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May 10, 2017May 10, 2017

BREVIEW: Call Me Unique’s Urban Gypsy II EP – launch night @ Mama Roux’s 05.05.17

Words by Ed King / Pics by Michelle Martin & Ed King

‘You’ve always had the power to go back…’

It’s here: the day in question, of reckoning, red letter. Call Me Unique is launching her Urban Gypsy II EP tonight, three years since its predecessor came off stage at The Yardbird, with a smorgasboard showcase at Mama Roux’s – the raw and raucous live music sponge in the Rainbow portfolio. And I’ve seen the running order; I kid you not there’s over ten artists joining Unique on stage, with an average of five minutes to perform and turn around. I’d make a joke, but it’s an important day.

Known for many years as the Girl-With-The-Guitar (and still on some bus routes) Call Me Unique has been frustratingly close to something for some time. Her combination of soul, rap, jazz, verse and scat, peppered with flecks of folk and bonfire laments, has been circling the thermals for a while; deserving of adulation beyond this city, whilst gaining some ground in London and Europe (based out of Budapest) Call Me Unique has sorely needed a win. Not a pat on the back, not a friend saying ‘well done’, a win. And the only way this was going to happen, to really happen, to happen in a way that would push this all forward, was the holy trinity: write, record, release.

So, no pressure then.

Walking into Mama Roux’s the first thing I notice are the numbers. Full room – check. Next are the people who make up those numbers – a regular line up of musicians and music professionals, with some healthy creative faces on the periphery to even things out. Then there’s what I can only assume are Mama Roux’s regular crowd or the throng that attend Digbeth Dining Club, with a handful trapped at two iron mesh tables by the front of the stage. I maybe address that one.

But before anyone can say ‘shall we sit upstairs’ the stage begins, with Unique and guests walking us through the EP that started ‘the Urban Gypsy Experience’ a handful of years ago. ‘Stranger’ is up first, with rappers Trademark Blud and Boy October (aka Christian Deveaux) giving some significant punch to my favourite track from Urban Gypsy I, before trading places with Kezia Soul and Simon Jnr for ‘Here’.

The eponymous track gets Lady Sanity and RTKal up on stage, always good to see, before the pinnacle performance of the first half from Jugganaut and Malik MD7 – bouncing ‘Bombs & Wars’ around the room and back again. So far this is going extremely well. Then Ed Geater and Affie Jam join Call Me Unique to perform ‘Sholow’, with Geater’s vocal leading the song in a memorable Bill Withers moment. It’s not often you see these three on stage without guitars in their hands; wouldn’t mind that happening again.

N.B. Ed Geater produced Call Me Unique’s Urban Gypsy II EP, that’s why he is on stage tonight. All the other artists are here from love, affinity, involvement or love. Life is quite simple.

Round Two is a showcase of Urban Gypsy II, the full EP getting performed with a selection of guests – kicking off, as the god of track listing intended, with the dreamlike ‘Dreamers’. A surprisingly effective cover of ‘Genie in a Bottle’ comes up next, with a mix of vox pops and ‘eerie sounds’ taking us into ‘Birds’ – the second track from the EP in question.

The rib digging ‘Only Girl in Manville’ gets a darker delivery, as the band step back to let the words speak for themselves, before the first (noticeable, at least) slip up on a running order that could have been Chrystal Maze challenge. But without missing a beat, figuratively or literally, a quick crowd search then a “come on up here girl” pulls Tina Amana up on stage for the ‘Say My Name’ cover, who I haven’t seen with Unique since the Sun at the Station gig back in March 2015. It’s a beautiful silver lining, and represents the genuine love and support that fills up this room tonight. They even share a mic. Although that was more a technical issue than some crazed close quarter duet.

Leanne Louise is our next guest of honour, as her and Unique banter back and forth with ‘Hashtag’; no egos, a shared stage and joint presence. Job done. Then a journey back to the source with ‘The Wife’, before the final two tracks from Call Me Unique’s new EP, ‘Shoulda’ and ‘Ashon’, gets their turn in the spotlight tonight. There’s a lot of personal exposure on Urban Gypsy II but perhaps these two tracks are amongst the more visceral – challenging hypocritical fists in the former and honouring a ‘son who never got to breathe’ in the latter. But I’ll sum up the end of this set, of this gig, of this obstacle course release, in one word. Strength. Even with tears streaming down your face.

Call Me Unique has a few more to add anyway, with her standard call to “support local artists” getting sandwiched with a more mature declaration of strength. There’s that word again. But oddly, perhaps, perhaps not, it was the call to “make this our home” that I walk out of the venue carrying closest. The Yardbird was an important playground for Call Me Unique and others; full of talent, ambition and garrulous endevour. It meant a lot to many. And whilst I’ve only been in Mama Roux’s a handful of times I’m old enough to see something unfolding itself here, tonight, with an honest soul at the centre. And I can all too easily be a cynic.

So go out and buy Urban Gypsy II, support your local music scene, support your local music venues. Do as she says. And someone, somewhere under the arches in Digbeth, with an address book and a diary, should start seriously clicking their heals together.

‘…there’s no place like home.’

Call Me Unique’s Urban Gypsy II EP is out now, launched at Mama Roux’s on Friday 5th May. For more on Call Me Unique, including online sales of Urban Gypsy II, visit www.callmeunique.com

For more from Mama Roux’s, including a full events programme and online ticket sales, visit www.therainbowvenues.co.uk/venues/mama-rouxs

May 4, 2017May 4, 2017

BREVIEW: Imbalance @ The Patrick Centre 27.04.17

Words by Charlotte Heap / Pics by Moving Productions

Dynamic dance duo Joli Vyann explored the impact of society’s obsession with technology on our everyday lives with their latest show Imbalance, on a starkly furnished set at The Patrick Centre.

Ex-stuntman Jan Patzke and ex-gymnast Olivia Quale, who formed Joli Vyann almost five years ago, have said that they enjoy ‘the subtleties and sophistication of lighting and intimate and focused environment’ that indoor spaces provide. But the gloom in the Hippodrome‘s dedicated dance studio, both before and after Thursday night’s performance, meant that I missed the programme note explaining how Quayle had been replaced by Maélie Palomo – a second year student at the National Center of Circus Arts.

(Ed’s note… A spokesperson from DanceXchange later explained Olivia Quale had hurt her wrist. Maélie Palomo, who had been training alongside Quale, was elected to stand in for the Birmingham performances.)

The intimacy of The Patrick Centre proved a harsh spotlight on the young understudy, as she struggled at times to execute choreographer Jonathan Lunn’s vision as the audience is asked ‘When and how do we separate ourselves from the virtual chaos surrounding us?’ The technological revolution has changed fundamental parts of our lives, how we communicate and how we think; understanding its impact has become a hot topic across the arts.

Jonathan Lunn and Joli Vyann, working together for the first time, sought to use their fusion of dance and circus to explore the undeniable impact of technological temptations and terrors. Just two chairs and a table sat on the stage of this stripped back spectacle; the only props were mobile phones and laptops, whilst Patzke and Palomo wore nondescript costumes. Meditative chanting accompanied a brilliantly understated opening sequence which encapsulated a familiar scene: people present in each other’s company but transfixed with technology. However the challenging choreography caused the clearly shaking pair to stumble, and, in the audience, a sense of unease settled.

The scenes progressed with unrelenting acrobatics which held a mirror to modern life in a more deliberately unsettling manner. Drawing strength from a full auditorium, the duo demonstrated impressive physicality in their movement. The table and chairs were used extensively, both clunkily and cleverly, to represent communicative barriers. We moved through moments that resonated and amused: the couple moving like boxers, circling each other, tangling and twisting whilst glued to their smart devices. The soundtrack provided by Dougie Evans, co-Artistic Director of Lila Dance, featured snippets of speech from all walks of society, reinforcing the message that technology is connecting us globally but distancing us intimately.

The storytelling, however, did waver. A brief exploration of cyber bullying and suicide seemed perfunctory and slightly puzzling. The choreography was clever, showcasing impressive gymnastic skills, but like the story it lacked fluidity. Some of the elaborate acrobatics felt forced; if you’ll excuse the pun, the blend of circus with dance felt imbalanced. Imbalance carried a strong, if simple, message but was ultimately frustrating; the best moments, for a purist, came when technology and acrobatic ambition were abandoned. Too infrequently, the couple found pleasantly breath-taking synergy in slick dance sequences.

Patzke and Quayle have been performing their mix of dance, circus skills and stunts as Joli Vyann for half a decade. Palomo perhaps suffered for being a stand in; she is undoubtedly talented and was ultimately impressive, but the couple’s unfamiliarity did detract from the polish of the performance.

Imbalance is only Joli Vyann’s second indoor show and demonstrates the not-fully-realised ambition of this unique style. The acrobatics were breath-taking, but Imbalance’s impact suffered for a focus on fantastic feats.

For more on Imbalance, visit www.joli-vyann.com/dance-and-theatre-company-performances/imbalance

For more from Joli Vyann, visit www.joli-vyann.com

For more from DanceXchange, including full event listing and online ticket sales, visit www.dancexchange.org.uk

May 2, 2017

BREVIEW: Ed Geater @ Hare & Hounds 24.03.17

*Ed’s note… due to some appalling diary manoeuvres on my part, our post-gig Ed Geater content is woefully late. Apologies to all involved, on stage and off. But if you want to check Ed Geater out live he’ll be performing with Call Me Unique on Friday 5^th May – as part of her Urban Gypsy II EP launch party at Mama Roux’s. For direct gig info, click here.

Ed Geater produced Call Me Unique’s latest release; to read our Birmingham Review of ‘Shoulda’, the debut single from Urban Gypsy II, click here.

Ed Geater will also be performing at mac for the first time on June 2^nd, joined by Lady Sanity and Andrew Souter. For direct gig info, including full venue details and online ticket sales, click here. Ed Geater and Lady Sanity release ‘Found a Place’ on 16th June, click here for direct news and online orders.

Words by Damien Russell / Pics by Rob Hadley

With a background in rock and blues, I walk into the Hare and Hounds on Friday night with little to no idea what to expect. I’ve read a few bits about Ed Geater, and having been about a bit I’ve seen singer/songwriters with loop pedals before and even the odd beatboxer. That said it’s still a rare thing to see anyone using a loop pedal, singing, playing guitar and beatboxing all at once. Definitely intriguing.

I head upstairs to the soft strains of Amy Louise Ellis, a gentle welcome to the venue. Walking in there’s a reasonable sized crowd, listening intently, quietly and they kindly part ways to let me and my friend get to the bar. Ellis (and her guitarist) has a soft breathy voice that reminds me in some way of the theatre; something about the tone, I think, and the way she applies her range. She moves through her set in a slightly shy, understated way and leaves to a strong applause.

After a short break, we are treated to a set from Dee Ajayi; a dynamic performer. Ajayi (and her guitarist, albeit no relation to the previous one) has a presence and smile that you can’t help but smile back at, performing with animation and enthusiasm. She touches on Soul, R‘n’B, Funk and treats us to the odd story of a past breakup, an unrequited love, and memories of her father. These glimpses into the personal moments that have inspired her music makes me feel we, as an audience, are being given a intimate peek into the life of Dee Ajayi.

(Side-tracking slightly, about halfway through Dee Ajayi’s performance a large group of people come in to the Hare and Hounds’ Venue 2 and make a racket an elephant would be proud of, yacking away and shouting bar orders. From this point on significant numbers of people were talking and generally being inconsiderate; all the performers did admirably to ignore them and put on the show they did. Kudos to those on stage. Taking inspiration from Dee Ajayi, I try to ignore them too.)

The next act on tonight, and final support, is Bear – another duo, but this time guitarist and beatboxer Gordon Begard and singer/rapper, Faye Smith. Standing at the back of the room as Bear start their set, I have no idea where all of the sounds are coming from. I’m sure there are only two of them on stage, but I could swear there was a whole band up there. Bear perform with great energy and make an impressive sound, performing with skill, passion and a whole lot of power. As they close their set, a bigger and more hyped up audience see them off with another strong reception.

Our headliner takes the stage now, and I’m reminded that I still don’t know what to expect from Ed Geater. I’ve seen soft acoustic, funky soulful acoustic, heavy rap/hip hop acoustic… tonight could be leading up to just about anything.

As Ed Geater begins to play, a flood of influences run through my mind; all massive names. I can hear Massive Attack in the chilled out trippy vibe and steady pace. That leads me to thinking about Newton Faulkner, which I hear in the flowing intricate guitar work (fantastic guitar work, I was very jealous). Then I start thinking about vocals and how there’s a little bit of Passenger in there, alongside some more mainstream sounds. All in all the mix is a deep, rich harmony that’s a little mesmeric, wrapping itself around you like a warm blanket.

The songs start in the way that a lot of performers using loop effects songs start, and there is a bit of time ‘building’ before we really get into it. But from there Geater shows he’s at the top of his game as everything flows smoothly from section to section, making, as with Bear, a sound that far outweighs the rather understated figure on stage.

You can tell it’s a hometown show as Ed Geater gets his brother, Charlie, to join him on backing vocals for a song. There are a few other guest spots throughout his set including a collaboration with Lady Sanity, with each new sound on stage complimenting the often solo performer; it makes me wonder what Ed Geater would be like with a full group behind him. Geater’s sound is well developed and his songs are strong, but with the limits of the technology he’s using you could fall into traps at the start and end of each song, in turn losing some of the impact they bring.

But for tonight, with the set highlights for me coming in the form of ‘Gracia’ and ‘Symmetry’, I don’t feel like any of us in this Hare and Hounds crowd could ask for a better Friday night vibe.

For more on Ed Geater, visit www.edgeater.co.uk

For more on Amy Louise Ellis, visit www.facebook.com/AmyLouiseElliis

For more on Dee Ajayi, visit www.soundcloud.com/dee_ajayi

For more on Bear, visit www.soundcloud.com/fayesound

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For more from the Hare & Hounds (Kings Heath), including a full events programme and online ticket sales, visit www.hareandhoundskingsheath.co.uk

For more from Birmingham Promoters, visit www.birminghampromoters.com

April 29, 2017

BREVIEW: Table Scraps + Black Mekon @ Hare & Hounds 27.04.17

Words by Ed King / Pics by James Thomas / Video by Trapeze Film

*Birmingham Review caught up with Table Scraps just before the doors opened. To watch our interview with the band click here, or on the YouTube window at the end of this BREVIEW*

There are more qualified people here tonight, than I. As the evening rolls out conversations about blues, rock, blues rock, punk, rockabilly and the hangover of Ozzy Osbourne (figuratively), I stand on the periphery looking in. My extensive knowledge of the Tori Amos back catalogue won’t help me here.

Luckily, I have Damien Russell: drinking companion, back up wordsmith and the Cyrano de Bergerac of American blues and pan Atlantic punk. All the informed references come from him. The visceral reactions (which you could argue are just as punk as punk) and tired metaphors, they come from me.

A packed room cut in half, the Hare & Hounds Venue 2 (minus the back bar..?) is comfortably crowded as Black Mekon take the stage – and I mean take, jumping more than any men in matching jackets and Kato masks may have ever jumped before. A searing harmonica cuts over a steady, kick, drum… in a barrage of twisted blues. Strings break, shoulder straps break, speaker stacks hiss; the bouncing boy to my left is told politely “…ok, ok.” Reds, greens and dry ice take us into a double jab at “the welfare state” as short blast songs punch their way around an eagerly complicit crowd. “You’ve got to understand, Black Mekon can’t die.” The room continues to fill.

As Round One comes to a close we make a short trip through doors not meant for us, past a cigarette, then into a curiously quiet downstairs bar; maybe amphetamine is making a comeback. “Do you get the feeling if Nick Cage was to start a punk band…” offers Damien, as I write down perhaps the only intelligent part of my summary.

Some more conversations about Americana, blues and the relevance of territory and skin colour, then back up stairs for Round Two – or Table Scraps, as the bill poster presents them. I feel somewhat more confident as I do know some, not all, but enough Table Scraps songs to confidently chip in from this point, and no one is in this room by mistake. But I have ears, the Internet and not just red headed piano players in my iTunes account. And like all artificial intelligence, I too can learn.

But when the immediately faster tempo throws itself on our mercy, or perhaps the other way around, I don’t really care. See, I used an adverb, that’s how reckless I’ve become. Table Scraps on record sound gloriously DIY, but live there an added sheen. I heard ‘Motorcycle’ in the soundcheck (one of my repeated Table Scraps endevours, if not only for the lyrics) and had been “surprised at how clean the sound was”. But being neither musician nor sound engineer, this was the first of my potentially garrulous assumptions.

On stage, tonight, hidden by a sea of frenetic heads, Table Scraps sound raw, low, deep, punchy and all the other adjectives a fucking rock band should be. Or punk, or whatever the appropriate genre moniker may be here (please refer to line one). By the time ‘Electricity’ is basking in a frenetic but tight guitar solo, I’m fully on board. This is fun.

The song of the hour is up next, ‘My Obsession’, as the Table Scraps half of the latest 45 Consortium 7” gets drop kicked off stage; fierce and threatening, in a good way, like some clever simile involving Christian Slater and a Magnum .44. Then an elongated misstep proves DIY is still DIY, and a well natured “…fucking drummers man,” from Scott Abbott take us into a track the set list calls ‘Teeth’. God bless garage rock, a repeated chorus and ‘belched out’ harmonies – it’s good to see something so tight yet so confident, even in its fuck ups. It makes me like them more.

The addition of Tim Mobbs seems to have helped bolster the bolshy two piece into a more well rounded trio, with the band themselves citing the added freedom they now enjoy – on stage and in the logistic that get them there. Mobbs also has a Theremin, which he plays sporadically (is there any other way..?) by using the head of his bass guitar. It adds some extra colour and twist, no pun intended, and for some reason makes me think of the child’s chemistry set I used to own. No idea why, but warm and fuzzy is the end result.

There are moments in the rest of the set where the rapid punches move to more obvious body blows, as elements of grunge and stadium rock wrestle each other on stage. And there is some similarity to a band whose name suggests a violent approach to large seeded fruit… But the tag team vocals and unashamed solos bring a fresh edge. It is perhaps also worth pointing out that being 5ft 7” on a good day I can’t see much of what’s going on at the front of the room; I write and record this evening relying on my more audible senses.

“You know this one…” yells Abbot, before ‘Motorcycle’ stands as the penultimate track of the night – with no pretence of an encore strutting itself to the wings and back. It’s a big sound to get right in a small room, but Table Scraps have delivered their set with aplomb and I am itching with something to see them on a large outdoor stage. Roll on September 16^th.

But for now it’s back downstairs for more cider, by-partisan backslapping and reference points I will have to note down and research. Now what exactly is a ‘Black, Flag..?’

INTERVIEW: Table Scraps @ Hare & Hounds – 27.04.17

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For more on Table Scraps, visit www.table-scraps.bandcamp.com

For more on Black Mekon, visit www.blackmekon.com

For more from the Hare & Hounds (Kings Heath), including full event listing and online ticket sales, visit www.hareandhoundskingsheath.co.uk

April 20, 2017April 20, 2017

BREVIEW: The Big Birmingham Soul Night @ Town Hall 15.04.17

Words by Charlotte Heap / Pics by Paul Stringer

Stepping into Birmingham Town Hall for the Big Birmingham Soul Night is like stepping back in time. Veterans of the Motown scene, clad in the classic wide-legged Oxford Bags, plimsolls and Ben Sherman polo shirts, dominate the giant wooden dance floor with their distinctive moves.

The spins, kicks; and shuffles (equally exhausting and joyful to watch) are tricky for a Northern Soul newbie to emulate but this doesn’t lessen my enjoyment of this all-nighter. The Night Owl, itself a relative newcomer to the scene, presents an impressive line up of DJs in an equally impressive venue. The listed splendour of the Town Hall and its sprung dance floor dovetails nicely with the nostalgia of original vinyl sounds. The bill, topped by legendary DJ Colin Curtis, kept the dance floor full throughout with famous 4-4 beats.

For many of the dancers, this is clearly a relished opportunity to relive their youth and, truthfully, that’s what gives the evening its authenticity. There’s a cathartic, carefree atmosphere: a sense that these ageing Mods have been waiting for this very moment to unleash years of pent up rhythm. Strangely, it’s the younger attendees that seem almost peripheral to the action, imitating but never quite improving upon the confidence of the originators.

The music, both in the stunning main room and downstairs bar, ranges from the familiar to the rare – reflecting the original scene. DJs like Curtis hunted down American Soul 45s and brought them to the hungry masses in the North West where DJs and dancers alike tried to outdo each other with the hardest-to-come-by vinyl and the hardest-to-execute moves. Memorabilia and record stalls add to the sense that this is an event for the serious Soul fan.

The tiny downstairs bar proved to be the only real detraction: the valiant staff struggled to quench the thirst of the sweating crowd in good time. For the dedicated ‘Soulies’ this made little difference; for the more casual participant it was an annoying inconvenience. This could be easily rectified should the organisers decide to partner again, which they should.

(Ed’s note… after some post party exploration, we were told there had been another bar lurking at the back of the entrance level but most people didn’t know about it. BBSN organisers were already on the case, so next time… please drink responsibly.)

The Night Owl, recently voted Best New Venue by Birmingham Mail, has clearly filled a niche at its bar in Digbeth: it is the only dedicated Motown destination in the Midlands in decades. There’s an apparent appetite for Northern Soul and this partnership was an effective advert for the budding Birmingham Soul scene.

The issue for the organisers now is how to convert the nostalgia into real hunger for more. For the scene to thrive where previously it had withered and died, it will need to attract new, and, dare I say it, younger disciples.

For more from The Night Owl, visit www.nightowlbirmingham.com

For more from the Town & Symphony Halls, visit www.thsh.co.uk