Author: birminghamreview

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Svirgo19 Has A Point To Prove With Anti-Love Track ‘On & Off’ – Released 16 September

Writer Sadie Barnett / Photographer 2wothousand3hree


 
Hailing from Sheffield, Samuel Virgo – known by his artist moniker Svirgo19 – also has plenty of links with Birmingham. His family originally settled in Birmingham when moving from Jamaica to the UK, and Virgo himself moved back to the city to study in 2019.

In more recent years, Virgo performed at Birmingham’s 2021 MADE Festival as a newcomer on the LEVELS stage. And Svirgo19’s new track, ‘On & Off’, came out just last week on 16 September.

Svirgo19’s move around the country is evident in his music, which draws from various UK influences, with traces of trap, lo-fi, hip-hop, and grime evident within his UK rap style. When describing his influences, Virgo talks about a variety of fairly different artists saying:

“My music style is for fans of Tyler the Creator, Kota the Friend, Knucks, Sainté, and Night Lovell.”


 
We see some of these influences in his earlier tracks, ‘The City of Steel’ and ‘Something in the Water’ being reminiscent of the mellow, jazz-flecked production of American rappers such as Kota the Friend. Whilst his measured vocal style – dark, slow and verging at times on spoken word – is reminiscent of UK rappers such as Knucks or Kojey Radical.

However, his new track ‘On & Off’ seems to mark a tonal shift for Svirgo19. Gone is the mellow production of earlier tracks, replaced by a UK trap style beat with rolling 808s throughout and a simple, echoing melody, reminiscent of church bells ringing through the night.

In short, this track is spooky, with a darker energy than I’ve come to expect from Virgo.

It is not an unwelcome change, but it is a surprising one. And one that I wonder if he has fully committed to, as the unchanging nature of the production here wears slightly thin by the end of the track.


 
Listening to his vocals, I can tell why Virgo cites Tyler the Creator as an influence. Bleakly distorted vocals and pointed insults coming together to tell what I can only describe as an ‘anti-love story’, with lyrics like “Get off my dick, respectfully” and “Don’t question my actions, you’re just a distraction”.

This single is from his upcoming album The Path to Paradise Begins in Hell, a title that suggests this shift to a darker style from Virgo will be an ongoing one. Where previous tracks showcase a creative contrast between upbeat production and more serious alternative rap vocals, ‘On & Off’ bridges this gap and completes the jump to a darker style of UK rap.

While I feel it is a style that Virgo has yet to fully refine, I am excited to see his experimentation and look forward to listening to his debut album.

‘On & Off’ – Svirgo19

For more from Svirgo19 visit www.linktr.ee/svirgo19

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Hannah Al-Shemmeri & Rowena J Davis At The John Bowen Gallery In Balsall Heath

Writer Jasmine Khan / Photographer James Thompson


 
It’s still warm at 6pm in what I will persist is late summer, as we arrive at The John Bowen Gallery in Balsall Heath. Who is John Bowen? An 18th century blacksmith son, come carpenter, who developed many of the buildings in Balsall Heath and across Birmingham city centre, some of which still stand today. I’m told the gallery I’m currently in used to be his woodshed.

Artists (and directors) of The John Bowen Gallery, Hannah Al-Shemmeri and Rowena J Davis, sit across from me on paint splattered stools around a sizable wooden table. Hannah makes up some Rooibos tea and following a gentle debate about whether or not we’ll head to ‘The Old Mo’(seley Arms) for a curry after we’ve finished the interview, we dive into ‘the birth of the John Bowen Gallery’.

“I got this space four years ago,” says Rowena, “and I slept in it for the first year out of pure joy – I just had to shower at the gym.”

If it wasn’t obvious, Rowena adds: “It’s always been a dream of mine to have a studio.”


 
A studio vibe is still very much present in The John Bowen Gallery. Brushes and cups stand half washed in the sink, art-in-process is propped against more art, propped against a plush armchair. There’s music equipment in one corner that was put to good use a couple of weeks ago at the opening.

It’s nice to see a space that’s useful and multipurpose, the natural creative energy adds to the gallery’s charm. But how did this art (and sometimes music) studio become a gallery, filled wall to wall with vibrant, quirky and very much finished pieces.

Hannah says, “I think we started painting [together] round mine in lockdown. It was the first time I’d properly gotten into painting.”

Hannah was predominantly a comic and illustration artist prior to the pandemic, she’s also a member of Black Country rock band God Damn. “It was a more neat style,” she states, commenting matter of factly about her works. Neat is not a word that comes to mind when you see Hannah’s art now.


 
Hannah pauses before she explains: “My art is a way for me to express my raw emotions, to get rid of all boundaries and any embarrassment. It’s very free flowing.

“I used to find journaling for mental health cringy, and I found words really boring. So, this is a visual thing, a way I can visualise how I feel.

“I have a lot of intrusive thoughts, and sometimes they can be jarring and they can make me feel awkward. By making mine so apparent and letting people read them, I hope others won’t feel as embarrassed about their own intrusive thoughts.”

Hannah’s works are typically very abstract: a combination of chaotic colours, sketches of blunt emotions sometimes accompanied with statements, some so grotesque you have to peep at them; round, pale, doll-like faces with heavy blush and eyeshadow against psychedelic firework backgrounds; and outlines of anthropomorphised demons and angels trekking across alien backgrounds.


 
Rowena’s art is more focused on the human form and informed by classical approaches. I know she does beautiful small, soft sketches of naked women from seeing her at Kaleidoscope and Ur Aunty’s Art Sale, but the art on display in the gallery is very, very bold.

One features a crucifix above a burning Satan. Another almost neon greens, purples, and yellows that bounce your eye about the canvas, and then focus them on the feminine forms posed like renaissance statues, bringing the classical into a contemporary setting.

“I’m normally in a funny mood before I get into painting,” muses Rowena with a softly furrowed brow. Choosing her words carefully, “I usually need to figure something out, but it can take me years of looking at my art to understand what that something was.

“Sometimes I never do, but it’s always expressing something, and often I don’t know exactly what I’m painting until it’s nearly finished.”


 
Rowena finishes her thought: “Figures for me always tell more of an in-depth story.”

Although Hannah and Rowena’s styles are distinct, there’s a collaboration in progress on the wall to my left which could speak to the similarities they have in process. Moreover, how working in such close proximity has impacts their art.

“We really inspire each other,” smiles Rowena.

“And working in the same space gives you new techniques,” adds Hannah.

As if it’s planned, together they say: “we both love colour.”

The John Bowen Gallery is open every Saturday from 12-5pm. It’s free and you can usually find Hannah and Rowena hosting guests and, if you’re lucky, painting.


 
Hannah and Rowena are keen to encourage other artists, especially women and other marginalised genders in the creative community, to use the space. I confirm that they’re not limiting it just to artists.

“It could be artists,” explains Rowena, “but it could also be a musician or a band who want to perform, or even a spoken-word/poetry event.

On 24 September, the gallery will participate in Birmingham Open Studios where people from the city and beyond will have the chance to walk around Brum, taking in its artistic prowess.

The John Bowen Gallery also plans to exhibit a new artist in November, in collaboration with Nottingham based DJ collective Sunfried Tribe.


 
For more from The John Bowen Gallery in Balsall Heath, including prices and private bookings, visit www.johnbowengallery.com or message @johnbowengallery on Instagram

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Dave Sear Releases Jazz Album – I Always Thought My Thoughts Were Me – 9 September 2022

Writer Henry Hanssen / Photographer Chris Neophytou


 
If you’ve been around the Birmingham jazz scene long enough, chances are you will have encountered a stylishly-bearded, beanie-wearing trombone player by the name of Dave Sear. Over the last few years, Sear has been heavily involved in some exciting new projects in Birmingham, playing with the likes of Xhosa Cola and Emma Rawvicz.

Upon hearing Sear was set to release a solo record featuring a lineup of equally rated musicians, the vibe in the air was one of high anticipation.

I Always Thought My Thoughts Were Me is an album that speaks to the extremes of human emotion.


 
The album’s title track has a steady forward momentum which naturally works itself into the following track, ‘Eyes That Speak a Thousand Words’, a ballad that balances itself between fragility and sensitive beauty. This track establishes itself as a standout on the album, happily planting itself in the middle of what is otherwise a swinging tour de force.

Sear delivers a ripper of a solo on ‘Reservoir Retreat’ which goes down as one of my highlights of the eight-track record.

The lead single, ‘Visual Balance’, springs into action like a bolt of lightning. Pianist Elliot Sansom provides a memorable solo halfway through, bringing remarkable interaction between drummer Jim Bashford and bass player James Owston.

Sear shines in his ability to write some of the simplest, yet catchiest and well-formed melodies I’ve heard in a long time. In doing so, he provides a perfect jumping off point for a series of burning solos for himself and band members.


 
Trumpet player Percy Pursglove signs off each track with his unique phrasing and instantly recognisable sound that brought out several “Yeahs!” when listening.

Other standout tracks include: ‘Inner Urge’, one of two covers on the album, and ‘Blues for Rockydella Rascal’.

I have no doubt that I Always Thought My Thoughts Were Me is an album that the Birmingham jazz scene will receive with high praise.

While the listening experience is genuinely exciting, seeing Sear play with these musicians live brings the music to a higher place.

Watch the music video for the first single ‘Visual Balance’ here:

Details regarding Sear’s upcoming gigs and projects can be found on his website: www.davesear.com

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The Howlers At The Sunflower Lounge With Support From The Masses + Flake 07/09/22

Writer Laura Mills / Photographer Ewan Williamson


 
We’re back at The Sunflower Lounge again and as per it’s busy outside with the air reeking of cigarettes. Straight to the bar for a cheeky tipple because even though it’s mid week, we’re at The Sunflower Lounge right?

It does feel like a quieter night compared to the last time I was here but sometimes those gigs can be the best, so I take my leave down the sticky stairs and into a dark room with a spotlight highlighting all of tonight’s instruments waiting patiently on the stage.

First up are a band from Brum called The Masses, can’t say I’m mega familiar with the name but it’s always great to discover someone new, and God I’m blown away.

In front of my eyes are these three lads; the singer is booming his voice down the mic and it’s arguably one of the best voices I’ve heard in some time from someone in a rock band. The bassist is tackling this gritty base head-on and the riffs he’s creating with those magic fingers send a shiver down my spine… and the drummer, I mean wow.

The drummer is absolutely smashing the shit out of those drums and it’s immense to watch his facial expressions because he’s using every bit of energy he has.

All I’m thinking while watching The Masses is please don’t go and I am almost hypnotised by that voice. It’s deep, it’s husky, there’s this clear element of soul delivered with complete power.

The sound this band is creating is so hard you can feel the room vibrating and shaking.

“Next up is a song called ‘How Long’.”

And within a matter of seconds, I’m in love.

It’s a sensational mix of layering and sections. At some parts the tempo is completely slow and steady, and then it increases. The atmosphere in the crowd is immense, everyone picking up the lyrics pretty quickly and singing along.

I can hear people talking about the vocals and I’m so glad others have highlighted how good they are too.

A quick 15 minute break until band number two grace the stage, so time for another cheeky tipple and a quick trip to the smokers. We’re back down the sticky stairs and into the dark room again for set two.

I can’t really explain it but the mood around me seems to have dropped so much. It’s like everyone went for a top up from the bar and took the atmosphere with them.


 
Hey ho, here comes Flake to rock The Sunflower Lounge on this rainy Tuesday night.

It’s a slightly different vibe from the previous band, this feels more indie and less rock, more groove than grit so to speak. As I look around the crowd really has dwindled in numbers but who cares when the band is creating this amazing sound?

These are brummie lads, yet the sound their instruments are making is almost like the sound from the Madchester era with bands like The Stone Roses.

The facial expressions from this band are nowhere near as prominent as the first, but this singer has one hell of a voice too. It’s raw but it has this endearing charm too.


 
I can see clearly how much fun the band are having up there and this becomes even clearer as the band launches into an original called ‘Kid’. It starts with these focalised vocals with bare instrumental as we fade out of the vocal, then fade into an electric jam together.

Just before the end of this set, I see the singer from The Howlers standing by the stairs, so I check in with him to see how he’s feeling about tonight’s show.

“Anything can happen on a Tuesday.” and quite right he is too.

As Flake’s set finishes, I head off for another quick tipple and search both bands on Spotify to get them straight in a playlist.

Round three, back in the dark room and it’s time for our headliners all the way from London Town – The Howlers.


 
As the lads step on the stage, I look around the room and my God the crowd really has dwindled even more. The atmosphere feels particularly sombre, not what you’d expect at this point in the night, and just to add to that there’s about five different photographers standing at the front of the stage blocking the majority of the crowd’s view.

Up first is ‘The Boy I Was Before’ – there’s so much energy, it’s pure rock but with so much fun early 00’s energy.

They introduced it as a golden oldie despite it only being released last year, but no bother ‘cos I love this one anyway, and the band starts to play ‘I Don’t Love You All The Time’.

It’s quite groovy and slow for a matter of seconds, then the tempo completely changes as we hear this massive electric riff screaming through. Then, the pace changes again and we revert back to the groovy, drifting sound.

The lyrics are fun and playful delivered with unique, classic vocals.

The genre is quite hard to pin down with this band because they have some songs where it’s just a raw rock and then the sound appears as more indie, soulful with a clear melody shining through.

As a slightly slower track is played, I can’t help thinking that’s really not what this crowd needed. The vibe is completely different to any other set, it’s a bit bleak.

The shift in mood has had an effect on our singer, who’s facial expressions read like he’s had enough of playing this half empty room, and it is a shame because the sound is still so good to hear.

The band play ‘Nothing To Lose’ and even though we’ve still got far too many photographers blocking the stage, I’ve stopped caring because the sound is electric.


 
The atmosphere picks up, heads are moshing, mouths are singing, and I think maybe starting with this one could have given us all the boost the crowd needed the whole way through.

Each riff more electric than the other, each bang of the drum more powerful, and even more strength belting out the vocals. I’m completely in awe of this band right now.

We finish on a song that gives the biggest mid-western, Tarantino vibes ever, and it comes in the form of ‘La Dolce Vita’ which is arguably the best played song of the night.

The band leaves the stage and I can’t help sensing this air of disappointment. I’m not sure why, maybe the turn out. But hey, it is a Tuesday.

A night of mixed emotions but The Sunflower Lounge knows I’ll be back.


 
For more on The Masses visit The Masses Spotify
For more on Flake visit www.flakebrum.com

For more on The Howlers visit www.thehowlers.co.uk

For more gigs and events at The Sunflower Lounge visit www.thesunflowerlounge.com
For more gigs and events promoted by Indie Midlands visit www.indiemidlands.co.uk