Category: BR Content

Words by Chris Webb

ED’S NOTE: Seven days ago, our intrepid reporter returned from Global Gathering 2012. After enduring the Long Marston tailbacks, extreme festival fatigue, fallen camera laden comrades, and a fool hardy approach to on site catering – Chris Webb is safely back in Birmingham. This is his story (queue the bugles)…

On July 27^th, Global Gathering returned to Long Marston for its 12th year. EDM festival goers arrived in their droves, travelling from all over the UK for a enormous line up of DJs and live acts – held across seven arenas and Global’s spectacular Main Stage.

The camping this year, as with previously years, felt vastly overcrowded. The drinks were over priced and the rest facilities were struggling with the amount of users and queues, formed everywhere and in all directions.

Yet Global’s friendly festival ravers continue to forgive; helped by headliners such as Armin Van Buren, Chase & Status, Tinie Tempah, Skrillex and Friendly Fires simply rocking the crowds from the drop of their first beat .

Promoters hosting Arenas over the course of the weekend included UKF Bass Culture, Detriot’s VisionQuest, the Global club mum – Godskitchen and London Elektricity’s Hospitality; all with years of experience at delivering high quality shows.

And despite being greatly enhanced by clear blue skies and glorious sunshine (Ed – how much does God cost these days?), I expect a Force 10 Hurricane couldn’t have stopped the general enjoyment; especially in the chill out areas that were rescuing people from packed out arenas (Ed – from a man with the relevant Air Force and chill out experience).

Early on Friday evening I caught Radio 1’s favourite masked ninja, Jaguar Skills, in the UKF Arena. Simply put, this man has few equals on the scene right about now. His mixing and cutting have become legendary in a short space of time. Inevitably, he had the enormous crowd going wild from the start.

With the outside temperature quickly dropping, a superman change of clothing was required before watching Tinie Tempah headline the Main Stage. This was the first time I’ve caught the little big man in action, and it was pretty obvious the crowd adored him; with a great deal of heart and soul put into his performance.

The last act I saw was Armin Van Buuren, closing his own arena (A State of Trance) with a 2 hour set. What can be said? The Dutch DJ/producer delivers every time he appears, and in my humble opinion was the highlight of the weekend.

Saturday saw festival kings Chase & Status close the Main Stage; brought back by popular demand for the headline slot. Having seen C&T a few times before I knew what to expect, but unfortunately found a somewhat lacklustre performance.

Poor sound levels and no stage effort from the band contributed to a very mediocre show; and despite the crowd’s hype they seemed a little lost from the start.

But for me, the Saturday’s highlight were Camo & Krooked in the Hospitality Arena. One of my favourite drum & bass outfits at present, these boys were recently awarded ‘Best Producer’ at the 2011 Drum and Bass Arena Awards; and along with Mr Netsky are the jewels in the Hospital Records crown.

Camo & Krooked played a 90min live showcase, carefully blending new material with previous anthems. The intensity of the tent is difficult to put in to words, with heavy breakdowns and mind blowing drops taking a devoted crowd in every direction.

An hour and half passed before I knew it, dancing every minute with thousands of likeminded ravers. I just hope next year Global organisers give Hosptality a bigger tent; their loyal fans could of filled it 3 times over that evening.

So, amidst a fever from a festival burger, I only have few gripes for the Global promoters. Whilst the layout of the festival internally is quite excellent, and works very well at moving the sheer volume of people comfortably around the site, outside the fence people queued for hours just trying to exit the airbase.

This has always been a problem with events at Long Marston, but with over a decade of experience the powers that Global be need to figure out something. After a long weekend, tailbacks through a rural location are the last thing anybody wants.

But Global Gathering is arguably one of the best UK EDM festivals still going today – possibly alongside Creamfields.

A well programmed show and layout, with a friendly atmosphere that makes the weekend a ludicrous amount of fun. And if I can get past the traffic I certainly be back again next year.

For more on Global Gathering, visit http://www.globalgathering.com

Words by Cesilia Oriana Trecaquista / Pictures by Jermaine Lloyd

 After a day of all things Toyah Willcox (star receiving Toyah, interview giving Toyah, buffet lunch eating Toyah), I was finally going to see her in, arguably, her most natural habitat – on stage.

The Hare and Hounds provided the venue for Toyah Wilcox’s one off homecoming gig.

And, although this lady’s musical, stage and acting career has spanned some thirty plus years, I was still surprised to see Venue 2 packed out with die-hard Toyah fans; many having donned their Toyah memorabilia t-shirts and raided wardrobes for their best Goth-like attire.

Toyah bursts on stage to ‘Good Morning Universe’, from her 1982 album ‘Warrior Rock’, wearing a semi-circled spiky headdress and overcoat so bright she could have loaned it from Joseph.

My (much younger) plus one squeals “what have you taken me too?” It was to be an interesting night.

Toyah informs an excited audience, we are to “hear two sets this evening”, before performing the foot stomping ‘Rebel Run’. Her fearless and uninhibited performance includes repeatedly spinning perilously around and around, leaving me feeling momentarily nauseous.

Toyah interacts beautifully and personably with the audience, saying how much of an honour it was to receive her Walk of Fame star, and how it was to grow up in Kings Heath. Jovially reminiscing about never being allowed into the Hare and Hounds.

‘Blue Meanings’ is next, having been voted for by Toyah’s Facebook friends before the gig, and Toyah jokingly tells those who voted for the song to “f#@k off”; as she’s never managed to perform it live without messing it up.

But despite the dressing down the audience go wild, with die-hard fans holding out their hands for a simple touch from Toyah – as if she was some sort of messiah.

Also at this point, my plus-1 had it in her head that Toyah was staring directly at her (although we were right at the back of the room). “Why is she singing and pointing to me”’, she asked.

Possibly Toyah’s ability to connect with an audience, I thought, or possibly the intimate nature of the gig; but the whole room was feeling slightly obsessed. By now, cries of “I love you, Toyah” could also be heard.

Toyah’s band, a collective of varying ages, sizes and ethnicities, work perfectly together; performing an epically long version of ‘Brave New world’, which was polished, weird and yet wonderful.

Then shortly before the interval, Toyah invites Andi Fraggs (who will be supporting Toyah in the second part of her Changeling Resurrection tour in September) to join her on stage, whilst she sings ‘Thunder in the Mountains’.

The interval provides a welcome relief from all the excitement, energy and heat; although with strict instructions from Toyah to return for the second half “rolling drunk”.

Not wanting to let her down, I achieve ‘suitably merry’, and become more than willing to sing backing vocals for ‘It’s a Mystery’ and ‘I want to be Free’ – despite not knowing the words.

An encore of ‘Illusive Stranger’ eventually closes the show, leaving many free to stick around for autographs, congratulations and adulations; all of which Toyah was more than happy to entertain.

This was a night of “nostalgia”, as Toyah had wanted, yet one also grabbing the attention of a younger generation.

Looking and sounding as good as she did three decades ago, Toyah Willcox remains formidable and entertaining. A worthy recipient of a Walk of Fame star.

For more gigs at the Hare & Hounds, visit http://hareandhoundskingsheath.co.uk/

For more on Toyah Willcox, visit http://www.toyahwillcox.com

Pictures by Dean Stockings 

Musician, songwriter, actress and author, Toyah Willcox is one of Birmingham’s best known contemporaries.

And on Monday July 16^th, Toyah will be the first person celebrated on King Heath’s Walk of Fame, with her memorial star being presented on York Road – before a one off concert at the Hare & Hounds.

Born in Kings Heath, growing up in the family house on Grove Road, Toyah Willcox is a self confessed enemy of convention.

Reportedly suffering bullying at school, due to her limp (from a spine defect at birth) and lisp, Toyah turned the tables one day, when she ‘got into class, picked up chair and threw it at the main bully.’

After school, Toyah worked to pay her way through drama school; where a chance referral saw her as ‘Sue’ – in Tony Bicat’s short play ‘Glitter’.

From there Toyah was picked for a place at the National Theatre, where she met Derek Jarman – first appearing as ‘Mad’ in his seminal punk film, ‘Jubilee’.

Forming her first band around the same time, the eponymous ‘Toyah’ were signed to a German imprint – Safari Records, in 1978.

Their debut single, ‘Victims of the Riddle’ reached No1 in the Independent  charts, with the subsequent album – ‘The Blue Meaning’, entering the Top 40; spawning an ATV Documentary and accompanying live album.

Despite the original ‘Toyah’ line up disbanding, Willcox went on to release over 10 Top 40 singles and a further 21 studio albums, including the platinum selling ‘Anthem’.

Toyah Willcox has also written two books, appeared in over 40 stage plays and 10 feature films.

Toyah is currently planning ‘The Changeling Resurrection II’ tour this autumn, celebrating the 30^th anniversary of her 1982 album.

Playing 12 dates across the UK, Toyah will be performing at the Birmingham Ballroom on 31^st October.

For more on Toyah Willcox, visit http://www.toyahwillcox.com

For more info about Toyah’s Walk of Fame Concert, alongside other gigs at the Hare and Hounds, visit http://hareandhoundskingsheath.co.uk

Words by Victoria Perks (aka VIX)

 The Ukulele Orchestra of Great Britain. Hhmmm… One could be forgiven for thinking the name sounds somewhat smug, or potentially pompous; aimed to entertain the guffawing classes.

As a uke player and lover myself, I was keen to investigate further. Don’t knock it ‘til you’ve tried it, right?

 Tonight’s show, ‘WalyWaly on the Ukulele: The Ukes explore the Cecil Sharp Songbook’, is a one-off special commissioned by Town Hall & Symphony Hall Birmingham; selling out in the strum of a ukulele.

Cecil Sharp, a British-born music enthusiast, who extensively traveled England and America in the early 20^th century collecting songs, is widely held responsible for the resurgence English folk music and culture. For me, exploring his ‘songbook’ could go either way.

 The Ukulele Orchestra of Great Britain’s (you will forgive me if I refer to them here on in as The Ukes) line-up tonight, consists of six uke players (four male, two female) and a double bass player; with one member confessing they’re not exactly aficionados of folk music. You and me both mate.

Others clearly are, as they take turns singing and announcing song after song, explaining the origins and versions; in – to be fair, a superb introduction to the genre.

 Songs such as ‘The Tree In The Wood’ (from the film ‘Wicker Man’) and ‘The Huntsman’s Delight’ were likened, lyrically, to a Napalm Death or Black Sabbath of their time. References to archetypal songs such as ‘Scarborough Fair’ and ‘House of the Rising Sun’ were apparent, as were nods to Fairport Convention, Paul Simon, Chuck Berry and even Frank Zappa.

With The Ukes closing Cecil’s songbook with the show’s title track, ‘WalyWaly (The Water Is Wide)’; covered by contemporaries including Eva Cassidy.

The Ukes’ approach is respectful (far from smug or pretentious), with a light-hearted atmosphere and time for a quick, irreverent joke:

“How many folk singers does it take to change a light bulb? Four; one to change the light bulb and three to complain it’s electric”.

(Ed – Right, that’s in the bag for the Moseley Folk Festival)

At times I did expect Morris dancers to take to the stage, with a hey nonny hey. And apart from a brief fling with ‘Sex & Drugs & Rock & Roll’, I left feeling a little cheated we didn’t get to see The Ukes’ rendition of ‘Teenage Kicks’, or one of their legendary medleys.

However, they were there to do a job; and a sterling job they did. Ending as self-deprecatingly as ever, saying “If you haven’t enjoyed the show, don’t worry, you never see it again”.

Words by Cesilia Oriana Trecaquista & Holly Pyke

Picture by Maht

Birmingham’s HMV Institute was announced as the only UK stage Editors would play on this year, as well as showcasing the band’s fourth studio album.

With a second date added ‘due to overwhelming demand’, we awaited the return of the Midlands’ well known contemporary’s.

Local support came from Free School and Peace, two bands making their own noises in the city. But not even Peace’s pretentious dreamcatcher guitar mounts, or Free School’s unnecessary mask wearing (are they really so unattractive?), could take the focus from the headliners.

And with the recent departure of Editors’ lead guitarist, Chris Urbanowicz, an understandable mixture of excitement, intrigue and anxiety charged through the crowd.

By the end of the support acts, the HMV Institute’s main room was full to capacity. Then, with anticipation palpable in the air, a backlight floods the stage; revealing Editors in silhouette. The crowd explodes into applause.

Editors open with the new, and particularly unmemorable, track ‘Sugar’; lacking the distinctive riffs provided by Urbanowich on previous albums.  But shortly follow with ‘Bricks and Mortar’, a synth heavy track (bizarrely reminiscent of the Terminator theme tune) that brings the house down.

The gig continues, with Editors giving a superb performance of old and new. Well known tracks, such as ‘The Racing Rats’, ‘An End has a Start’ (the title track from their HUGELY popular 2007 album) and ‘Bullets’ – the band’s first ever single, provide a seemingly needed sense of security to the audience; whilst a well delivered introduction to album four remains at the heart of the set .

Playing flawlessly for well over an hour, Tom Smith‘s energetic bodily contortions (in the silhouette of the perfectly choreographed lighting) gives us a feast for the eyes, as well as the ears.

And, although personally not convinced it’s as catchy or iconic, Editors’ new material keeps the audience captivated every minute of the way. It’s an understandable risk to lose interest with newer songs, but apparently not tonight.

But bizarrely, for a band that’s just lost a key member, there was no reference to any changes in line up. And certainly no introduction of the two new bodies on stage; one on guitar, one on keyboard.

There was also no introduction to songs, even the new ones, which (despite making reporting the track listing a little more challenging) felt as though the gig was aimed at only die hard Editors fans. Whilst inside and out, stood a city full of interest and potential new listeners.

Whether self indulgent or simply good value for money, Editors end with a whopping four song encore; including ‘Munich’ and closing with ‘Papillion’. Also an announcement confirming the new album’s release in 2013 – prompting a standing ovation and reluctance to leave, from the crowd.

But despite the jumping bodies, failed crowd surfing, and sea of lit camera screens, there remains a sense of uncertainty surrounding the long term future of the band.

And it would be great to see Editors play again, soon, complete with new album and lineup. The only questions are when, where and ultimately, will we?

For more gigs at the HMV Institute, visit http://venues.meanfiddler.com/hmv-institute

For more info on Editors visit http://www.editorsofficial.com