Category: BR Content

Words by Ed King / Pics by Katie Foulkes

It was Morrison’s ‘only friend’. Editors reminded it also ‘has a start’. It’s the last stop on tethers, roads, lines and patience. And bank holidays, which is my rather ham handed segue into the timing of this review.

The place, The Institute – who’s posthumous prefix is an appropriate inclusion in the above list. But right now it’s ‘patience’ I’m concerned about, as tonight’s photographer is greeting me through professionally clenched teeth. I’m late, and sadly not by surprise.

But Lucy Rose is also at an end. Tonight the Warwickshire lass (lass, really? When did I become that guy…) with six strings and two sticks is wrapping up a 3 month UK tour, before throwing herself across the Atlantic to do the whole thing stateside.

And it’s a Birmingham denouement, which is helpful as I’ve repeatedly failed to see Lucy Rose since BR first covered her in June 2012; having had to hand review responsibilities to someone who wasn’t 5,000 miles away at the time.

So excited yes, late always, but I’m also a little nervous about breaking my Lucy Rose cherry at The Institute – a venue I hold dear, but one which can destroy acoustic led sets.

Lucy Rose’s debut album, Like I Used To, is a 15 track delight; beautifully produced, elaborate in tempo and altruistically understated. And it’s safe to say I’m a fan, but (after a disaster with Benjamin Francis Leftwich earlier in the week) I fear tonight will be another cacophony of bad levels. So dutifully missing yet another support act, I walk down into the Library with my gloves held high.

Perched high on a stool, like a mix of Joni Mitchell and James Dean, Lucy Rose opens with Gamble – the closing lament on her aforementioned LP. The room is still. Rose’s voice wavers, builds, and when the painful questioning is over gives a humble nod to the room.

The band enters for Place, with its melancholic lead into a driven chorus, and the stage becomes a cornucopia of musical support – from maracas to a particularly funky bass guitar.

Watch Over picks up a firmer pace (and funkier bass) before a sideways shift on her stool signals a rock out from Ms R. And as the post 2minute harmonies build layers on stage, I feel the room start to sway internally and my concerns dilute. This is not as ‘acoustic’ as I led myself to believe.

Endearing quips (although Dot to Dot is now lower on my festival hit list), crafted shifts in tempo and the occasional electric guitar takes us though the next few songs, before Middle of the Bed arrives like an old friend singing quietly at your door. Be Alright marks the last of the familiar, before Rose introduces a song “I haven’t played in ages, actually it’s a new one.”

A soft low melody treads its way over a steady tin lid beat, before a full band chorus and finale punches across the room. Rose’s vocals take on a stronger force, and I begin to see a different singer on stage. One without balsa wood furniture to smash around, but with equalling impact.

A quick sound check regurgitation fills the room with Calypso riffs and random fog horns, before First brings back the restrained acoustic over lullaby vocals.

Red Face prompts some steady hand clapping support (and reminds me Lucy Rose started out as a drummer) before another new song and directional nudge. Latin rhythm and sounds (whatever that conjures up for you) that carry a less discernible melody, but build, build, build – underpinning, again, much stronger vocals. And if this is the Lucy Rose of studio albums future, I’m keen to hear more.

Bikes marks the end of the set set, before the room of singing voices (who ‘scream out loud’ when prompted to in verse) demand an encore.

Thankfully someone requests her current single, Shiver, and we indulge the low acoustics and poignant lyrics that can resemble Lucy Rose at her finest.

A final new song, complete with Twilight Zone wah wah (according to my notes but perhaps not memory) and a crescendo like angry North Sea waves, sits as the meat in the encore sandwich – before Don’t Worry gets a production perfect delivery and finally signals good night.

So I add Lucy Rose’s set, UK tour and out of reach (to me anyway) bookings to my list of finalities. Along with the purported groceries at her merchandising desk, although I’m told the last jar of Plum & Ginger Jam was ‘the nicest thing I’ve eaten in ages’ (thanks Becky).

But, as Ms R meets and greets anyone who wants to, I get the feeling this is far from over. As Churchill once said, this is ‘perhaps, the end of the beginning’ for Lucy Rose; with a strong spidey sense telling me a new album will be out by Christmas.

Plus Lucy Rose will be back in Birmingham to play the Moseley Folk Festival on Sunday 1^st September, which should give me just enough room to actually get there on time.

Maybe. Certain things never end.

Lucy Rose plays the Moseley Folk Festival on Sunday September 1^st. For details and tickets, visit http://www.moseleyfolk.co.uk

For more on Lucy Rose, visit http://www.lucyrosemusic.com/

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For more gigs at The Institute, visit http://mamacolive.com/theinstitute/

For more gigs from Birmingham Promoters, visit http://birminghampromoters.com/

Words by Ed King / Pic by Katie Foulkes

Due to a charity boxing event, a gregarious 15 year old and my failure to slip, I couldn’t make the Saturday of this two day bandfest – now in its second year at The Public in West Bromwich.

But my main reasons for going were all playing on the Sunday; so bloody nose aside, things were looking up.

I’d been trying to see Johnny Foreigner, The Traps and Shatter Effect for a while, and someone had strongly recommended I check out Shana Tova. So with all of the above playing virtually one after the other, the final day of Now We Are 2013 was the perfect chance for me to settle the books.

A quick jaunt on the Metro, an elongated walk around a desolate town centre, and I’m standing in The Public’s main atrium with a beer in hand and Shana Tova on soundcheck.

Ah the rock ‘n’ bread roll of regional journalism… yam lord giveth and yam lord taketh away.

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Shana Tova

“THEY’RE LOUDER THAN I EXPECTED”, I mouth to the man at my right – as the ferocious three piece belt out ‘No One’s Saying Wow’ from the Pinktank stage. Full of punk, spunk, and the occasional bluegrass middle eight, Shana Tova are confidently brash.

But fun. And as ‘Kaybab’ (say it in a Brummie accent with a question mark) hurls itself at my earholes, I’m beginning to understand why ‘you should see them’.

The pace continues through ‘Swan Hills’ (I think that’s right) and ‘Dear Friends’, before a slight lull in ‘Waiting for the Sun’. It’s a nonstop kidney-punch-handshake; that gregarious violence that makes city centre weekends so memorable, with even Shana Tova’s lead singer/guitarist, Geordie, admitting “someone told us we’re playing too fast.” Before continuing to play fast and scream out lyrics I hear but can’t understand.

Finishing with ‘Wake Up the Lions’ I’m left a little uncertain. Did I enjoy that? Do I like this? That’s not what I usually hear at Jewish New Year? But intrigued and impressed.

And in agreement, Shana Tova are worth checking out. Even if you don’t like what they do I suspect you’ll enjoy the way they do it.

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The Traps

‘If I couldn’t physically see the drummer I’d think he was a machine’ – I scribble, as ‘Calypso’ punches its way across the open hall of The Public. The first ‘official’ release from The Traps’ own Speech Fewapy Records is immediately engaging, with Jamie Berry’s vocals sounding confidently fuller live.

‘Calypso’ is a song you think you know the first time you hear it, and like much of The Traps’ portfolio – one you’ll possibly want to know better.

The solid backline backbone thumps through ‘Moving Pictures’ (I think – we’re at the 2 ½ beer marker), before the raw rhythm and glockenspiel of ‘Eyes Open’ underpin Berry’s melodic fluctuation and rock star neck strain. A cracking opening trio.

‘Your Headland’ introduces itself with a bluesy twang, and images of Laura Dern and Nicholas Cage run through my head. Tight, polished and a little samey after a minute and a half, I swallow a lull in the set.

A lull that encroaches into the first part of ‘Ida’, before some cutting fret work builds into a verse that pulls my pen up off the floor.

A simple bass-drum-vocals chorus allows a more nostalgic melody to drip off stage, before we’re marched into track 6 (…3 beer marker) and eventually ‘Honey Drip’ – The Traps’ infectious debut single.

During the closing song, where event organiser Emma Cooper brings a horn section on stage, I stop trying to write. I just want to listen; to the glockenspiel sounds, the carnival tempo, Berry’s vocals and the proficient arrangement with fanfare finale.

I’m chuffed. The Traps are an excellent badge for Birmingham’s music scene to wear – and one without hyperbole, loaded acronyms or the life expectancy of a minor’s budgie.

Viva Speech Fewapy.

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Shatter Effect

“We seem to get bigger crowd out of Brum”, admits guitarist Robin Davies, highlighting a disparagement I’ve heard more than once before. But with ‘Dance Music for Rock Kids’ as a strapline, I guess you can expect a divide.

Opening with ‘Broken Toys’, Shatter Effect are immediate and boundless on stage. Dark, brooding techno rock, reminiscent of NIN or (some) Public Domain, they explode with three guitars, two synths and a human version of Animal on drums.

Green spotlights flood through the dry ice, filling the room with a jealous mist as the eponymous ‘Rebecca’ is played next. Lead singer, Rebecca Davies, drives a confident energy into the Theatre venue – despite an arms length crowd and fiscally eager merchandise table from another band on the bill. But a prominent front, Ms D pushes her range through the room regardless, with the old effortless adage.

‘Find What You Love’ follows an emergency guitar repair, as “our Edward has broken a string” – before ‘Forever 27’ laments an almost 80’s indulgence from the Dudley 5 piece.

‘Grease’ seems to mark the end of Shatter Effect’s more melodic beginning, and sets a fast paced precedent that holds throughout the rest of the set. Ferocious would be one word, fierce would be another. Alienating could also get used, as I notice a few audience members start to slink into the shadows.

But Shatter Effect stick to their guns, their loud booming cannons aboard a nefarious warship, and fire through ‘Come Again Soon’ (pun intended?) and into ‘Make Me Hate You’ – the air punching denouement if the room were full.

And they deserve a bigger crowd, because what they’re delivering deserves to get noticed. And not for its noise, or pace, or barbaric refusals – but because it really f*&king good; if not, perhaps at times, a little 90’s anachronistic.

It’s just a shame, like so many Midland musicians, they have to travel further North/South for more appropriate recognition.

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Feeling very Sunday, and seduced by cheap ales, I cadge a lift back to Birmingham City Centre.

Now We Are 2013 was unfortunately hindered by rare British sunshine, a somewhat lacklustre approach to marketing and perhaps a slightly high door price.

But I got to see a handful of bands I’d been trying to catch, and introduced to more of what Birmingham (which is the actual name of our city) has to musically offer. ‘Enriched’ is the description I’m ending with, throwing ‘encouraged’ in to boot.

And it may be the Bishop’s Finger (look it up), but a bit more proud to be Brummie.

For more on The Traps, and Speech Fewapy Records, visit http://speechfewapy.com

For more on Shana Tova visit, http://www.myspace.com/shanatova

For more on Shatter Effect, visit http://www.shattereffect.com/

Now We Are was organised and promoted by Funny Looking Cat. For further info, visit http://www.funnylookingcat.co.uk/

For further events at The Public, including art, music, comedy & workshops, visit http://www.thepublic.com/

Pic by Mahtab Hussain

Needing considerably less introduction than the last time she played in the city, Lucy Rose comes to The Institute on May 27^th.

Her ‘heart stoppingly poignant songs and cracked porcelain voice’ have won the young singer/songwriter an exponential army of fans, and seen her support Bombay Bicycle Club, Noah & the Whale and Counting Crows; as well as taking on headline tours of the UK, Europe, North America & Canada.

Back in Birmingham for the last gig of a 21 date UK tour, running through April and May, Lucy Rose is still riding the widely respected wave of her debut album – ‘Like I Used To’.

Released in Sept 2012, ‘Like I Used To’ reached No13 in the UK album charts – unleashing 5 singles prior to the LP.

‘Middle of the Bed’, Rose’s debut single, was launched at London’s Cargo on July 5^th 2011.

Her subsequent singles: ‘Scar’, ‘Red Face’, ‘Lines’ and most recently ‘Bikes’, released a week before ‘Like I Used To’, kept Rose firmly in the music press and on a busy touring schedule.

Moving away from her Warwickshire home and impending further education, Lucy Rose cut her teeth playing at ‘every open mike night imaginable’ on London’s fickle gig circuit.

Building her fan base the old fashioned way, or as old fashioned as you can be in the age of social/digital media, Lucy Rose amassed significant support from her live shows and YouTube releases. So much so, that in 2012 (after a smattering of self releases) the major labels came courting – with Rose eventually signing to Columbia in Sept the same year.

Lucy Rose last played in Birmingham on June 14^th 2012, at the Hare & Hounds in Kings Heath, and will be performing at the Moseley Folk Festival on Sunday Sept 1^st.

Lucy Rose plays at The Institute on May 27^th, courtesy of AEG Live and Birmingham Promoters. For more on this gig, including a chance to buy tickets online, visit http://mamacolive.com/theinstitute/listings/upcoming-events/14980/lucy-rose/

For more on Lucy Rose, visit http://www.lucyrosemusic.com

For more gigs from Birmingham Promoters, visit http://birminghampromoters.com/

Over the last May bank holiday weekend, Now We Are returns to The Public in West Bromwich.

A two day mini fest, celebrating ‘all that is brilliant in indie-pop n’ roll thrills, spills and bellyaches’, NW… perhaps I’ll leave the acronym, Now We Are 2013 runs from 3:30pm to 2am on May 25^th & 26^th; with subsidiaries for under 16s and under 5s.

Presenting 24 bands over two stages, Now We Are 2013‘s line up includes a medley of Midlanders and Indie/Rock acts from across the UK.

Saturday sees the Essex & Australia born Allo Darlin’ alongside Birmingham’s Ace Bushy Striptease (who win on name alone) headline the Pinktank stage, with Scots Rockers Kid Carnaveral following the Black Country ‘blues grunge prog rock pop metal thrashup’ (????? In the absence of an actual description – Ed) God Damn on the Theatre stage.

Sunday welcomes Essex/Hefner’s Darren Hayman and Birmingham’s The Traps to the top of the Pinktank bill, whilst Johnny Foreigner and Shatter Effect fight for local limelight back on the Theatre Stage.

Organised by Funny Looking Cat, a London based promotions company ‘dedicated to bringing you the best of the indie music scene from the UK and further afield,’ (so no pressure then) Now We Are made its debut at The Public in April 2012.

Born after Funny Looking Cat founder, Emma Cooper, had worked on the Indietracks Festival – ‘a unique summer festival which combines heritage trains and indiepop music,’ (OK…) Now Were Are 2013 is an ambitious showcase of UK Indie/Rock/Pop.

Talking about Now We Are 2013, Emma Cooper said “We’re absolutely delighted to see the Now We Are Weekend return to The Public for a second year.  In 2013 some of the best bands in the indie scene will be coming together at one of the most iconic venues in the Midlands, so we are certainly anticipating a weekend to remember.” So again, no pressure.

But with a handful of local acts currently getting an armful of national attention, Now We Are 2013 is a laudable opportunity to see what else The Midlands has on offer.

And without having to swallow Satan’s moniker in the process.

Now We Are 2013 will be held at The Public in West Brom, from 3:30pm to 2am on MAY 25^th & 26^th. For further details, including a full line up, set times & tickets, visit http://www.thepublic.com/NowWeAre

For more on Funny Looking Cat and the Now We Are festivals, visit http://www.funnylookingcat.co.uk/

 For further events at The Public, including art, music, comedy & workshops, visit http://www.thepublic.com/

Words by Katherine Priddy / Pics by Lucy Heath

Alessi is a name I’ve caught floating around the folk circuit for a while now, overheard in fervent discussions at the Moseley Folk Festival and cropping up in conversation at various gigs. But up until now I’ve not listened to her much myself.

So with both quiet optimism and slight trepidation I abandon the first warm evening of the year, to watch Alessi and her ‘Ark’ of musicians at the Hare & Hounds in Kings Heath – on the last date of her UK tour showcasing her new album, ‘The Still Life’. This had better be good.

Arriving at 7:14pm I’m surprised and encouraged to see a queue already forming up the stairs; a line of claret chinos and chunky-knit sweaters. It seems Alessi’s music appeals to the arty/student crowd, and having a more traditional taste myself I wonder whether this is going to be my cup of tea. 

We settle into the smaller room of the two; the late sun shines in, people flick through books and magazines, and I relax into the atmosphere.  There’s a quiet rumble of anticipation in the room as Canon Street, two sisters from Moseley, lull us with folk harmonies – before the mood becomes noticeably livelier as Ralfe Band, the second support, challenge anyone to resist a foot-tap with their stomping rhythm.

Then, somewhat breaking traditional gig convention, Alessi joins Ralfe Band on stage – singing the lyrics from torn scraps of paper. And whether it’s the wine or home made charm, I find myself getting caught up in anticipation.

Eventually both Alessi and Ark, a drummer and bass guitarist, emerge to loud applause – going straight into ‘Sans Balance’, a track form her latest album. It takes me a moment, but I realise her lyrics are flowing easily between French and English; something I find both unexpected and intriguing.

Alessi is quiet and faltering, although with a quirkiness I find at first disconcerting. Her songs are a strange but satisfying blend of heavy drums, drifting synths and her quiet, unassuming voice.

I find myself momentarily bewildered by the sudden, rather abrupt endings of the songs. But as she moves through the dreamy vocals and gentle rhythms of ‘Veins Are Blue’ and ‘Big Dipper’, again new tracks from ‘The Still Life’ her unassuming posture and shy attitude create a strangely hypnotising and soothing effect.

However I’m still not completely convinced, perhaps thrown by her quirky delivery and less than conventional stage presence, until  she performs a cover of ‘Afraid of Everyone’ by The National.  The clever looping of vocals and electric drums create something suddenly darker and sexier. Now I’m sold.

Her crowd interaction is charming and amusing, as Alessi introduces her song ‘Run’ whilst joking “that’s my advice to you”. Even nearly dropping her bass guitar only serves to endear me further. And I can’t help but notice that her guitar matches her tights – ‘my kind of woman’, I write.

The final two songs of the set, ‘Honey’ and ‘The Rain’, are short and sweet, and as she invites the audience to join in I’m smiling and singing along.

The encore consists of two more songs, one of them being ‘Whatever Makes you Happy’, and by now I challenge anyone not to be affected by her infectious glee. And as she leaves the stage, members of the audience stand up and give her a hug. I get a sense of real humility.

What I first saw as a shy and strange delivery I now see is part of Alessi’s simple, quirky charm.

And as we finally spill out onto the street, and despite the ebb of late evening heat, I feel honestly happier than when I first walked in.

For more on Alessi’s Ark, including full tour dates and digital downloads of ‘This Still Life’, visit http://www.alessisark.com/

For further gig listings at the Hare & Hounds, visit http://hareandhoundskingsheath.co.uk/event-listings