Author: birminghamreview

Writer Mark Roberts / Photographer Maddie Cottam-Allan

As I walk into The Night Owl ready to meet Danny C from Swampmeat Family Band at a fundraising gig, the vibe can only be described as familiar. I’m early and yet people are already here, chatting away. Does everyone know each other or is it just brummies? I’m undecided.

I greet Dan and his thick brummie accent hits me first, it’s warm and inviting, somehow matching up with Dan’s bristly handlebar moustache and slicked back hair. A pedigree of Midlands and American rock fusing together.

We take a seat and begin by talking about the difficulties of the pandemic. Which could be old hat by now, but the impacts are far reaching.

“We made Muck in 2019 and it turned out really well and we were going to South By [South West / SXSW]. Then obviously the world went to sh*t.”

For those of you who don’t know, SXSW is a major Austin, Texas festival. As I cringe at the idea of missing out on such a prestigious gig, Dan was quick to reassure me: “We released Muck on 5 June 5 2020, and it did really well considering, so we rode it out.”

I ask Dan what the future holds for Swampmeat and he says: “We’re planning on making a new record in the summer with Mark Gittins, and we’re doing a bunch of shows to raise a bit of money for recording.

“We’ve got a label called PNK SLM, they’re based in Sweden, who are really excited about it.”

Dan continues: “Half of the album is going to be tracked how we normally do, which is us playing live and then doing the vocals and overdubs, but half the album is going to be layered up from acoustics and strings. Townes Van Zandt is a big influence on some of those songs.”

Our conversation goes deeper and we inevitably land on Swampeat’s connection with Third Man Records.

“I played Third Man in Nashville a couple of times with my old band, Low-Cut Connie. I know Ben Swank who runs Third Man for Jack [White] really well. In September of last year, we played the Third Man afterparty at The Social in London and it was just great, man.”

“Jason Spaceman was there from Spiritualized and Jack came down to see us after he was done at the shop. What Swampmeat do is fairly DIY, so to have that legitimacy and support from someone as high-profile as Jack… Well, I don’t know if you can get more high-profile than Jack White.”

Dan sips from what I assume must be a whisky and coke and we focus our talk locally, on Digbeth and the way the scene is developing.

“Because I lived in the states and came back, we’ve never really been part of a ‘scene’. Digbeth has turned a bit chaotic but I love Dead Wax [Digbeth] and I love The Night Owl.”

Dan finishes by saying, “My ears are always open to a good band, whether it’s rock n’ roll, whether it’s pop, whether it’s hip hop. I love God Damn, I love Table Scraps, I love Black Mekon. There are some good rock n’ roll bands out there, I just wish someone would say, ‘listen to this band they’re f*cking great.”

With that I bid Dan a farewell, with a spring in my step. I stay for the gig after and it Is classic rock and roll with the odd twist.

So, if that’s your thing, get down to The Kingsway in Kings Heath on Good Friday (15 April) and get your twist on. This has been a long pandemic, maybe a family band is just what we all need.

Swampmeat Family Band are composed of Danny C, T-Bird, Richard March, Tommy Hughes and Joni Coyne. To hear more news about Swampmeat Family Band you can catch them on Instagram www.instagram.com/swampmeatfamilyband

For more on The KIngsway visit www.facebook.com/atthekingsway

For more on The Night Owl (Birmingham) visit www.birmingham.thenightowl.club

Writer Mirab Kay / Photographer Alice Needham

The Ruin, on Floodgate Street, is a cosy little inn recently provided a home to some notable jazz talent, and will continue to do so on the second Sunday of each month.

On 10 April, only the second show since the series began, we observe Greek-born pianist and composer, Maria Grapsa, take the stage alongside resident double bassist and drummer, Thomas Marsh and Reece Downton.

First, we are treated to one of Grapsa’s delightful compositions ‘Nothing is Static’, which is due to be released in the coming months. The title is apt, as the intensity of the piece surges and dies out seeming to take joy in toying with our musical expectations. Normally we find comfort in a return to the tonic of the key, but not in this strain of improvised jazz.

Grapsa cunningly violates our trust by slowly building our hopes, readying us for a resolution. Then, shocking us with a divergent phrase or an extended, dissonant chord. Soon, we learn to expect the unexpected.

Her other compositions, ‘Seattle’ and ‘Almost Ready’, follow the theme of improvisation and continue to rise in excitement and intensity as the ensemble relaxes into the surroundings.

Downton, Marsh, and Grapsa provide an engaging show, but Grapsa steals it with her frantic piano playing – her fingers releasing the keys as if they are hot iron. Her expressions range from deep concentration, to satisfaction, to a reassuring glance at Downton and Marsh. They captivate the audience and I find myself unable to look away.

‘Seattle’ piques my interest in Grapsa’s writing style, the repeated motifs feel warm and familiar among the rapid, descending scales sprinkled with accidentals.

Sandwiched between Grapsa’s set is a jam session and the floor opens up to allow musicians in the audience to create improvised mini-masterpieces with the composer.

The idea is genius, a showcase of local jazz musicians and motivation to keep them returning. Variations of the original trio plus members of the audience successively take their places behind the drums and double bass, with the occasional addition of an electric guitar.

Needless to say, I am shocked by the talent and grateful that I get to witness it. Will I be returning next month? Absolutely.

For more on Maria Grapsa visit www.mariagrapsa.com

For more from The Ruin visit www.theruindigbeth.com

Writer Jasmine Khan / Photographers Maddie Cottam-Allan & Emily Doyle

This Saturday just gone, Hare and Hounds hosted Birmingham Coop Promoters (BCOOPP) first event: The Fully Automated Luxury Space Communist Party. Full disclosure, this is Birmingham Review’s first sponsored event, so it’s close to all our hearts.

It’s been a long time since I’ve seen a complete set design for a gig. The promise of an intergalactic experience has definitely been fulfilled when it comes to the aesthetics, put together by Jess Whitty. There are silver streamer walls, and sparkly textured material from the stage to the dance floor, with two uncanny child mannequins dressed as space people inviting guests to take pictures lounging in a purple lobby chair decorated with titanium fruit.

Doors at 6pm is a particularly optimistic start-time for a promoter’s first event. So is a five band line-up and a DJ until 3am. However, I’m pleasantly surprised when PleasePrettylea kicks the night off at seven. The venue is not even half-full, yet there’s a welcoming energetic atmosphere bubbling amongst those already in attendance.

PleasePrettylea’s voice is dainty, melodic and she’s clearly comfortable on stage. Her accompaniment, DJ, strums his guitar harmonically alongside PleasePrettylea’s vocals as her ballad talks us through the well-known challenges of being under, rather than over, an ex.

PleasePrettylea’s previously soft vocals then rise and soar. Humbly, but with full emotive force, she displays an impressive range. DJ always keeps perfect pace, following the waves of feeling as they wash over the audience. PleasePrettylea’s runs are angelic but subtly devilish in their tone, and encouraging claps emanate from the crowd as she nails a crescendo.

PleasePrettylea commands the stage with ease for someone so inexperienced and I can already tell that she’s going to do well. After her final song, ‘Blacker than Blue’, which features heavier 808 beats, the audience demands an encore and she hastily plays ‘Shovelling Sh*t’, an alt-pop banger with a weird as anything music video.

After PleasePrettylea’s set, our host for the evening takes the stage. Dressed fully in red, fitting for the satirical communist theme, Tat Vision explains that he’ll be telling us a few jokes in between sets to keep us entertained. His clumsy mannerisms are amusing, but it’s clear he’s saving his better patter for a slightly bigger crowd.

Next up its Jackie F.C. and we are instantly transported to warmer climates. Jackie F.C brings Latin fusion vibes and samba rhythms; an Irish and Palestinian flag hang off an amp at the back of the stage. The anti-imperialism fits nicely with the night’s themes.

The band boasts two guitars (one electric, one acoustic) as well as a drum kit, bass, and mini congas. The cool combination of electric and acoustic instruments infuses their sound with a duality, it’s simultaneously loose and tight. Their breakdowns are expected and unexpected, well-timed and groovy. I feel like I’m floating on driftwood and dancing on a hot beach at the same time.

The crowd sways, stepping side-to-side and gently winding their hips meaning the bubbling atmosphere transforms into a contagious vibe. And it’s only 8pm.

The whole of Jackie F.C is lost in their music, as guitarist and vocalist Richie leads on a tune which he sings in his native Hungarian. Frontman Liam McKeown’s hands glide up and down his guitar (which he plays effectively upside down) moving around the main melody. His vocal tone is hard to pinpoint, it’s obviously infused with his Irish heritage, but it also feels like 13th Floor elevators, especially when he’s singing a cover of ‘You’re Gonna Miss Me’.

“It’s nice to get paid, it’s nice to get fed, f*ck pay to play, f*ck ticket split,” Liam shouts as the band waves a farewell good-bye.

Tat jumps back up on stage and makes a shout out to Richie’s outfit. I must agree – why is it cool as f*ck to dress like a pack of Marlboro red?

I’ve seen Ruth and The Ark a fair few times, you might say I’m a bit of a fan, but this performance at The Fully Automated Luxury Space Communist Party truly took them to a new level.

Ruth saunters on stage, layered up with red heavy rim sunglasses – she’s like a cool, naughty grandma chuckling to herself: “It’s just like netball ladies, it’s just like netball.”

Yes, wait…what?

Ruth is an artist in every sense of the word, and as The Ark (consisting of Matt on drums, Rob on guitar, and Elliot on bass) comes in there’s a strong blues rhythm. Ruth growls into the microphone staring us out from the stage.

The sound and energy created is immense considering they’re only a three piece, with Ruth on vocals. Ruth is clearly captain of the ship. She struts the stage, shaking her little bum directly at the crowd.

“You don’t know what love is. You’re a snake in the grass,” she shouts between cascading vocals.

This one is personal.

It’s also the first time I’ve Ruth speak openly about her struggle with sickle cell and lupus in a gig environment. But it’s clear she doesn’t want sympathy; she’s just relaying how important the space is for her.

The Ark’s communication throughout their set is what impresses me most. The band has a blues focus, but it bleeds into funk, jazz, and psychedelic soul with a simple glance from any member. They’re listening to each other so well and it allows the sound to grow and transition seamlessly – obviously it helps that they’re all technically great musicians.

Ruth, who’s taken most of her layers off throughout the set, finishes by redressing, sunglasses and all, and saunters back into the ecstatic crowd, conducting her lads from the audience in the last song’s final moments – what a show.

Band number four is DOXA, and the low rumble of Stuart Collins on bass truly tests the speakers for the first time in the night. It’s nearing 10pm and the crowds almost doubled in size since the end of Jackie F.C.’s set. Reece Greenfield’s drum’s crash and rumble as we’re hit over and over again with powerful walls of chaotic, but fine-tuned sound.

The time signatures are too complex for me to keep rhythm and Conner (also from Bad Girlfriend) starts to head bang. Should we mosh?

It feels like post-punk, although there’s a small hint of prog drama and the sound could also be described as experimental rock. Reece catches his snare once, twice, three-times, Stuart’s bass grooves as he twangs the strings with pace and skill, jiving his feet.

Mark’s Medusa-esc hair waves madly as he leaps about the stage, spinning lyrics about alienation and oppression. Sometimes his voice is a cooing falsetto, sometimes it cries out with Mark’s slick and creative rhythmic guitar playing often at odds with the demands of his vocals. Reece also delivers vocals in ‘No Man’s Land’, which seems impossible given the complexity of the drums.

As DOXA’s energy peaks in their final song, Connor signals to Mark. Suddenly, Mark is on Connor’s shoulders furiously shredding his guitar with such intensity his fingers blur. The drums and bass are frenzied; Mark stumbles as he remounts the stage pulling out his aux but manages to smash a pedal to maintain the final drowny note. What a finish.

The final band of the night Sugarthief, who our gracious host introduces as the Sugarbabes, graces the stage on time at 10:45 pm – impressive.

The band has summer boyfriend vibes under the cool, watery blue light of the Hare, and they kick off with a heavy focus on the Roland Juno synth and Fender Rhodes electric keys. Jack, the bassist from Jackie F.C., also reappears as the guitarist for Sugarthief, nice.

The band feels cool as ice, without being pretentious or posey, welcoming us into their tropical indie sound. I don’t realise straight away, but they’ve slowed down The Talking Heads tune, ‘Once in a Lifetime’. “Sing along to this one,” calls out the lead singer Jordi James, and we all do.

The plethora of instruments in the five piece all blend and mesh together beautifully, like waves melting into the sea. As the pace rises, Sugarthief goes from summer boyfriend vibes to almost rockstars. They jam enthusiastically, crying out their lyrics and sending random spacy synth noises into the crowd, as Jordi goes into the classic ‘Easy’ by Lionel Richie.

The strength of his voice surprises me as does the personality coming off the other lads. The soft vibes have been totally eliminated.

Unexpectedly, the rest of Jackie F.C. joins Sugarthief and it’s definitely a family affair. ‘Chameleon’ by Herbie Hancock, what a way to end the night.

Liam takes his spot upfront; his eyes are closed as he improvises vocals over Hancock’s instrumental. Red maracas are shaking in his hand, the band’s grinning from ear to ear and we’re all moving and grooving. The newly formed superband receives rapturous applause.

I am blown away, not just by the musicianship, but by the sustained atmosphere in Hare and Hounds throughout the night. I’ve been to great gigs here, but this feels like something different, something more important than just a gig. It really feels like the beginning of a new community in Brum.

There’s a slight lull in the crowd’s energy as we disperse to smoke cigs and discuss the night’s talent. Then, Issy Holmes’ DJ set draws us back with her indie, electric disco mix. Issy moves effortlessly between different genres, and it goes from a dirty rave to a ‘Funk Soul Brother’ disco in a heartbeat. Rather than being jarring, this switch-up just works.

The set begins to come down and suddenly we’re all intergalactic as well, draped in silver foil and dancing away until 3am when the bouncers sweep us off the floor.

A 6pm till 3am line-up is brave, especially at £8 a ticket, and especially for a promoter that’s just starting out. Yet, given the likes of PleasePrettylea, Jackie F.C, Ruth and The Ark, DOXA and Sugarthief, as well as Issy Holmes, it’s not surprising that the risk paid off.

With its incredible music, incredible set, and incredibly good vibes, I wouldn’t be surprised if the next Fully Automated Luxury Space Communist Party sold out. Everyone I spoke to made it clear they’d be coming back.

For more on PleasePrettylea visit www.instagram.com/pleaseprettylea
For more on Jackie F.C. visit www.instagram.com/jackie.f.c
For more on Ruth and The Ark visit www.linktr.ee/ruthandtheark
For more on DOXA visit www.allmylinks.com/arewedoxa
For more on Tat Vision visit www.tatvision.com

For more on Sugarthief visit www.sugarthief.co.uk

For more from the Hare & Hounds, including full event listings, visit www.hareandhoundskingsheath.co.uk

Writer Henry Hanssen

Since its humble beginning in 2011, Tuesday night jazz at the Spotted Dog in Digbeth have become a staple on the Birmingham jazz scene, attracting an audience just as diverse as the music on offer.

As well as bringing in internationally acclaimed jazz artists, such as Stan Sulzmann, Lianne Carroll, and Julian Arguelles, The Dog also uses its platform to provide gig opportunities for some of Brums freshest musicians. After both main sets, there’s a weekly jazz jam where local musicians are encouraged to get up and play a tune, no matter what ability you are.

The jam is a rite of passage among both music students, like myself, and already established players. Which has cemented The Dog as a true Birmingham institution representing an integral part of the life blood of the city’s jazz scene.

Jazz at The Dog has recently been under the management of Liam Brennan and Kai Chareunsy. This most recent duo carry on a long lineage of local legends running jazz at The Dog, following in the footsteps of Jonathan Silk, Richard Foote, and Tommy Fuller.

These two have their work cut out for them, and they consistently deliver.

Liam and Kai have managed to put on some of the biggest names on the UK jazz scene, including tenor sax prodigy Emma Rawicz, trad genius Joe Webb, as well as the ever the evolving BBC Young Musician of the Year Xhosa Cole, and the godfather of Birmingham contemporary jazz Soweto Kinch.

This, as well as an excellent selection of alcohol and crisps (my personal favourite being the aptly named Porky Rinders) makes for a staple weekly night out in Brum. All of this comes at the very agreeable recommended donation of £5.

Jazz truly is communal music which would be lost without venues like this keeping the tradition alive and available for everyone.

Whilst The Dog’s authentic atmosphere is near ideal for intimate jazz nights, I’d recommend you get there early, because the pub is on the cosy side and the crowd is large and eager.

So, next time you find yourself at a loose end on a Tuesday evening, make your way down to The Dog and soak in the contagiously good vibes.

For more on Jazz at the Spotted Dog follow @spotteddogjazz on Instagram. They release their line-ups on a weekly basis.

For more from the Spotted Dog visit www.spotteddog.co.uk

Writer Harry Croxford / Photographer Rob Hadley – Indie Images

Presented by the folks over at This is Tmrw and Hare and Hounds on Friday, Mdou Moctar are electric in their rapturous repurposing of tracks from their most recent release Afrique Victime and previous releases.

Mdou Moctar has become one of the most recognisable Tishoumaren rock artists to circulate his music over recent years. Incorporating the blues-twinged, scales-driven, sound, Moctar and his band are intoxicating and have carved out a unique place in a scene populated by many talented artists.

Moctar and his band take the Tishoumaren sound – which dovetailed blues, rock, and, more notably with Moctar, psychedelic rock – and form a raucous space where a masterful technical frenzy electrifies the crowd.

The band emerges, ascending the stage in calm preparation. Dressed in traditional Tuareg garb – silken and richly saturated in colour – the band has established this as routine visual practice, connecting heritage and identity with their music of today. Slick, the band loads up their gear.

Ahmoudou Madassane, rhythm guitarist, gently taps and twangs his guitar. Michael Coltun’s bass begins chugging with an intense groove. Souleymane Ibrahim’s drums spark alight.

The sound of Moctar’s guitar is sharp, clean, the assortment of pedals a marker of how the band’s sound has evolved over the years. The palpable pleasure and energy visible on the faces of each member of the band is infectious, evidenced by the waves of whoops and claps from the audience.

Sustained throughout is a compelling contrast: the band’s technical prowess demands attention and an almost buzzing stillness from the players, even as Moctar’s fingers glide frantically up and down the fretboard.

Yet this contrast gives way to a vivid excitement: Moctar stands, riffs, but as he plays energy seeps into his movements. He kicks, twists, and laughs as he moves from bandmate to bandmate – the chemistry and delight is effervescent.

Despite the clarity and superb quality of the guitar, the mixing does cause Moctar’s and Madassane’s vocals to be drowned out beneath the dexterous riffs and pounding hail-fire of drums. But the rawness and overdriven sound, combined with their dedication to this whirling, twisting, cacophony keeps the crowd engrossed.

As the set continues, undergirding the rhythmic swells is Ibrahim’s superb drumming. ‘Afrique Victime’ is one such track where Ibrahim stands out most. His frenetic drumming rapidly increases in frequency and intensity, providing the track with a pounding pulse.

And for anyone who has listened to Mdou Moctar before, Tarhatazed… well you already know. The riff epitomises Moctar’s playing and has become a fan favourite. Here, it is no different. As the set began winding up, this track received a rapturous reception.

And the close, where crescendo and climax leaves the crowd ecstatic, and calling for encore. But, composed, relaxed, the band saunters off through the crowd leaving us to revel and reflect.

For more on Mdou Moctar visit www.mdoumoctar.com

To listen to Mdou Moctar on Spotify click here, or to purchase the deluxe edition of Afrique Victim click here.