The Gallery Archives - Page 5 of 12 -

January 31, 2018January 31, 2018

THE GALLERY: Miss May I @ Mama Roux’s 24.01.18

As I drive onto Lower Trinity Street to park my car I see a red, double-decker tour bus with a trailer right outside Mama Roux’s. At first I thought a band due to play in the main room of the O2 Institute had parked outside the wrong venue; it’s normally vans and cars I see parked on this street, not tour buses fit for major rock stars.

But of course, it makes sense. Tonight’s headline act, Miss May I, are traveling across the UK and Europe on their We Are Stronger Than Before tour with American bands, Fit For A King and Currents, along with Void of Vision from Australia. It’s only right such a metalcore smorgasbord should be in a big, comfortable tour bus together.

I arrive just in time to see Currents, who hail from Connecticut, open the night. This is their first international tour, which also means their first time in Birmingham. Usually, not many people arrive at a gig early enough to watch the opening acts but Currents really give it their all on the stage in front of the first few that watch them. First impressions count after all.

I shoot the first three songs of Currents’ set, then take advantage of a rare opportunity to sit in a booth upstairs at Mama Roux’s, reviewing the images I’ve taken.

As the next band set up the stage, I scan the room from the balcony, looking for interesting perspectives to shoot from. The room isn’t filling up with too many more people, so it appears this night won’t be the busiest – great for me making my way to and from the front of the stage, perhaps not so great for those on it.

I head to the floor to shoot Void of Vision, another band performing for the first time in Birmingham, although going by their solid set and engagement with the crowd you wouldn’t believe that. Donning a baseball cap and oversized t-shirt, frontman Jack Bergin paces the stage, encouraging the audience to start circle pits and wave their arms in the air.

From seeing a few people wearing their t-shirts, and a few comments I overhear, I sense that the main support act, Fit for a King, are the band a lot of people are really looking forward to. Their presence on stage has more people heading towards the front, giving me relatively little space to shoot from, but keeping us all in a nice and understanding crowd.

It’s only fair that I extend that courtesy too, by keeping my stance as low as possible, and by keeping my time at the front of the stage short so the ticket paying public can make use of the space. After all, fans have shelled out over £12 a ticket to experience a great night of metalcore, not the back of a photographer’s head. I spend the rest of Fit for a King’s set on the fringes of the room, enjoying watching the majority of people sing along to their songs word for word. I just know that Fit for a King are a band that really means something to these fans.

The atmosphere starts to feel a bit deflated by the time Ohio’s Miss May I grace the stage. It could be that people are slightly drained from the excitement of Fit for a King, but Miss May I don’t quite get the reception that I would have expected for a headline act.

They open their set with a few singles from their latest album, Shadows Inside, but it isn’t until they play more familiar numbers like ‘Hey Mister’ that the crowd really starts to give the band their full energy. Perhaps four full hours of metalcore can get a little too much in the end, but overall I’m sure it was an enjoyable night for the fans.

Miss May I @ Mama Roux’s 24.01.18 / Aatish Ramchurn – Birmingham Review

For more on Miss May I, visit www.missmayimusic.com

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Fit for a King – supporting Miss May I @ Mama Roux’s 24.01.18 / Aatish Ramchurn – Birmingham Review

For more on Fit for a King, visit www.fitforakingband.com

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Void of Vision – supporting Miss May I @ Mama Roux’s 24.01.18 / Aatish Ramchurn – Birmingham Review

For more on Void of Vision, visit www.voidofvision.com

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Currents – supporting Miss May I @ Mama Roux’s 24.01.18 / Aatish Ramchurn – Birmingham Review

For more on Currents, visit www.currentsofficial.com

For more on Mama Roux’s, including full event listings and online ticket sales, visit www.facebook.com/mamarouxs

For more on Surprise You’re Dead! Music, visit www.surpriseyouredeadmusic.co.uk

January 29, 2018January 29, 2018

THE GALLERY: Riscas @ The Sunflower Lounge 19.01.18

Words by Molly Forsyth / Pics by Paul Reynolds

There is a particular charm to walking down the beaten stairs of a tucked away bar, having a cross marked on your wrist as you squeeze yourself and your Red Stripe can in amongst the crowd to see who are the bands that are getting people talking.

Tonight, Riscas and some excellently chosen guests are not only getting people talking, but screaming, bouncing from body-to-body like a game of pinball, and generally causing beautiful chaos with their rabble-rousing indie tunes in The Sunflower Lounge.

First up for the baying crowd is The Real Cool, receiving what I perceive to be the coolest reception of the evening (pun unintended); I will put that down to being first on stage. What follows is a set of well-crafted synth pop, complete with lilting melodies over percussion inspired by the tropicana trends of the early eighties.

A lot of modern bands prefer to emulate the minimal, colder sounds of electronica, but while The Real Cool definitely match that aesthetic, their music betrays them, instead embracing joy, fun and a dash of flamboyance, reminiscent of La Roux and Muna. My favourite song of the entire evening happens to be the band’s latest single, ‘Always Her’, a delicate, summer-friendly melody overlaid on crisp, punchy snares and hi-hats. I look forward to seeing more of this trio in the Birmingham scene.

Next up for the now warmed-up crowd are Candid. Hailing from Coventry, Candid carry the confidence of a band who know how to bring thier music to the stage. Ripping through riffs with increasing ferocity, they endeavour to meet the hunger of the crowd, as it becomes rowdier and rowdier. It takes a lot of resistance to not be taken in by their energy.

I only wish that some of the songs didn’t bleed so easily into others. There were times where I wasn’t sure where one song started and another began. Some of the more distinct rhythms get drowned in the guitars, and bringing in a better balance between their instruments (while keeping the same fervour in their performance) would help Candid greatly. ‘Lay Me Down’ is the band’s strongest offering of the night, while new song, the anthemic ‘Breathless’, should see them gain ground with new fans this year.

Before the headliners grace the stage, Spilt Milk Society offer what I believe to be the most attention-grabbing set of the evening. If you listen to Spilt Milk Society’s music regularly and have followed its progression, which has coincided with the development of a strong internet fanbase, you will take joy in hearing how the songwriting has improved. While it is a bittersweet set to witness – with both drummer and bassist departing after tonight’s gig – this is a band on the cusp of achieving sonic greatness.

Comparing earlier successes such as ‘She Tastes Like Summer’ through to most recent track ‘Amsterdam’, you can trace a band that has grown more and more experimental and aware of how to add nuance and intricacies to infectious melodies. Spilt Milk Society have said that there is plenty of “bangers and mash” to come. After tonight, I believe them wholeheartedly.

Finally, we are treated to a barnstorming headline set from Riscas – Kez Handley’s Hey Honey Management has created a monster, if tonight is anything to go by. Riscas deliver a truly frenetic set from start to finish, filling the relatively small quarters of The Sunflower Lounge with electricity – including a brilliant moment where the band’s frontman, George Maycock, escapes into the crowd to whip us further into hysteria.

Riscas have mastered the art of what I refer to as the ‘indie jangle’; the distinct ringing of a fastly-strummed guitar that makes you feel like you in the middle of August, dancing around with a flower crown perched on your head and overpriced Tuborg in hand.

New song ‘Right Kinda Day’ hits a sweet spot of gentle, twee charm with enough power to soar once the chorus hits, while the band’s biggest hit to date, ‘Panic Like Tom’, gets the crowd jumping. If Riscas don’t find themselves on a FIFA or Made In Chelsea soundtrack soon, I will be stunned.

Riscas @ The Sunflower Lounge 19.01.18 / Paul Reynolds – Birmingham Review

For more on Riscas, visit www.soundcloud.com/riscasuk

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Spilt Milk Society – supporting Riscas @ The Sunflower Lounge 19.01.18 / Paul Reynolds – Birmingham Review

For more on Spilt Milk Society, visit www.spiltmilksociety.co.uk

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Candid – supporting Riscas @ The Sunflower Lounge 19.01.18 / Paul Reynolds – Birmingham Review

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

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The Real Cool – supporting Riscas @ The Sunflower Lounge 19.01.18 / Paul Reynolds – Birmingham Review

For more on The Real Cool, visit www.therealcool.wixsite.com/therealcool

For more from The Sunflower Lounge, including full event listings and online ticket sales, visit www.thesunflowerlounge.com

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

For more from Birmingham Promoters, including further event listings and online ticket sales, visit www.birminghampromoters.com

December 31, 2017December 30, 2017

THE GALLERY: The Sunset Beach Hut @ Mama Roux’s 21.12.17

Words & pics by Aatish Ramchurn

There’s something of a relaxed atmosphere on this mild, winter solstice night in Birmingham, which sets the tone for my final visit of 2017 to Mama Roux’s.

In the past year I have become well acquainted with this homely, decorated venue, and experienced a variety of gigs here. Some were sold out and I could barely move; with others I had more freedom to roam around.

Tonight’s gig is the latter. So much so, I believe it is quietest I have ever seen Mama Roux’s. You’d have thought that a headline gig from Shrewsbury’s The Sunset Beach Hut with some local luminaries in support – as presented by Sonic Gun Concerts – would be a little more full of festive cheer. But I guess you can’t expect too much of a crowd for a line up of emerging bands, especially with Christmas Day just around the corner. It seems each act tonight has rely on the support of their friends and family.

Kicking off proceedings are Miss World, an acoustic duo that make some of us feel a little nostalgic with their stripped-down covers of 90s pop and RnB songs, along with a couple of Christmas songs because, why not? It’s Christmas after all. They’re an extremely talented duo and could well be one to watch out for – especially if they start producing more of their own material, something I’m sure Miss World are more than capable of.

With just a small amount of people watching Miss World, I have a virtually empty floor to roam around and take photos on, that is until Junior Weeb appear on stage. A recorded audio track of ‘Tony the Tiger’ introduces the band with many of their fans and friends now filling up the floor. This leaves me doing my usual crouching at the front, but the floor isn’t so busy that I have worry about me being in anybody’s way, and neither is anyone really in mine. I think crouching at the front of stage is something I’m so accustomed to it’s become of a photographic habit.

I remember seeing Junior Weeb over a year ago at The Rainbow, supporting Muncie Girls. Back then their style was a little more shoegaze, but they are a different band tonight. Much more of their set is filled with funky numbers and groovy baselines, so it is virtually impossible not to dance.

But as Junior Weeb leave the stage, so does their audience. The venue is now virtually empty again and I’m wondering what’s left for Quinn when they show up next. Turns out, they have their very own audience too. I’m not even sure where some of these people were before; I’ve been here almost two hours, and throughout that time I’ve not seen any of these faces. Maybe Quinn’s frontman, Sam Lambeth, made them magically appear somehow.

Quinn’s sound is very reminiscent of early 90s indie, with Lambeth vibrant on stage. After performing tracks from their debut EP, Seems Fine, Quinn end their set keeping to Christmas tradition with a cover of ‘Do They Know It’s Christmas Time’.

As with Junior Weeb earlier, Quinn’s audience exit the room as the band do – leaving a barely there audience for The Sunset Beach Hut to perform in front of. I admire the headliner’s spirit to still play with passion, despite the lack of people, especially after having to travel from Shrewsbury.

It’s a shame that people don’t stick around to check out other bands who aren’t their friends, but such is the way, I guess. Although, an emptier floor does mean easier pictures for me to take.

Overall, it was great to see The Sunset Beach Hut tonight – performing alongside other young, talented acts emerging from the West Midlands. I hope they all gain more support as they and grow in 2018.

The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

For more on The Sunset Beach Hut, visit www.thesunsetbeachhut.wixsite.com/sunsetbeachhut

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Quinn – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

For more on Quinn, visit www.soundcloud.com/quinn

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Junior Weeb – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

For more on Junior Weeb, visit www.soundcloud.com/juniorweeb

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Miss World – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

For more on Miss World, visit www.facebook.com/misswworldband

For more from Sonic Gun Concerts, visit www.facebook.com/sonicgunconcerts

For more from Mama Roux’s, including full event listings and online ticket sales, visit www.facebook.com/mamarouxs

December 7, 2017December 7, 2017

THE GALLERY: Jaws @ O2 Institute 01.12.17

Words by Ashleigh Goodwin / Pics by Phil Drury

After shuffling to the O2 Institute wrapped in my coat and pushing my face into my scarf, I want nothing more than to sit down by a fire and not move for a few hours.

However, upon entering the venue it’s hard not to adopt the enthusiasm from those also attending the Jaws homecoming tonight; it’s infectious, and as large groups of people snake round the walls for the cloakroom and the merch desk there is definitely an air of excitement (and a bit of pre-emptive screaming).

Heading upstairs, South Londoners Social Contract (described by Jaws as “a bloody great new band”) are starting up and have already attracted a decent cluster. People are scattered around, looking appreciatively at the stage, and throughout their set the room begins to fill up with groups at the back making space for dancing whilst flinging their arms around each other and jumping in unison.

Social Contract deliver a really interesting set, incorporating pop, grunge and a danc-ier edge when performing their debut single, ‘Citizen’, which was released earlier this year. The atmospheric pink lights that stream from the stage only solidify their calm and cool performance, whilst singer Josh drawls “yeah, what’s good?” Although their catalogue of releases is small online, I’d definitely check this band out if you’re a fan of Foals or Bombay Bicycle Club.

Marsicians are the second support, and the crowd responds instantly – if you had no knowledge of the tonight’s show you’d think they were the headlines. Self-described ‘upbeat indie meets dirty pop’, Marsicians perform a strong set giving a slightly Circa Waves vibe and on certain tracks, such as ‘Arms of Another’, James Newbigging’s vocals bare similarity to Matt Healy of The 1975. The set includes tracks such as the insanely catchy ‘Too Good’ and ‘Throw Ourselves In’, all of which incorporate memorable guitar riffs or choruses as well as a feel good vibe – making them translate extremely well in a live space.

The aura from the band is something really special too, they look so completely in their element and I didn’t expect to get so into it, which left me wishing I’d checked Marsicians out prior to tonight. Between the overall chaotic crowd and the flying pints (that didn’t seem to faze them) Marsicians wind down with their last song of the set, ‘Absense’ – an atmospheric slow burn that ends in a medley of guitars. And as cliché as it sounds, you can feel the emotion radiating from the stage and it leaves the crowd completely hyped.

Throngs of people now move around the venue, calculating how and where to get the best view for Jaws. Following this I find my way to the balcony, which is pretty much deserted as the floor below is full of bodies pressed together. The crowd sing enthusiastically to Nirvana and The Darkness in the changeover but surprisingly, the biggest reaction is when Skepta’s ‘That’s Not Me’ begins, with a large bulk of the crowd instantly pushing, shoving and manically jumping around. This preludes Jaws, as the lights fade and people instantly take to their mates shoulders despite the O2 Institute security gesturing for them to get down. Jaws’ sign at the back of the stage lights up and the crowd absolutely lose it as the Birmingham born band now take to the stage.

The opening, swirling, guitar riff to ‘Surround You’ starts and people sing along to the beat whilst the crowd go crazy – pushing and swaying relentlessly, as lead singer Connor Schofield greets the audience with “what you saying Birmingham, we good?” By the time Jaws perform their third song, ‘Think Too Much, Feel Too Little’, from their debut album Be Slowly, it’s hard to tear my eyes away from the crowd; it’s like watching something on fast forward, the atmosphere is electric and when an adventurous audience member jumps on stage mid-set, the trio don’t falter once as the guy bounces and sings all whilst getting escorted off by security.

Through ‘Work It Out’ and ‘What We Haven’t Got Yet’ – from Jaws’ Simplicity album (released early November), pits are created before the songs even start; people sway on their mates shoulders, beer, jackets and even a shoe at one point fly through the air. Schofield relays “you guys have a lot of energy, thanks!” before inviting the crowd to sing through tracks such as ‘17’ after announcing “my voice is fucked, sing along”.

Schofield proclaims, “I don’t know what to say, this is amazing, thanks…it’s nice to be here”, and the trio finish with ‘Be Slowly’, before the lights to down and Jaws disappear off stage after a completely mesmeric set, which of course is met by the “we want more” chant. Before there is time to process, inflatable beach balls are thrown into the audience from the balcony, welcoming Jaws back to the stage as they launch into ‘Donut’ with Schofield saying “let’s enjoy the rest of the evening together” before completing a four-strong encore. Jaws finish on ‘Gold’; the crowd finish with the momentum that they have somehow sustained throughout the whole set.

Seeing Jaws headline in such a large venue as the O2 Institute really does solidify the idea of supporting local acts; tonight you can feel a sense of pride, seeing this Birmingham born band receive such an amazing reception. Their two albums are strong standalones, but whether it’s due to the energetic crowd or just the gig atmosphere that gives their songs a fuller sound, Jaws should definitely be caught live if you ever have the chance.

As tonight’s opening band Social Contract said in their set, “it’s the last day of the Jaws tour…it’s been a fucking great time, we had a blast”, and you only have to look at the crowd streaming out of the O2 Institute at the end of the night to know they did too.

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

For more from Jaws, visit www.jawsjawsjaws.co.uk

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Marsicians – supporting Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

For more from Marsicians, visit www.marsicans.co.uk

For more on Social Contract, visit www.soundcloud.com/socialcontractband

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

For more on the O2 Institute, including venue details, event listings and online ticket sales, visit www.academymusicgroup.com/o2institutebirmingham

December 3, 2017December 3, 2017

THE GALLERY: Rews + The Hungry Ghosts + Ed Geater at the Birmingham Review Winter Showcase @ Actress & Bishop 25.11.17

Words by Ed King / Pics by Rob Hadley

On Saturday 25th November, Birmingham Review presented its Winter Showcase at the Actress & Bishop – a sold out live gig with Rews, The Hungry Ghosts and Ed Geater. It’s taken me more than a week to recover.

I’ve sat down to write a review of the night several times too, but how do you write a report about your own gig..? You can’t, well I can’t. But luckily our friends at Counteract can, so for Charlotte Niblett’s two cents on the Birmingham Review Winter Showcase click here – with some cracking pics from Paul Reynolds thrown in for good measure. And I have been kicking myself that in all the copy I’ve written about Ed Geater I never came up with ‘triple threat’… good work Charlotte, love that one.

Also, I kinda/sorta don’t have to write anything as the solider of Birmingham Review (or Rob Hadley as he is know in the wider world) was front row and centre for the entire evening with a camera in his hands. And if a picture paints a thousand words then there’s around 84k without you fluttering an eyelash or me hitting a key. Any more would just be rude.

There are some cherry picked pics below, but I would CAPITAL LETTER SUGGEST you check out the full Flickr of Rob’s pics by clicking on this hyperlink or the suitably subtle prompts littering this report.

But now you’ve got me typing away… the Birmingham Review Winter Showcase wasn’t only a chance to book three acts that are all amongst the most exciting on the national gig circuit today, it was an opportunity to put our money where our mouth is. Birmingham Review covers many corners of the city’s cultural landscape, but music is where we began and will always be an intrinsic part of our content.

Rews, The Hungry Ghosts and Ed Geater all have a real “chance at whatever metaphor you use for success”, and we’ve said so with words and pics several times before. But on Saturday 25^th November Birmingham Review got to be part of that progression, even if only for one night. But what an incredible night it was.

Ed Geater opened up to an already busy room, playing the tried and tested from his portfolio such a ‘Symmetry’ and ‘Don’t Think’ alongside a quick toe dip into some newer waters. Layering beat boxing over acoustic six string melodies, with the occasional breakbeat to keep you quite literally on toes, Geater kicked off the Winter Showcase with poise and aplomb. The Hungry Ghosts swaggered on stage for the second set, oozing with gin and mischief, and served up a fine platter of slaughterhouse blues with ‘Amerika’, ‘Lazaro’ and a slightly tweaked ‘Super King King’. Raw, raucous, and now with a cemented new line up, there is just so much to love about this band.

Then it was Rews… half way through their UK tour to promote Pyro, the duo’s corker of a debut album, and straight into a gut punching rock explosion with ‘Let It Roll’. On fire throughout the entire set, featuring album tracks including ‘Your Tears’, ‘Miss You in the Dark’ and ‘Death Yawn’ alongside the ferocious ‘Can You Feel It?’ (one of my personal favourites live), Rews quite simply nailed it – Shauna Tohill’s fearless front stage lead as Colette Williams powers through with vocals and percussion, it’s awesome stuff. Birmingham will never be quite the same again.

The other significant win at the Birmingham Review Winter Showcase was the crowd. There’s a lot of talk about ‘supporting the local music scene’ but unless you drag yourself out of the house, stick a smile on your chops, and get involved when musicians and singers are bearing their souls on stage… then talk is all that it will ever be. At the Birmingham Review Winter Showcase 175 people did all of the things I’ve just listed. And it felt phenomenal. To everyone who was upstairs at the Actress & Bishop on Saturday 25^th November, I both salute and thank you.

The Birmingham Review Winter Showcase was also my swansong, as I now hand the reigns over to Helen Knott – who is taking over as Birmingham Review editor, and Damien Russell – who is coming in as Birmingham Preview editor.

I will be moving over to editor-in-chief (sounds more glamorous than it is) and focusing on the books and periodicals set for release under Review Publishing. Look out for our first titles which will be on shelf by the end of 2017: Snapshots of Mumbai – a coffee table book about the Indian megacity, and the Birmingham Music Review 2017 anthology.

We’re recruiting too, so if you know your way around a QWERTY keyboard or a DSLR please email charlotte@birminghamreview.net

Meanwhile, back at the Actress & Bishop…

Rews at the Birmingham Review Winter Showcase @ Actress & Bishop 25.11.17 / Rob Hadley – Birmingham Review

For more on Rews, visit www.rewsmusic.com

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The Hungry Ghosts at the Birmingham Review Winter Showcase @ Actress & Bishop 25.11.17 / Rob Hadley – Birmingham Review

For more on The Hungry Ghosts, visit www.thehungryghosts.co.uk

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Ed Geater at the Birmingham Review Winter Showcase @ Actress & Bishop 25.11.17 / Rob Hadley – Birmingham Review

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

For more from the Actress & Bishop, including venue details and links to event, visit www.theactressandbishop.co.uk

WRITERS/PHOTOGRAPHERS WANTED – Birmingham Review is looking for new contributors. Anyone wanting to get involved, please email a short introduction to charlotte@birminghamreview.net