late the audience has gone home. But with a well thought out line up, and remarkably kind door charges, these chances should be embraced. Endorsed. Even endured.

And we live in an enriched Internet age, where cultures can be explored by Google not Galleon. Dragões De Komodo, Wanderson Lopez, TiãoDuá, Rubiane Maia, Déa Trancoso – these are all names I now know thanks to Espirito Brum 2012. And, being a different 5,000 miles away during the festival (ironically in another ex Portuguese colony), I can still listen to and learn about.

So Viva Brasilia. Viva Espirito Brum. Viva Birmingham’s blessed melting pot, with inhabitants (onstage and off) much richer for it.

And as organisers look to an encouraging third year, I keep well meaning fingers crossed that Espirito Brum’s incredible positives live long, whilst its negatives are professionally addressed.

Click on any of the featured artists’ names for further info. For more about Espirito Brum, visit http://espiritobrum.org/

Words & pictures by Kevin Nobin (http://www.kevin-nobin.com)

I arrived at Kendal Calling having been three times before, yet never staying onsite. And on seeing the preceding weather in Cumbria, this year was going to be no different. Festival campsites tend to scrimp on their concierge service – especially in the mud.

Set against the Lake District backdrop of Lowther Deer Park, Kendal Calling is one of the smaller festivals on the circuit.

Perfectly juxtaposing the intimacy of a ‘gig feel’ with a ‘stadium vibe’, KC hosts several  smaller stages offering smaller acoustic sets, alongside a suitable platform for the main acts – with some of this year’s headliners performing for KC’s 7000+ crowd in the death rattle of their career. A cynical observation? Maybe. But when was the last time you heard the words ‘James plays to sell out audience’?

But KC’s solid mix bill means there really is something for everyone; whether it be Lucy Rose’s acoustic guitar filling out the small but perfectly formed Chai Wallah tent, or Dizzee Rascal following Shed Seven (interesting scheduling there) for the Saturday night main act.

The 2012 line up seemed fairly family orientated; 90’s bands like Shed Seven and James blended in with more contemporary sounds of Little Comets and Various Cruelties. And apparently KC is THE festival for both parents of the Nirvana generation, and their subconsciously influenced kids who downloaded ‘Nevermind’ (Ed – had my first copy on a TDK 90).

So what about the crowd-pullers? Maximo Park headlining on the opening night had a solid following within the crowd, as a spattering of Clockwork Orange clad fans mimicked animated lead singer Paul Smith belting out the hits ‘Apply Some Pressure’ and ‘Velocity’, alongside tracks from their latest album – ‘The National Health’.

Dizzee Rascal, headlining the Saturday night, was riding the momentous crest of a wave from performing at the Olympics Opening ceremony; as the adrenaline continued to course through his performance, the crowd were treated to a display of pyrotechnics, lasers and fireworks.

However, the Main Stage closing night finale belonged to James; big(ish) in the 90’s, and eagerly anticipated by the mid 30 males in old tour t-shirts, who one can only hope were in better shape when they bought them (Ed – the t-shirts or the blokes?).

Watching James, however, felt like watching a band at the start of their demise. Plus they insisted on all rights to any professional photography, meaning we couldn’t cover their set freely. I refused to sign, and was so angry I paused the torrent download of their 1990 album, ‘Gold Mother’. 

(Ed – this a shitty industry caveat some bands carry, forcing all photography to be signed over to their PRs, management or label. Birmingham Review believes in a free press and will not sign over gig images. If you’re interested – Google ‘Stone 

Roses Photography Boycott’) 

Overall, Kendal Calling is good at what it does; introducing both punters and bands to the festival scene by not being too hardcore and recognising it’s place. It’s a stepping stone and, dare I say it, elephant’s graveyard; allowing young and old a happy introduction to the festival circuit.

This balance could be why Kendal Calling has won awards, sold out each year, and attracted a cross section of artists to play. All they need to do now is guarantee the weather; or open an onsite hotel.

Kendal Calling is held at the end of July every year. For more on the festival, visit http://www.kendalcalling.co.uk/

The melting pot that is our fair city bubbles over once again in Espirito Brum (the spirit of Birmingham), from Sept 11^th to 16^th.

Seeping into venues across the city, Espirito Brum is a five day ‘cross cultural celebration bringing together artists from Brazil, Birmingham and the wider UK, in a festival that forms part of an ongoing global exchange’. Or an exercise in public sector funding and sponsorship, depending on what release you’re reading.

High up on the line up are São Paulo six piece, Dragoes De Komodo (pictured). A ‘powerful’ emcee collective ‘brought together from crews across the world’s 9^th largest megacity’, and pretty much what Cyprus Hill wanted to be at some point. Well worth a look if you like your hip hop; playing at PST in Digbeth, on Sat 15^th – £5.

Next on the bill is DJ Switch, the Birmingham based 3x DMC champion (not the M.I.A. producer), who will be playing at some venue at some point – although the organisers can’t say where or when.

Then, back at PST, Discotecagem Radiofonica will be ‘presenting contemporary Brazilian music alongside artistic interventions’ on Friday 4^th. A sound and light show; but one well worth a Google and £5 to see live.

Other visiting Brazilian artists include: lock-up-your-daughters-singer/songwriter Luiz Gabriel Lopes, culturally old and new acoustic three piece Tiãoduá, artist collective Expurgação, and slightly flower obsessed performance artist Rubiane Maia.

Loads more to explore and most of it free, plus a healthy Birmingham contingent. See September’s Ed’s… Highlights for a quick local name drop.

For full details on Espirito Brum, including participating venues, visit http://espiritobrum.org