OPINION: A thorn by any other name…

Rik shouting - Young OnesWords by Ed King

I move around a lot, for work. The polite term is peripatetic.

And for the first time since 2008 I find myself in Birmingham during the Conservative Party conference, with all the fervor and false promise such a political bandwagon contains – whatever its colour scheme.

But this isn’t a party political rant. No, this is a dig at the electorate. And not all electorates; the ones that rise to their murky surface when such a pertinent opportunity to shout at city centre shoppers comes around. The mouth with the megaphone – standing in front of a table adorned with buzz words, petitions and slogans, berating one agenda or another with fumbling intelligence. Again, a polite word to use.

Last week I was standing on New Street trying to find a Western Union; my archaic (apparently) iPhone 3, G, S, C something or other churning through too much information to fit on a hand held screen, when through the bulwark of my earphones I hear something about the Scottish referendum. A well dressed man in his 50’s was chastising the “Tory government” and “Labour council”, terms he delivered with equal derision, about welfare reforms that either one had made, proposed or protested. Or one had proposed they would make which made the other protest.

At least, he was protesting – extending a voluble invitation to join said action as ‘the number of billionaires and millionaires in the city rocket at the end of September’. And for the period of time I was listening to this call, the Scottish referendum seemed to be the underpinning case in point. Although what that point was remained frustratingly unclear.

I walk up to him and wait.

Me: “…yes, hello. I was just listening to you and wanted some clarification. Are you calling the Scottish referendum undemocratic?”

The gist of our following exchange came down to the following:

Megaphone: “…so you’re in favour of cutting children’s services then?”

I have made no political stance or mandate endorsement.

Me: “I’m in favour of rational debate, ask me a rational question.”

Megaphone: “(a little louder) …so you want to cut money to children’s services?”

Me: “That’s a loaded question. Ask me a rational question.”

Megaphone: “(a little louder still) …you want to cut money from children’s services, you want to take money from vulnerable children??”

Me: “That’s a loaded question. I’m not answering that. I’m interested in rational debate, ask me a rational question.”

Megaphone: “(loud) RATIONAL DEBATE, THAT’S A LUDICROUS STANDPOINT. YOU WANT TO TAKE MON…”

I have about 15 minutes in situations as circular as this before my blood sugar levels kick in; I had not wanted an argument about the funding of front line services. Plus this was going nowhere but louder. Thankfully I remembered where the Western Union was.

The politics of government, be they party line or not, are historic and complex. The fact that elections are often campaigned on issues (such as the economy) that the general electorate is not qualified to adequately address (not a seasoned economist with relevant experience and knowledge, e.g. practical applications of a national fiscal strategy) reminds us how difficult democracy can be. But it’s a better system than autocratic rule, so we trudge through – the lunacy of planned obsolescence in a representational arena withstanding.

But one thing we have control over is the delivery of ourselves, the manner and approach in which we conduct our debate. Our democracy. The world’s largest library is available to us on phones, in coffee shops and ironically libraries – spilling information across subjects from stem cell research to X Factor, and if we chose to engage there is more information available to us in the UK now than at any other time in our history. You get free wifi in MacDonalds.

And whilst I believe the diversity of opinions is a healthy foundation, even if the opinions are not, I also believe the appropriate understanding to debate them is important. Even if it’s so you can honestly say, “…I didn’t know that.”

Without fact based understanding you can start to rely on rhetoric that’s angry and divisive, as arguments without substance are usually just shouting matches. Topics become footballs and purported ideals take to the streets. The issues that should be on the table become too muddled to address, with compassionate progression slowing down to a limp or a crawl. At best.

But the most worrying outcome, to me, are the avenues of hate this kind of discourse opens up; the rivulets of camouflaged anger, once a political arena becomes a place to justify the prejudices and peccadilloes of a frustrated ‘voter’. There are political parties based on this – with one in particular (even in its increasingly, mercifully, diluted apparition) gaining more traction than is comfortable. We are not yet safe from the ghosts of Mosley and Powell.

Perhaps I’m over concerned. I do tend to watch my home city’s cultural fabric expand like I’m marking growth spurts on the kitchen wall; incremental is not a word I would use (I get this with many aspects of popular culture – who the f*ck is Pitbull?).

And perhaps my professional lifestyle makes me miss the subtle accumulations – the gradual build of concern that pushes reasonable people onto inane battlefields. After all, I’m not always here. Perhaps I don’t fully understand the problems facing the British electorate? I come in and out of the UK for work reasons.

I’m peripatetic. At least, that’s the polite term to use.

Ed King is editor of Birmingham Review. Follow him @EdKing2210

REVIEW: Ani DiFranco @ The Glee Club (B’ham), Weds 17th Sept

Ani DiFranco @ The Glee Club, 17th Sept '14 / www.katjaogrinphotography.com

Words by Ed King – follow him @EdKing2210 / Pics by Katja Ogrin – www.katjaogrinphotography.com

“Open frame, personal narrative, close frame.” Review Writing 101; my friend has asked about ‘approach’.

“…personal narrative,” she says, “I don’t think I’m clever enough, as a writer, to pull that part off.”

“Well you’re wrong. And clever rarely makes a good review, at least not on its own. The most important thing is honesty.”

We’re sitting outside The Green Room – a cafe bar near The Glee Club, pretending not to be cold; a show of British bravado in an India summer. My friend is doing a much better job; I offer my jacket in an act of misguided chivalry that’s mercifully unwanted.

Ani DiFranco @ The Glee Club, 17th Sept '14 / www.katjaogrinphotography.comThe last time we saw Ani DiFranco (the only time I’ve seen Ani DiFranco) was at the Sheppard’s Bush Empire in 2007 – a packed venue and late train forcing us to watch the ‘Little Folksinger’ from the back of a 2,000 capacity venue. It was a good birthday, a weekend of personal treats and bellyache, but tonight is special too. The Glee Club has hosted a healthy percentage of ‘my favourite gig ever’ (with Markus Sargeant’s stamp on the venue’s calendar often reflecting my own wish list) and the idea of adding Ani DiFranco to that selfish catalogue is making my hands shake. Or it’s the cold; either way, it’s time to dutifully queue and get inside.

Tonight is standing room only, and at £22.50 a ticket the room starts to fill up as we lean against the back wall curtains; first dates and earnest musicians take awkward steps around a room usually laid out theatre style. We spend about half a pint people watching; I write down observations that will never make it out of my notebook, my friend explains the dangers of stripes. It’s a mixed crowd and one I expected to be greater in number.

Playing as support is Shabsi Mann, in what seems to be a missed opportunity to present more of the Righteous Babe roster but which will no doubt cram certain corners of the Union Chapel. Confident, witty, and working a reticent crowd well, Mann is accompanied by cellist Mikatsiu – delivering a ballsy, raw sound, somewhere between Kristin Hersh, ‘Venus in Furs’ and oil stained metal. Mann ends to deserved appreciation before a short interlude allows us to fill or empty our bladders. Shabsi Mann, two words for a Google search.Ani DiFranco @ The Glee Club, 17th Sept '14 / www.katjaogrinphotography.com

But, in predictable Christmas Day disappointment and irony, as I come back from the bathroom Ani DiFranco’s set has already started – the rough edges of ‘Dilate’ pushing my friend and I to abandon our secluded perch and elbow closer to the stage. Having only ever seen Ani DiFranco though a birthday haze and borrowed theatre glasses, I’m childishly excited to be within gregarious stalking distance. After all, “there’s something about Birmingham…”

‘Not Angry Anymore’ comes, goes and gives way to ‘Manhole’ – where I narcissistically get to sing a line and my surname whilst looking like casual superfan No1. I become suddenly aware of how much I want to fit into this room. ‘Promiscuity’, DiFranco’s “smug little song” about the single life of ‘research and development’, bounces off stage keeping the room on permanent shoulder shuffle – before ‘Half Assed’ sets the pace back to a more melodic metal string lament. I slow down, lower my pen, and begin looking left and right.

There are a thousand reasons to be in this room tonight; DiFranco’s vast portfolio could fill a weekend at Madison Square Garden and still have room for an encore. Gay, straight, male, female, British, American, political, apathetic, employed, other; throw a stone at this fan base and you’ll hit a different reason or retort. A different understanding. But as the backline dissipates it’s time for mine; the words “Our father, who art in a penthouse…” begin a slow chill around the room and I stare with admiration and envy. I lower my notebook.

The first Ani DiFranco song I heard was ‘Cradle and all’ – a live version on the kind of compilation that gained me female friends during my teenage years, when what I wanted was sex. Or at least, to learn what sex was. The lyrics, ironically, were what stood out for me, and my following obsession with Not A pretty Girl continued on the same vein; ‘Tiptoe’  shaking the roots of what I thought I was able and allowed to say in prose. In public.

Ani DiFranco @ The Glee Club, 17th Sept '14 / www.katjaogrinphotography.comBut it wasn’t until seeing her at the Sheppard’s Bush Empire, deliver what I was about to watch again only a few feet in front of me, that I became truly hooked. A superb musician and endearingly confident performer, Ani DiFranco is a writer too. The kind you can’t emulate. Important. Legitimate. I’d use the term poet if I knew what it meant. And as the following sacrosanct package of personal admissions is told to us with eyes, shoulders, pauses and honest concern, I stop writing completely. ‘Coming Up’, another two words for Google.

My friend and I stand by The Green Room again; the gig over, with early autumn threatening flu and crucial last train connections. We exchange hasty goodbyes.

“Amazing. Thank you, them. Loved it,” she says, “I thought she might play Untouchable Face though?”  

 “…a song that reminds me of you.”

There’s too much Ani Difranco to ever expect a purely crowd pleasing set, and despite my love for the song had ‘32 Flavours’ been played some part of me would have probably groaned. An arrogant part, possibly, but DiFranco’s latest studio album is under a month away from release – with ‘Genie’ and ‘Happy All the Time’ being the only new tracks showcased this evening.

“Maybe next time,” I say, unsure of when or where that might be. I fasten my jacket and prepare to run across town. It’s awfully cold outside tonight.

Ani DiFranco’s latest studio album, Allergic to Water, is release though Righteous Babe Records on October 13th. For more on Ani DiFranco and Righteous Babe Records, visit http://www.righteousbabe.com/

For further listings at all The Glee Club venues, visit http://www.glee.co.uk/

PREVIEW: Ani DiFranco @ The Glee Club (B’ham), Weds 17th Sept

Ani_DiFrancoByCharlesWaldorf_4 (1) - lrPic by Charles Waldorf

Ani DiFranco returns to The Glee Club (Birmingham) on Wednesday 17th September. Tickets are priced at £22.50, standing room only – doors open at 7:30pm.

The self dubbed ‘Little Folksinger’ is widely known for her acoustic staccato guitar, poetry & visceral lyrics; songs including ‘Both Hands’, ‘Untouchable Face’, ‘Napoleon’ and ‘32 Flavours’ stand as inimitable definitions of a rich (and vast) portfolio. As powerful alone as she is with accompaniment, Ani DiFranco has crossed Folk with Funk, Jazz, Soul and Hip Hop – whilst never losing her distinction, in a recorded career spanning just shy of a quarter century.

The Glee Club - logoSince her eponymous debut album in 1990 Ani DiFranco has carved an arguably solitary stance in the spectrum of modern Folk, a genre often tainted and diluted for arena tours or radio edits (see Mumford & Sons) – with as much power, if not more, coming from the crafting of her messages alongside the melodies that deliver them.

Quick witted and erudite, DiFranco’s explorations of gender, race, class, famiRighteous Babe Records / www.righteousbabe.comly, friendship and love are conducted with an intelligent aplomb that can be both beautiful and hard to hear. From the ambivalence in ‘Sorry I am’ and ‘So What’ to the apologies and pleas in ‘Tis of thee’ and ‘Hello Birmingham’, DiFranco’s stories jump from the deeply personal to the widespread and pertinent.

But whilst ‘they chalk it up to my anger and never to their own fear’, keeping the marketing machines of a soulless buck at bay (…see Mumford & Sons), both DiFranco’s unrelenting honesty and touring schedule have built an army of autonomous support across the globe.

And with every release coming through her own imprint, Righteous Babe Records, there is nothing to compromise; to dust off a one word summary from the contemporary music lexicon, legitimate.

Allergic to Water / Ani DiFrancoBack in Birmingham for one of five UK dates, Ani DiFranco arrives in the UK on the final leg of an eleven date European tour – performing material from her 18th studio album, Allergic to Water – set for release in October.

Appearing first at The Glee Club in Birmingham, DiFranco continues to Edinburgh and Manchester, before playing her final two UK dates at The Union Chapel in London on 22nd & 23rd September.

Ani Difranco last played at The Glee Club (Birmingham) in Jan 2011, supported by Jim Moray. Ed King will be there, this time, for a Birmingham Review.

Ani Di Franco plays The Glee Club (Birmingham) on Weds 17th Sept. For further info an online bookings, visit http://www.glee.co.uk/performers/ani-difranco.htm

For more on Ani DiFranco & Righteous Babe Records, visit http://www.righteousbabe.com/

For further listings from all The Glee Club venues, visit http://www.glee.co.uk/ 

ALBUM: Sparks – Imogen Heap

Sparks / Imogen Heap

Words by Ed King – follow him @edking2210 / Pics courtesy of Purple PR

Despite being paid up incarceration, one up side of long distance travel is time; the real life hiatus where you catch up on emails, actually read, or just throw exploding poultry at stubborn 2D structures.

It’s an excusable respite. So with three cities and as many pairs of socks ahead of me (I like clean feet) I’m happily detached when sitting down (and buckling up) to review Imogen Heap’s latest album, Sparks – released on August 18th though Heap’s own label, Megaphonic Records.

Now I don’t usually allocate 60hrs to review an album, but then most releases these days aren’t 14tracks long.

Plus Ms Heap, whose vocals I fell for after hearing ‘Blanket’ by Urban Species (her mournful, husky chorus being the absolute key to that track) has thrown more than considered usual at her fourth solo album. Alongside the standard LP there’s a double disk deluxe edition, 14 High Def music videos, documentaries of each track being made, a 120 page coffee table book and even a pack of playing cards. The woman is either insanely generous or generously insane. Either being fine.

‘You Know Where to Find Me’ peppers the 14 track smorgasbord; Heap’s trademark vocals layering a soft, echoed keyboard, and off we go. The immediacy of her melody is clear; I could listen to Imogen Heap sing post-it-notes and fall asleep happy. Unfortunately that’s almost what she does, and as the lyrics clunk along over a throbbing cacophony I start mentally editing. “You could be screaming drunk, well I’ve got my bad days too.” Too wordy – abbreviate.

The second track, ‘Entanglement’, takes a decidedly different turn from the off – landing somewhere between an Electro Pop karaoke backing track and the House of Flying Daggers soundtrack. Lyrically, again, it loses me – with unfortunate couplets prodding my editorial snobbery; “On islands of cotton, taboos get forgotten.” A little easy.

Musically both tracks are beautifully crafted, and I’m engaged to hear more, but the over production and structural trickery set a precedent that’s a little indulgent. ‘The Listening Chair’, the third and most auto biographical track on Sparks, ruptures this vein with a hand clap (think pat-a-cake) recount of Imogen Heap’s life, from childhood dreams of becoming an astronaut to adolescent bullying and beyond.  According to the press release, ‘The Listening Chair whizzes us through her first 35 years in 5 minutes and will be added to every 7 years with another minute of a cappella song,’ then proudly declares the song ‘will only be finished once she’s dead!’ A curious use of an exclamation mark, even for a publicist.Imogen Heap / www.imogenheap.com

‘Cycle Song’ brings a brief instrumental interlude, with some captivating deep percussion driving a memorable eastern riff (some solid vocals would not have been missed here) then we’re back to the uber personal in ‘Telemiscommunications’ – a track centred around the awkwardness of peripatetic relationships. Funny, apt, honest; not altogether necessary.

Then the big moment arrives with ‘Lifeline’, a superbly frenetic beat behind simple, melodic keys. Heap’s vocals are clear and comfortable. I love it, it just works. I also discover it was the first track down, apparently inspired by ‘someone sending in the sound of a striking match.’ And whilst I’m not entirely sure why someone would do that, or why someone else would listen to someone having done that, but at just under the midway point on Sparks I am glad that they both did.

The album continues, as does the tweeking and layers of composition; again, it’s a little too much. Imogen Heap’s previous portfolio is often mature and meticulous, with her signature vocals making it as much sublime. But so far, on Sparks, the overwhelming restlessness seems to be winning over simplicity or clarity.

The latter half of the 14 track album jumps around more approaches and influences, from Detroit Electro Pop to North Indian wailing; it’s clever but disjointed. There are many moments, such as the solid melody on ‘Run-Time’ and the dénouement to ‘The Beast’, but nothing that pins me down in the way Imogen Heap has previously done.

Sparks is woefully proficient, and the word ‘painstaking’ comes up in my notes more than a couple of times, but it suffers from the burden of trying to over achieve. And whilst a talented and beautiful vocalist, Imogen Heap’s lyrics on Sparks enter that savage garden of prose only a handful can pull off. Likewise with the production, it feels as if she had trouble walking away; I see sleepless nights, obsessing over the perfect pitch or just which rickshaw sample to use.

Sparks’ deluxe package mirrors this (as does the amount of activity featured on the album press release – something the artist/label will have ultimately signed off) and the fact Imogen Heap was curating the Reverb Festival at The Roundhouse, including a month long installation called ‘Heap’s Giant Interactive Sonic Playground’, gives more credence to an artist in overdrive. What’s left in the wake is an overflowing endeavour; if you’re an Imogen Heap fan you’ll be belly full until Christmas. But after the forth repeat, ninth cup of airline coffee and second sock change, I start flicking though my back catalogue for ‘Angry Angel’ or ‘Hide and Seek’. I miss her songs; as clever as aspects of Sparks are, I want the simple melodies back.

And whilst Sparks is a professional musical tome, it’s arguably still more catalouge of good ideas lost in overzealous production. After listening for it for 2 ½ days in relined confinement, all I wanted was a little more leg room and actual songs (perhaps a foot spa).

Run-Time – click here/on image below

RunTime - lr

Sparks, the fourth solo album form Imogen Heap, is out for August 18th. For more on Imogen Heap, visit http://www.imogenheap.com

To find out more about the deluxe box set visit, http://www.imogenheap.com/deluxeboxset

BPREVIEW: SoundLounge Festival ’14 @ Town Hall & various venues, Fri 8th – Sun 10th Aug

Photo 14-07-2014 18 27 57Words by Ed King – follow him @EdKing2210 / Pics provided by Project SoundLounge

Project SoundLounge kicks off its three day festival tonight (Fri 8th – Sun 10thAug), promoting free concerts on a series of stages in & around the Birmingham Town Hall.

Starting with a four bill line up at the Town Hall, the first night of Project SoundLounge Festival 2014 presents a mix of live music, dance and performance.

Soul is high on the agenda, with local ensemble Antelope and solo artist Lumi HD both performing, alongside the seasoned Jazz/Blues/Gospel pianist Emmanuel Waldron.

The Forgotten Fairgound will also perform their twelve artist collaboration (nine musicians, three dancers) which explores ‘the theme of childhood imagination’. All gigs are free, with the Town Hall doors opening at 7pm.

But what is the Project SoundLounge Festival? The website tells us it ‘is an innovative and ambitious project model that places young people at the centre of the organisation’ – working with THSH to give them ‘the skills to shape and brand the youth programme (at THSH) whilst developing their skills as cultural leaders.’

So that’s a lot of boxes ticked.

The reality, the part of this that will give these ‘young people’ any real ‘skills as cultural leaders’ in the commercial world of music, the one that stands on its own two feet, is the line up – and that’s what attracted Birmingham Review’s attention in the first place. A bill so solid, in fact, that the free element initially passed us by. Project SoundLounge Festival 2014 just merited attention.Main with web colour bcg - lr

“The aim of the festival is to showcase Birmingham’s freshest emerging music talent of all genres,” explains the Project SoundLounge Festival team, “whilst giving young creatives the opportunity to programme, produce and promote a real music festival.” Plus they get to toy around with the Town Hall, not a bad stage to cut your promotional teeth on. But who’s the audience?

“We want to give the young people of Birmingham a chance to get involved with our city’s music scene and discover bands they might not have otherwise heard, which is why we were keen to make it a free event, so that everyone can just come along and listen to the amazing talent Birmingham has to offer.”

If someone mentions age again I might just give up; it’s a good line up, one that arguably justifies the event hyperbole or even a door charge. But with a team of nine (or seven, depending on which part of the website you read) all pitching in, and more than a few musicians knocking around this fair city, was it difficult to tie down the programme?

www.thsh.co.uk/event/project-soundlounge“Programming for the festival began with all team members proposing 10-15 local artists of different genres each, who they would like to see perform. We ended up with a database of much more than 15 artists each, so the three members heading up programming then took responsibility to whittle it down, find out artist availability, and shape a suitable and varied programme for the festival.” Ah democracy… Were there genre squabbles, a touch of plutonic nepotism? Was this lesson one?

“As a team, we are all interested in different genres of music, and were keen that the festival should reflect this diversity.” ARRGGHHH, NOT THE ‘D’ WORD… “We decided each day should therefore have a particular genre in mind; we planned for Friday to be jazz and soul, Saturday to be an eclectic carnival theme, and Sunday to be jazz and folk.”

And, to us at least, it’s a respectable representation; were the festival team happy with the end programme?  “On the whole, we’ve managed to deliver a programme relatively true to this initial idea – of course, the programming team did experience some difficulties here with artist availability, but it was all part of the learning experience for us.” The joys of diary juggling; there’s lesson one.

But the Project SoundLounge Festival has something to tempt the acts they approach – namely the Town Hall stage, or the very visible city centre locations they are hosting the Saturday shows in; exposure, and how to pitch it. So there’s lesson two.Antelope / www.thsh.co.uk/event/project-soundlounge

Performing at the Town Hall tonight are Antelope – an eight piece ensemble playing across genres from D’n’B to Jazz, with a touch of ‘Midland’s Soul’; music to “get people up and moving” explains singer, Taan Parisse.

“We were approached by two of the Project SoundLounge team asking us take part and we were all over it,” continues Parisse. “We have a few pals who were involved in the festival last year that had a blast so being asked to headline this Friday is great. We haven’t played in Birmingham for a while; (tonight) we’ll be playing some tracks off both our 1st and 2nd EP’s as well as some tracks we haven’t showcased in Brum yet.”

Lumi HD / www.thsh.co.uk/event/project-soundloungeAlso on tonight’s Town Hall bill is Lumi HD, a Birmingham based Soul singer who “played at Sound Lounge Festival last year at the Symphony Hall Foyer, loved it and fortunately was invited back this year.”  Any changes in approach, now that you’re performing in the Town Hall? “I’ll be playing with the full(ish) band – which I love to do – a mix of tunes from my current EP, covers and fresh unheard songs of mine. It’s all quite ambient, at times moody, but should hopefully be a solid set.”

So far so good, with a respectable array of acts to cover the remaining weekend. Performing in the REP Theatre mezzanine, on Saturday afternoon – from 4pm onwards, is Hansu-Tori; a five piece Jazz ensemble with ‘a sound cleverly composed and layered with keys, trumpet, electronics, alto sax, bass and drums.’Hansu-Tori / www.thsh.co.uk/event/project-soundlounge

Headed by pianist David Grey, a man who’s earned his musical stripes, Hansu-Tori “think the festival will showcase the high calibre music that’s coming out of the city. I hope it will encourage people to seek out vibrant new artists and support the live music that’s happening around them.”

And what can we expect from the quintet on Saturday? “We’ll be performing material from out new album ‘An Improvised Escape’ due for release in September.” Plugged like a professional; to get familiar with some more from David Grey, click on the links for a Birmingham Review of The Dark Red Room album and gig supporting Shabaha Hutchings & the Son of Kemet.

The Mourning Suns / www.thsh.co.uk/event/project-soundloungeBut to close the three day festival, Sunday reclaims the Town Hall stage with another four act line up; not a bad Sunday night gig for any local artist. “I’m pretty sure that we applied to play last year’s festival,” explains Rosie from The Mourning Suns – who make up ¼ of the final show, “and have been asked back for 2014.”

“We will be performing a set of our own songs,” continues Rosie, “mostly songs that will be featured on our album – to hopefully come out in October, but we might throw in a new one or two.

A few of us, including me, haven’t played at Birmingham Town Hall yet, and we are just thrilled to be doing so. Also, this show happens to be the last of our Summer tour shows, so I think our performance will have a nice vibe about it.”

And as for the Project SoundLounge Festival, which is now in its second year? “I hope it grows and grows, it’s a great thing for musicians in Birmingham.”

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Project SoundLounge Festival ’14 starts at the Town Hall tonight, continuing across various venues throughout the weekend (Fri 8th – Sun 10th August). All gigs are free – for further information, visit http://www.thsh.co.uk/event/project-soundlounge/

For more on Project SoundLounge, visit http://projectsoundlounge.co.uk/

For more from the Tonw & Symphony Halls, visit http://www.thsh.co.uk/ 

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Project SoundLounge Festival ’14 / Full line up – with links (where possible)

Town Hall, Friday 8 August, 7pm
Antelope
Emmanuel Waldron
The Forgotten Fairground
Lumi HD

Brindleyplace, Saturday 9 August, 1pm
Lobster
Beat Root
.44 Pistol

The Rep, Mezzanine, Saturday 9 August, 4pm
Hansu-Tori
Dantanna
Deaf Inspector

Town Hall, Sunday 10 August, 4pm
Boat to Row
Bonfire Radicals
The Mourning Suns
Tom Walker Trio