The Gallery Archives - Page 3 of 12 -

May 18, 2018

THE GALLERY: Rita Ora @ O2 Academy Birmingham 16.05.18

You can tell a lot about a show by the queue outside the venue.

Tonight, it is an endless horde of teenage girls and their parents. Not my usual rock show, granted. However, I was their age when Rita Ora dropped her single ‘RIP’ back in 2012, so I can understand their excitement. And it’s rare for a pop star of Ora’s size to play such a small venue (if, of course, you can count the 3000 capacity O2 Academy main room as ‘small’).

First on stage is Kara Marni, who delivers a no-frills five track performance including a mashup of ‘Wild Thoughts’ by Rihanna and ‘Shape of You’ by Ed Sheeran.

Marni’s standout song tonight, however, is ‘Love Just Ain’t Enough’ taken from her debut EP of the same name; her vocals dance effortlessly over subtle R & B beats, amalgamating into a set that is short but nevertheless incredibly impressive.

Next up we have Raye, who bounds onto the stage clad in a black hoodie and shorts. Her energy is seemingly endless as she bounces back and forth to tracks such as ‘Cigarette’ and ‘Decline’, which both send the crowd into what can only be described as group ecstasy.

Personally, even whilst watching most of it through a camera lens, I enjoy Raye‘s set much more than I anticipated – and even find myself dancing along to her track, ‘Confidence’. Once my professional duties are done, of course. But a great performer and one to watch/watch out for if you get the chance.

But now it’s the main event, the artist this sold out O2 Academy crowd have all come out to see. Admittedly, I am slightly dubious about the show that Rita Ora will deliver tonight – her absence from the UK touring circuit for several years, plus the ‘smaller’ venue choice, were all seemingly red flags to me. However, as the set kicks off with a flourish I couldn’t have been more mistaken.

Opening to one of her latest tracks, ‘Your Song’, Rita Ora weaves her way across the stage along with four backing dancers – all in front of an LED screen showing lyrics to the crowd. Production wise, Ora spares nothing for her fans tonight, from a dancer being constrained in a Perspex box during ‘For You’ to a slightly amusing routine involving numerous industrial fans and chiffon scarves for ‘Body On Me’. The show pushes exactly what is possible for a performer (and production team) to achieve on the O2 Academy’s main stage.

It isn’t all theatrics, however; from dedicating her track ‘Lonely Together’ to the late Avicii, to debuting a new slower number titled ‘Soul Survivor’, Ora’s high octane performance is interspersed with slower material including a more laid back, heavier version of her hit single ‘RIP’. But the highlight of the night is when she pulls a group from the audience up on stage to celebrate one of their birthdays. Seeing a star being this genuine and dedicated to their fans is a breath of fresh air.

Finishing her set with ‘Anywhere’, another track from her eagerly awaited sophomore album, it’s clear that Rita Ora’s time out of the spotlight has been well spent. And with a whole host of new material ready for her fans to hear, I’ll be surprised if she graces the stage of a venue this ‘small’ again. Next stop, surely an arena tour.

Rita Ora @ O2 Academy Birmingham 16.05.18 / Eleanor Sutcliffe

For more on Rita Ora, visit www.ritaora.com

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Raye – supporting Rita Ora @ O2 Academy Birmingham 16.05.18 / Eleanor Sutcliffe

For more on Raye, visit www.raye-music.com

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Kara Marni – supporting Rita Ora @ O2 Academy Birmingham 16.05.18 / Eleanor Sutcliffe

For more on Kara Marni, visit www.karamarni.com

For from the O2 Academy Birmingham, including all further event listings, visit www.academymusicgroup.com/o2academybirmingham

May 15, 2018May 15, 2018

THE GALLERY: Riscas @ The Castle & Falcon 12.05.18

Words by Lydia Fitzer / Pics by Paul Reynolds

Don’t you just love a bargain? On Saturday night, Birmingham was treated to a five-for-the-price-of-one indie extravaganza. This wasn’t a discount bin situation, though. This was more of a ‘Hotel Chocolat is having a sale’ experience. You want quality? You want creativity? You want it served in a charming venue locally owned by lovely people? Of course you do.

The Clause were the first band of the night, and for me they were the biggest highlight. Distinctive, original, playful, with a frontman of the old-school allure variety (otherwise known as Pearce McMenamin. No wonder there were so many girls in the audience). Their subject matter is heavy but relatable, and their sound is punchy as a boxer’s jab.

The Clause’s music is constructed masterfully enough that I’d assumed them to be older. Imagine my surprise when I realised they’re in their late teens. I actually couldn’t be happier. I mean, if they’re this good now, imagine how great they’ll be in a few years.

They opened with ‘Tokyo’ and tons of stage presence; it was a cracking performance of one of my favourite songs of theirs. I slightly regretted the absence of its voiceover opening, though. The recorded version starts with a tense instrumental build-up and a serious female newsreader voice: “A sudden epidemic originating in the Midlands is being described as the biggest nightlife craze seen in years… a craze called Tokyo.” Go listen to it right now. Feel the atmospheric awesomeness wash over you. You’re welcome.

My favourite moment of The Clause’s set was their performance of ‘In My Element’. It was all the more enjoyable because the song is unrecorded, meaning hearing it live was like unwrapping the first gift under the Christmas tree. The opening sound was a synth-style bass line – unusual for The Clause, I think. Then… what else but the Pink Panther theme?! Played by the effortlessly cool Liam Deakin (guitar) and Jonny Fyffe (bass, backing vocals) in an endlessly cool way. The melody morphed into one of their own creation; the crowd leapt, energised and enthralled, to a beat that would make any rinky-dink panther dance.

Next to the stage were Candid, opening with their oldest release ‘Moving On’. They filled the stage with confidence and beauty (check out the tresses on bassist Sam Baines), giving buckets of performance skill. Rob Latimer (vocals, guitar) channelled passion and force with an expression of sheer musical bliss. Dan Latimer (lead guitar) didn’t give as much movement as his brother Rob, but that doesn’t mean he wasn’t delightful to watch – he played immaculately, and had a cheeky smile which was totally infectious.

Candid ended their set with ‘Lay Me Down’ – a rapid crashing instrumental with a vocal melody that you could sink into. The sound built into a tsunami before each chorus, sending the whole audience into a craze; they jumped, they moshed. Hyperactive teenagers hurled themselves onto the walls and ground, all spatial awareness shaken from their bodies (the gig was open to ages 14+). Rob opened his lips and unleashed the final note – an incredible thing which lasted for about ten years. The guy has a serious set of pipes.

The time had come to unveil the “top-secret supergroup” that Riscas had been toting on social media. Are you ready? “My name is Wolfgang Harte… and this is my band!” Hello and welcome to the Wolfgang experience. He opened with ‘Old Bird’, a song written for his mum, filling the room with a vibrating voice.

The stage was packed with talented instrumentalists. Harte mentioned that their first rehearsal together had been a mere four hours prior to the gig; they gave an impressive performance with this considered. I would say, though, that they hadn’t quite found their sound. Harte has a unique voice and it’ll take practice to shape the instrumental around him to best effect.

This is an exciting project with profoundness at its core. Wolfgang Harte started writing songs during a particularly difficult time in his life, and eventually realised that he wanted to start performing them. His friends agreed to help, et voilà! You might see the man popping up on the music scene in various cities through the rest of May – keep your eyes peeled.

As Paris Youth Foundation took the stage, a flock of fans waded to the front of the crowd to greet them. They opened with ‘If You Wanna’, one of their slightly older songs; it’s full of signature contrasting floaty and heavy layers. The most notable trait is Kevin Potter’s remarkably gentle voice. It’s soft as a pillow. Potter gave an intriguing performance style, unforced and unusual; at times he fluttered his palms like a bird in flight.

You could drift away into Paris Youth Foundation’s music. They produce a lot of arm-wavers, of which ‘London’ is probably the strongest. Even the most enthusiastic moshers of the crowd took a moment to sway in the sentiment. ‘London’ is an earnest love song. Hearing it feels like looking into the stars and searching for a lover’s face.

Potter made a start singing ‘Losing Your Love’, but barely uttered a syllable of the first verse. He didn’t need to – the crowd sang it on his behalf. With every chorus the front of the crowd crashed into a mosh pit (I mentioned that the gig was open to ages 14+ and the enthusiasm the younger crowd had for moshing was unbelievable. I never would’ve thought I’d see so many mosh pits outside of the metalcore scene). They finished off with ‘Missing the Mark’, featuring girls towering on their friends’ shoulders and even a spot of crowdsurfing.

Finally, it was time for Riscas. They strolled onto stage to the sound of lazy guitar and deafening applause, then sailed into ‘Talk Your Mind’. They bopped around the stage during the intro, and flew into the first verse with legs made of springs. Riscas have a layered sound that never stops for breath, and cruises like a cyclist in the summer.

George Maycock (vocals, guitar) worked the crowd into a frenzy – “Come on, come on, come on!” By the time they reached ‘Right Kinda Day’, the crowd was bursting with excitement like cola bubbles; what better mood to introduce their most popular song? ‘Panic Like Tom’ was their debut single, and had a big ol’ heap of success. It really is a work of brilliance. Listening to it makes me feel stretched across time.

Riscas ended their set with ’10:42’. Flashing lights let you know, in case you didn’t already, that this was A PARTAY! A horde of fans clambered onto stage and lived their best lives. The band released huge sliding riffs, building the biggest noise of the night; this was Riscas’ largest hometown gig so far, and those boys did Birmingham proud.

Riscas @ The Castle & Falcon 12.05.18 / Paul Reynolds

For more on Riscas, visit www.riscasofficial.com

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Paris Youth Foundation – supporting Riscas @ The Castle & Falcon 12.05.18 / Paul Reynolds

For more on Paris Youth Foundation, visit www.parisyouthfoundation.com

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Candid – supporting Riscas @ The Castle & Falcon 12.05.18 / Paul Reynolds

For more on Candid, visit www.facebook.com/candidcoventry

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The Clause – supporting Riscas @ The Castle & Falcon 12.05.18 / Paul Reynolds

For more on The Clause, visit www.soundcloud.com/theclause

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Wolfgang Harte – supporting Riscas @ The Castle & Falcon 12.05.18 / Paul Reynolds

For more from Hey Honey, visit www.facebook.com/HeyHoneyUK

For more from Sonic Gun, including further event listings, visit www.facebook.com/sonicgunconcerts

For more on The Castle & Falcon, including venue details and further event listings, visit www.castleandfalcon.com

April 27, 2018April 27, 2018

THE GALLERY: Mallory Knox @ Mama Roux’s 24.04.18

Words by Yasmine Summan / Pics by Eleanor Sutcliffe

Mallory Knox have returned from their brief hiatus to shed any doubt or dismay, as they charge through the UK on their self-titled tour of 2018 – joined by JUDAS and Dead! Playing a series of more ‘intimate’ shows, the now four piece band are back on the road for six dates throughout April, ready to rock out until they tear the whole room apart from Brighton to Glasgow.

Tonight is Mama Roux’s turn, as Birmingham hosts the penultimate gig before Mallory Knox close out their tour at the Bodega in Nottingham. JUDAS are first to kick in, and whilst I enjoy their typical indie rock style of stripped down, guitar riffs, and continuous drum set loops – that shifts attention onto the ‘tom toms’, bringing an elevated, pop element to their music – the harmonies are scathed by off-pitch, out of tune rhythms and a lackluster vocal range from lead singer, John Clancy.

The man clearly appears to be trying his hardest, but rather than having his vocals crisply cut through thin air they crunch into the microphone and even become inaudible at times. Although JUDAS maintain a vivacious stage energy throughout their set and gain quite humbling crowd engagement, albeit with sadly off par vocal ranges that somewhat scorn their talents and on occasion left me to painfully cringe.

Bursting through the doors of the mainstream industry to alight the new age of rock and roll, Dead! dominate as the main support act – immediately blowing the roof clean off the Mama Roux’s. Bordering between alternative/punk rock, Dead! omit the typical nonchalant, wild and chaotic personality of 70’s rock in their performance. Whilst screeching guitar riffs burn through every strum of the finger, heavy kick drums create a low thumping rhythm to head bang to – alongside Alex Mountford’s enthralling vocals that cling to every corner of the room.

Dead! strategically play slower verses that intensely build into high energy, fast tempo choruses, with mosh pits opening up left, right and center. Pandering to the crowd with fan favorite songs (as Sam Matlock shreds his guitar solo to ‘Enough, Enough, Enough’ whilst balancing on Louis Matlock’s drum kit, in true rock and roll style) I feel that their set list underwhelms their talents. Their performance tonight is perhaps mellowed out for Mallory Knox’s crowd, but songs like ‘Off White Paint’ and ‘Enemy’ hold an evident absence during the show.

But now it’s time for the headline act, playing one of their first live shows since the departure of vocalist Mike Chapman in February this year. And there’s no messing about from tonight’s crowd, with fans practically diving onto the stage as Mallory Knox kick in with their new single, ‘Black Holes’. Bassist and now vocalist, Sam Douglas, captivates the room as he rushes onto the stage, blaring his gnawing bass riffs with every burning strum. Moving as one body, the room responds and elevates into chaos, as everyone jumps around and seemingly quite literally loses their minds.

Bouncing around the room, Mallory Knox perpetuate boundless stage energy, with guitarist, Joe Savins, leaning into the crowd to sing along with fans. Radiating a humble nature, Douglas and the rest of the band thank everyone for coming out – with the now front man even delving into his personal life, to openly admit he is struggling but the fans are helping him through.

As off the wall moments of insanity among the audience sway through the show, including lots of crowd surfing and mosh pits, the momentum of the set moves like a rollercoaster. And whilst their track list tonight also features fan favorites, including some of their best hits such as ‘Beggars’ and ‘Better Off Without You’, upon reaching the forth song the show mellows out almost too drastically.

The pace set by their lively start takes a seriously low drop as Mallory Knox reach the middle of the set, picking up with a few newer tracks towards the end. But the ball begins to properly (rock and) roll again when they brake through with ‘Wake Up’, sending the Mama Roux’s back into uproar once more. Since the departure of Chapman, Mallory Knox appear to be shedding their 2013 alternative rock cage – one that has arguably overshadowed their sound for years – and are advancing into heavier rock, incorporating lower riffs and fast tempo beats. It does feel that Mallory Knox’s newer singles, ‘Livewire’ and ‘Black Holes’, gain popularity from the audience as they drive the band’s creative direction into new horizons, possibly paving an exciting future for the band’s sound.

It’s clearly been a tough time for Mallory Knox since the recent departure of their long-time vocalist, Mike Chapman. And whilst they power through their performance tonight, I’d argue that the band are still not fully rehearsed or together since this event. Moments of vulnerability, unknowingness, and confusion peak through their performance – as microphone stands fall over mid-song, off-time rhythms weave through their guitars, and Douglas’ voice strains itself to reach the capabilities that Chapman could.

I respectably applaud Mallory Knox for continuing with this tour despite all odds, and there are clear moments were their talents shine through. But perhaps a more sensible response would have been to postpone the tour until the band were fully ready to perform without Chapman. In fact, their unsparing mistakes tonight only emphasise the absence of Chapman, leading some including myself to think ‘would this happen if Mikey were here?’

Reflecting on tonight’s show, Mallory Knox are clearly trying as best as they can to make ends meet; plunging into a year-long hiatus would realistically have only tarnished their popularity and most likely upset fans, so the band have pushed through despite their recent loss – one that has clearly impacted their live performances.

And whilst they may still be finding their footing as a four piece, shreds of their former glory did flutter through their set, especially with Douglas’ heightened confidence when performing new tracks. I feel that with time this band will be back on their feet again.

Mallory Knox @ Mama Roux’s 24.04.18 / Eleanor Sutcliffe

For more on Mallory Knox, visit www.malloryknox.com

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Dead! – supporting Mallory Knox @ Mama Roux’s 24.04.18 / Eleanor Sutcliffe

For more Dead!, visit www.theinternetisdead.co.uk

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JUDAS – supporting Mallory Knox @ Mama Roux’s 24.04.18 / Eleanor Sutcliffe

For more on JUDAS, visit www.wearejudas.com

For more from Kilimanjaro Live, including further event listings and online ticket sales, visit www.kilimanjarolive.co.uk

For more on Mama Roux’s, including venue details and further event listings, visit www.facebook.com/mamarouxs

April 20, 2018

THE GALLERY: Trivium @ O2 Academy 17.04.18

Words by Yasmine Summan / Pic by Phil Drury

Florida’s heavy metal band, Trivium, set Birmingham a blaze this week as they storm through the UK on their The Sin and The Sentence World Tour 2018 – bringing city fans extreme head banging, searing guitar riffs, intense breakdowns, and a varied set list of their best hits since they first formed in 1999.

Fans flocked to the O2 Academy Birmingham in the thousands, hounding the merch tables and practically clinging onto the barrier with faces from all generations wavering through the crowd. I could feel the waves of nostalgia and excitement flooding through the room as fans joyfully ran in, decked out in ancient Trivium memorabilia unseen for years.

Opening the night, UK death metal band, Venom Prison, stormed onto the stage with a high energy performance and excessive head banging from vocalist, Larissa Stupar – who’s impressive screams filled the room and left everyone stunned.

Power Trip followed with their unique sound that revives the best elements of 80’s thrash metal, but takes aspects of modern metal to create a unique flare to their music. Their intensely high tempo, fast paced rhythm and scorching guitar solos had energy buzzing through the air; the whole band emanated great stage presence, with guitarist, Blake Ibanez, leaning into the crowd to sing along with the fans.

Code Orange stood out for their insane, off the wall performance that sky rocketed the energy levels in the room. Before their set had even begun the band’s guitarist, Dominic Landolina, ran off the stage and jumped into the crowd, gathering excitement amongst fans.

Whilst I enjoyed the diverse range of support acts, the drastically varying subgenres didn’t fairly compliment their collective talents. Hardcore is often more aggressive whilst metal is more melodic, which garner completely different audiences. Whilst the majority of the crowd was lively, this did result in some disinterested faces across the room and I think better consideration could have been put into the arrangement of the line-up.

As the lights dimmed and fans eagerly waited, I was unsure of what would entail for the atmosphere in the O2 Academy after the mixed reactions for the previous acts. However, I can assure you that as Trivium’s lead vocalist, Matt Heafy, swarmed onto the stage and the thudding of Alex Bent’s drums began to charge through the room, all hell truly did break loose. Trivium kicked in with their latest track, ‘The Sin and The Sentence’, causing crowd surfers to flood through the barriers, with mosh pits circulating around the room as an intoxicating rush of adrenaline dazed the crowd.

Their performance was practically unscathed, it felt so well-rehearsed and strategically thought out. From the layout of the stage that matched their latest album cover, to the lights syncing to the beat of the drums and every single riff tearing its way through the room without a single distorted note in sight, I was beyond overwhelmed with the outstanding performance – especially at Heafy’s guitar riffs that were so crisp they could cut through thin air.

Trivium play on the traditional styles of heavy metal music, which was translated great through their older hits like ‘Throes of Perdition’ and ‘Becoming the Dragon’ with highly amplified extended guitar solos and emphatic drum beats, similar to heavy metal bands like Iron Maiden and Pantera. Although arguably, I do think the lack of their works from popular albums such as Shogun and The Crusade was underwhelming, seeing as these tried and tested tracks translate well with the fans when performed live.

The band moved as one body and fed from each other’s energy. It was clear to see the devoted passion for their work thriving through each member; at times you could even see bassist, Paolo Gregoletto, rapidly strumming with sweat soaking his face, as if he was pouring his soul into every strum. Even between songs the band’s genuine nature transpired, as they constantly thanked the crowd and shared moments of their last time in the UK with Heafy saying he feels that “the UK basically adopted us” because of how frequently they visit.

Short bursts of surreal moments are what truly captivated the O2 Academy Birmingham crowd and brought the room together. It was humbling to see fans completely in awe with their eyes glued to the stage, or even to see someone coming out of a mosh pit completely covered in blood but with a huge grin plastered across their face as they sang along to every word.

Trivium are stretching their adventures across the UK and will be visiting Manchester and London before finalising their The Sin and The Sentence Tour for 2018. But as for their stop at the O2 Academy Birmingham, it brought a nostalgic pang of happiness to see fans, families and friends all enjoying themselves.

Trivium @ O2 Academy 17.04.18 / Phil Drury

For more on Trivium, visit www.trivium.org

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Power Trip – supporting Trivium @ 02 Academy 17.04.18 / Phil Drury

For more on Power Trip, visit www.powertripsl.bandcamp.com

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Code Orange – supporting Trivium @ 02 Academy 17.04.18 / Phil Drury

For more on Code Orange, visit www.codeorangetoth.com

For more on Venom Prison, visit www.venomprison.com

For more from Live Nation UK, including further event listings and online ticket sales, visit www.livenation.co.uk

For more on O2 Academy Birmingham, including venue details and further event listings, visit www.academymusicgroup.com/o2academybirmingham

March 31, 2018

THE GALLERY: Fall Out Boy @ Arena Birmingham 27.03.18

Words & pics by Eleanor Sutcliffe

I’ve always wanted to see Fall Out Boy. Ever since I smuggled my brother’s album collection from his room and listened to them on my paint splattered stereo, I’d been determined to catch the band live and in action.

Due to Arena Birmingham’s new security procedures, getting into the venue took longer than usual. So, I unfortunately missed the first support slot – MAX. However, I arrived in time to catch Against the Current – and what a set it was.

Bursting on stage to their single ‘Wasteland’, singer Chrissy Constanza weaved her way across the platform belting out track after track of pure, unaltered pop rock. Songs from their debut album In Our Bones, such as ‘Blood Like Gasoline’, went down a storm with the Arena crowd, as did their closing track ‘Gravity’. Hopefully, it won’t be long before Against the Current head out on their own UK headline tour – they’ll have gained enough fans from this run with Fall Out Boy to do so, that’s for certain.

Fall Out Boy are no strangers to theatrics and this show was no exception to that rule. As the house lights went down, and the stage lit up with a video of crashing waves and a timer, the room erupted into a cacophony of participation as fans counted down with the clock. Opening with their track ‘Phoenix’, I was expecting drama – however, as countless pyro flares went off (and I felt my skin burn from the heat) I realised I may have underestimated just how much effort the band would have put into production.

You name it, they had it. Pyrotechnics, smoke grenades, strobes, even two levitating stages by the sound desks clad in LED screens – if you haven’t heard of Fall Out Boy before, I urge you to see them play not just for the music, but for the experience. It’s rare these days for a band to put together such a strenuous, precise set, and to pull it off with seemingly effortless ease that I cannot even begin to comprehend how.

Bounding up and down the central walkway, singer Patrick Stump and bass guitarist Pete Wentz seemed to possess endless energy throughout the set – sprinting up and down continuously, only stopping to haul themselves onto the two levitating stages at the end. For all of those who had queued to hug the barriers down at the front, this must have been incredibly frustrating – however for the fans cooped up in the balconies, it was a real treat. If you can’t get to Fall Out Boy, rest assured they’ll bring their show to you.

Still riding high on their own phoenix from the flames, and a cemented return to form with MANIA – their third album since the ‘decompression’ – their set list was as varied as ever too. Newer material such as ‘Young and a Menace’, played by Stump on a grand piano, nestled in next to fan favourites such as ‘Dance Dance’ across a 23-song set that was sure to please everyone in the Arena crowd.

There was even an array of challenging and (no doubt intentionally) incendiary video screen clips – from babies swearing during ‘I Don’t Care’ to footage of Princess Diana’s life and untimely death during ‘Champion’. You could almost feel the Daily Mail journalists sharpen their Parker pens at the latter.

But as for the four lads from Illinois, on stage and at the centre of it all, Fall Out Boy pulled together a set that was both provocative and thoroughly enjoyable. And for me, bucket list – tick.

Fall Out Boy @ Arena Birmingham 27.03.18 / Eleanor Sutcliffe