Author: birminghamreview

Just shy of four years since their last studio album, Keane are back on tour; coming to the O2 Academy on May 25^th.

Promoting their latest release – ‘Strangeland’, a 12 track album and “3D return” to the piano led rock of their earlier material, Keane play 10 dates across the UK; before embarking on a 2 ½ month tour of North America and Europe.

Selling over 10million albums worldwide; half of which were UK sales of their debut album –‘Hopes & Fears’, Keane have not had the easiest road to success.

Marred by; absconding founders, absentee front men, substance abuse and very public spats with wannabe grumble fuckers Kasabian; whose lead singer, Tom Meighan, infamously said that Keane front man, Tim Chaplin, “lives on a diet of pies and Quavers” (Ed – Meighan also called Justin Timberlake a “midget with whiskers”), Keane have continued to tour; and despite never recreating the sales success of their debut album, maintain a strong global fan base.

Also followed by constant comparisons to Coldplay, whilst the the two Brit bands are identifiably different, they do share a strange symbiosis. Both are known for piano led scores, both were ‘discovered’ by Simon Williams from Fierce Panda – the London Indie label,  and founding Keane member Tim Rice Oxley was once invited to join Coldplay as a pianist; but declined to concentrate on Keane. Both bands have also had significant success in America, a nut not often crack by UK Indie rock.

Playing their 3^rd UK gig at the O2 Academy in Birmingham, Keane will no doubt be performing new material from ‘Strangeland’.

And whilst critics have questioned what, if anything, new Keane’s 4^th album offers; Chris Roberts claiming ‘it doesn’t get much more play-safe and back-to-basics than this’ on the BBC Review, UK audiences seem to be eagerly purchasing a chance to find out.

Keane play the O2 Academy, Birmingham, on May 25^th. Cesilia Oriana Trecaquista will be there for the Birmingham Review.

For details on this, and other gigs at the venue, visit http://www.o2academybirmingham.co.uk

Jimmy Cliff, born James Chambers, is one of the most internationally recognised faces of Reggae.

Growing up in St James, Jamaica – Jimmy Cliff moved to Kingston in 1962; to attend the city’s technical college and attempt a career in music.

Whilst still studying, Cliff touted his songs to the various producers and labels in the island’s grass roots music industry, with no one paying the young artist much heed.

Then, after a sporadic audition in Beverly’s Ice Cream Parlour & Record Shop, local entrepreneur, Leslie Kong, was persuaded to expand his existing music business into a record label; signing Jimmy Cliff as its first artist. The label ‘Beverly’s’ was born, releasing Jimmy Cliff‘s first fleet of singles; including ‘King of Kings’, ‘Miss Jamaica’ and ‘Hurricane Hattie’ – Cliff’s first chart success.

‘Beverly’s’ also recorded other Jamaican artists including; Desmond Dekker, Toots & the Maytals and Peter Tosh. It was also the first label to record and release music by Bob Marley.

After representing Jamaica in the 1964 World’s Fair, Jimmy Cliff signed to Island Records; Chris Blackwell’s independent UK label specialising in Reggae and Ska.

Moving to the UK, Jimmy Cliff worked on his debut album – ‘Hard Road to Travel’, winning further international acclaim. But the release of his eponymous second album in 1969, introduced tracks such as ‘Many Rivers To Cross’, ‘Wonderful World, Beautiful People’ and ‘Vietnam’ to a growing global Reggae fan base.

Then in 1972, Jimmy Cliff starred as Ivan Martin in ‘The Harder They Come’;  Perry Henzell’s film about a young man trying to make it in the cut throat Jamaican record industry before turning to crime.

‘The Harder They Come’, alongside its soundtrack featuring many other Jamaican artists, received international acclaim; further promulgating Jamaica’s Reggae and Ska scenes around the world.

Jimmy Cliff was awarded Jamaica’s Order of Merit in 2003; the third highest honour the island can give. He remains the only musician in history to receive the award. Cliff was also inducted into the Rock & Roll Hall of Fame in 2010.

In a career spanning over 50 years, Jimmy Cliff has released 29 albums; with his latest – ‘Sacred Fire’, out in late 2011.

Jimmy Cliff plays the Birmingham Ballroom on May 20^th. For further details on this, and other gigs at the venue, visit http://www.birmingham-ballroom.com

For more information of Jimmy Cliff, visit http://www.jimmycliff.com

Words & pics by Cesilia Oriana Trecaquista

It’s Bank Holiday Sunday and I’m venturing out to watch Ladyhawke at The Glee Club; one of my most favoured bands and Birmingham gig venues.

Having just found £20 in my pocket, that I didn’t know I had, I splash out on a taxi – mercifully reducing the after effects of my painful-yet-beautiful pair of dancing shoes. In good spirits I head off into town, what could go wrong?

Arriving at The Glee Club I find a packed out audience, but a bar that could have won the title for World’s Slowest Service. The anticipation in the air was evident, everyone waiting for Phillipa Brown and her counterparts to dazzle us with catchy synth driven melodies – some I personally consider to be modern day classics.

However, as soon as the first few indecipherable words were sung it became evident there were serious sound (or lack thereof) issues. For a group whose biggest selling point are well written/sung lyrics, I was confused as to how this was this was happening. And The Glee usually does better than this.

I wander around the room, in a futile effort to try and improve said sonic quality (or again, lack thereof). After doing this for sometime, and adding to the general annoyance by stepping on several people’s toes, I gave up; deciding to make the most of it and try to get into the performance.

But the sound wasn’t the only problem; ‘Dusk ‘til Dawn’ and ‘Black, White & Blue’ were lacklustre at best – the former their third ever single, the latter their last.

Well rehearsed, polished and played with great likeness to the recorded version, but with little to no interaction with the audience between songs. I began to feel, in the pitch black depths of the static crowd, like an uninvited guest to a private band rehearsal.

There was some enthusiasm as ‘Better Than Sunday’ was played, briefly reminding me why Ladyhawke’s been so overplayed in my music collection, but I grew increasingly impatient watching guitarists essentially mime into their mics; with Brown’s lead vocals lost in a sea of bass and synth.

(Some investigative eavesdropping discovered Ladyhawke’s sound engineer – the band had insisted on using their own, didn’t sound check the vocals. Apparently Brown hadn’t turned up after the band’s “late one” the previous night)

‘Delirium’, the signature track from their first album, was the last song to be played. There was no encore. And sadly, if not understandably, there was no audience demand for one.

I cut my losses and left feeling a little cheated. The quality (…lack thereof) of sound was so dire, I may as well of being listening to my next door neighbour playing ‘Paris is Burning’ through the walls.

Although at home the sound would’ve been louder, clearer and I wouldn’t have had to change out of my PJ’s.

Plus I’d still be £20 richer; and my painful-yet-beautiful dancing shoes could have been saved for a more deserving occasion.

For more on Ladyhawke, visit http://www.ladyhawkemusic.com/

For further gigs at The Glee Club, visit http://www.glee.co.uk/birmingham-music

Words & pictures by Ed King

I’ve referred to Delilah as ‘my most pleasant surprise’, having only recently discovered the 21 year old artist. I now know; she’s been signed for three years, supported Chase & Status on tour, released two EPs and has an album out this year – but it’s safe to say I ‘discovered’ her late. Thankfully for Delilah’s on-the-road slush fund, many had got there before me.

Digbeth was wet, Wednesday and battleship grey. A suitably young, neon and better informed queue was forming outside the HMV Institute; a venue with significant history for me, as I thumbed through Delilah’s press release.

After a brief shock from reading ‘born in 1990’, followed by some unsubtle eavesdropping (I really should work on that), my perturbing first note was a line from Peep Show. As the bouncer asked for my ticket I almost replied, “do I look like the type of man who goes to ‘wicked parties’?”

Nostalgically ordering a Red Stripe, I sit on the stairs where the dealers used to stand (to me this room is forever the Dance Factory) and scan the crowd – a strong midweek mix of old, young, dressed down and dressed up.

An equally healthy array of instruments sit on stage; guitars, a full drum kit, at least a handful of synths – and as the support act, Josh Kumra, enters donning an acoustic guitar, the crowd give a comforting cheer. I like bands with instruments; a comment not as fatuous today as it sounds.

After 30mins of comfortable singer/songwriting, alongside a 13year old vocalist who sounds like Billie Holiday (Mahalia – remember my name, fame), a clear lighting shift indicates Show Time.

The sea of push up bras, high heels, students and angry faced boyfriends go silent, then loud, as Delilah comes on stage with waves, big smiles and full white dress splendor. A proper arena entrance.

Straight into ‘So Irate’, Delilah is immediate, confident and stronger than her accompaniment. Her vocals take a firm hold and I begin to imagine musicians who simply aren’t there. Perhaps my previously noted ‘array’ wasn’t so ‘healthy’.

Next is ‘Only You’, the first track from her eagerly awaited/long overdue/frustratingly unconfirmed debut album; and whilst continuing in the deep groove you can identify as hers, it would’ve been nice to at least hum along.

More new material allows Delilah more room to dominate the stage, with the young woman’s mature vocals drowning out a flat packed backing; before a quick introduction and forced hiatus of her session musicians (the keyboard player “you might recognise from ‘Deal Or No Deal’”).

Then it’s into the very back catalogue with ‘Cinnababy’ – one of the first songs Delilah ever wrote and a chance to see her alone with a keyboard, before something deeply personal in blue spotlight; a track written about the death of her step father. In my mind not the best of her portfolio, but a delivery that is honest and exceptional.

Back with the backing, it’s ‘Never Be Another’– a dangerously seductive track that suits Delilah’s deep siren song perfectly, but one (after having listened to it all week) I know can sound fuller.

Then a neat cover of John Jacques Smoothie’s ‘Two People’, before two more tracks from her forthcoming album; the latter – ‘Shades of Grey’, clearly “one of my (her) favourites”.

The main set closes on ‘Love You So’; a strong winding track I’ve sung to myself at least once a day since I first heard it (and played it more), but I’m once again pleading for a horn section.

After an encore of the sublime ‘Breathe’; Delilah’s “new single” despite having already featured on her ‘Love You So’ EP, I leave midway through ‘Go’; an over produced Chaka Khan plagiarism I would rather forget.

Stunning on stage; poised and present, Delilah is a noteworthy artist. One with something to offer on a saturated circuit. Already an excellent performer and commanding singer, it’s exciting to imagine what she’ll produce from the “150 songs” she holds in reserve.

But I felt the lack of live sound failed what could have been proffered. Something’s are simply too rich to glaze over. But there’s time. After all, this is an artist’s debut headline tour and album; and one with a strong following, obvious talent and identifiable sound. The holy trinity of sustainable success.

And having seen her in interviews, Delilah presents as a woman with smarts and lot more to offer. Time will tell (no pun intended). Now all she needs is enough cash for a band, or at least an upright piano.

For more on Delilah, visit http://www.delilahofficial.co.uk

Follow Ed King at www.twitter.com/edking2210