Category: The Cuff

Words by Ed King / Pic by Katja Ogrin

I look down at the awkward teenage mess, two bodies embarrassed and intertwined at the top of the stairs. The boy looks up, the girl away. I turn to face the stage; the red, blue and purple lights creating a sea of satanic ready brek hair from the heads of the audience.

I feel like a cameo appearance in a John Hughes melodrama, and the words run again through my mind –  ‘perhaps I shouldn’t be here tonight.’

But I’ve been looking forward to this gig, and no teen dream car crash is going to push me from my perch. ‘Last Smoke Before the Snowstorm’, Benjamin Francis Leftwich’s 2011 album, has been on almost permanent repeat since I first heard it; albeit an absurdly recent discovery. It’s a stunning debut, and I am genuinely excited about hearing him play live.

The Institute is busy too. A wall to wall crowd on a mid week school night (a phrase which applies more than intended); it seems I am a straggling interloper in so many ways this evening.

But what I lack in longevity I make up in obsession, and as Leftwich delivers ‘Pictures’ alone in a deep blue spotlight, I confidently sing along. And apart from an oddly overwhelming echo on his vocals, the live track is as beautiful as the recording.

The band ‘walk on’ for track two, introducing ‘1904’ with its signature organ chords; although the lack of violin leaves a small doughnut hole. The sound is a muffled too, with the inclusion of more instruments masking the man in the middle.

Silence. Then a brief enquiry, “Are you OK?”, attempts to segue into ‘Shine’ – where the lead electric picks out a beautiful riff,  before… silence. Then ‘Manchester Snow’ and a pedal steel guitar summons the spirit of Ry Cooder.

Another awkward silence follows, and I check myself – ‘give the man a break, he’s not Dara O Briain’ before ‘Hole in my Hand’ is introduced.

“It’s the story of a soldier who was in love with a girl, and in a war, who shoots himself in the hand to come home.” Fair enough, I guess he’s not Tom Wolfe either.

The set continues with a balance of old, new, inaudible and acoustic – with the increasingly prominent band making many songs difficult to absorb. And aside from during a beautiful and brave off mike rendition of ‘Maps’, another track from Leftwich’s 2010 debut EP, the audience start to chatter like polite gatecrashers.

‘Last Smoke Before the Snowstorm’ gets a generous outing, alongside new tracks – bringing a cinematic change of pace and Explosion in the Sky comparisons.

And despite offering a shortlist of previous Brummie encounters, and a slightly coerced birthday wish to a slightly embarrassed Vicky Mills, Leftwich remains a detached air between him and the crowd. Which is unfortunate; as loud applause, genuine appreciation and a few wolf whistles make their way up from the crowd.

But above all, I blame the soundcheck for a disappointing evening. No matter how good your music, or potent your lyrics, if you’re drowned out by your own band there’s not a lot you can do.

The Institute is a venue very dear to my heart – both professionally and personally, and boasts healthy listings. But its downstairs Library (or Dance factory if you’re old enough) is not the right place for some artists, and as Leftwich reminds himself of “a free gig at The Yardbird” I kick myself for not finding this man sooner.

But journalistic protocol keeps me until the end of the encore, where by now the licentious youth behind me are lying on top of each other. I’m sober, alone, and underwhelmed by the evening. And as I sneak out before the final clap and cloakroom queue, I say again to myself, ‘perhaps I shouldn’t be here tonight.’

But I was, and I will again – with ‘Last Smoke Before the Snowstorm’ still firmly engaging and Leftwich’s new material sounding well worth a follow up.

I’ll just keep my fingers crossed next time for better levels on the mixing desk, and perhaps less ‘snogging’ behind me.

For more on Benjamin Francis Leftwich, visit http://www.benjaminfrancisleftwich.com/

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

For more on Birmingham Promoters, including event listings, visit http://birminghampromoters.com/

Words by Matthew Osborne / Pics by Katja Ogrin

Finding ourselves unexpectedly at the after show party and standing out like sore thumbs, my associate (who shall remain nameless for security reasons) and I had a chance to reflect upon the evening’s concert, as we waited for The Specials to arrive from their backstage hide-out.

The gig had done wonders for my self-esteem; recently I have been feeling older than my years, dwelling on the fact that my hair is falling out and I am approaching the halfway mark for the average adult lifespan, but the O2 Academy, busier than I had ever seen it, was packed full of people decades older than me. I would have fallen into the category of ‘youngster’ had a survey been conducted.

The men on the stage were also looking older than I remembered them from pictures, but their energy was still vibrant and their delivery faultless as they ploughed through their lengthy set.

The great thing about reunions is that you know that all your favourites are going to be wheeled out for an airing, having been previously confined to the discs you’ve inserted into your stereo for years.

As such we were treated to ‘Rat Race’, ‘Doesn’t Make It Alright’, ‘Friday Night, Saturday Morning’, ‘Ghost Town’, ‘A Message to You Rudy’, ‘Too Much Too Young’ and ‘Enjoy Yourself’. With each of these Specials classics met with cheers and bouncing bodies, which bobbed right back to the bar and were enhanced by a couple of thousand voices singing along.

One of the best things about an older audience is that if you aren’t able to get a good spot for much of the show, by the time the encore comes around there is a lot more space available. People of a certain age seem to be more concerned with beating the rush or emptying their bladders, and the floor half emptied allowing me a better vantage point for the big finale.

Perhaps the most thrilling moment, to these ears, was the incredible use of effects and delay during the extended latter half of the still-unsettling-after-all-these-years ‘Ghost Town’. Huge gusts of wind seemed to bounce off the walls of the venue, practically dragging the discarded litter and newspapers from the dilapidated Coventry of yesteryear into the here and now.

But how different is this moment in time from the 70’s of The Specials’ heyday? In some areas Birmingham still resembles a ghost town; old buildings left unoccupied and derelict, ear-marked for new inner-city apartments once the right investor with the right amount of disposable wonga comes along, yet tantalizingly out-of-bounds for the city’s hundreds of homeless.

And in light of the recent race hate eruption, following the knife attacks in Woolwich, the need for a band like The Specials – who united race and colour in one happy assembly back in the late 70’s and early 80’s, is as pressing and vital as ever.

Even songs like ‘Enjoy Yourself’, a cover of King Prince Busta’s reggae classic, had political overtones at the time of its release, urging people of all colours to find the good in their lives, and each other, before time runs out on them.

As people I believe we need music like this, music that carries hope and happiness but is never too out of touch with the real events surrounding its birth.

The Specials were important in their time, although the mantle has now been passed to a new generation. One I hope can also make statements like The Specials did in their day, which touch on the mood of their era enough to still be playing packed out venues decades after their heyday.

And so my compadre and I found ourselves waiting at the after show party, nervously hoping to run into The Specials so we could press our own band’s statement into the palms of Terry & Co. (and perhaps ask them for a support slot at their next Birmingham show?)

However, as the time ticked by with no sign of the band, and with the other people gathered backstage looking increasingly like friends and family, we decided that The Specials had done their bit for the cause and may not welcome a couple of hopers looking to ride their coat-tails.

So we decided to forge our own path, inspired by the greats, but making it for ourselves; and slunk off into the inky shadows of our own ghost town.

For more on The Specials, visit http://www.thespecials.com/

For further gig listings at the O2 Academy (B’ham), visit http://www.o2academybirmingham.co.uk/

Words by Holly Pyke

Laura Mvula’s homecoming gig at The Glee Club on Wednesday 8^th May was one that left many other homecomings standing in a dark corner, drooling with envy.

Even the support act, Ady Suleiman, was more impressive than many headlining acts I have seen; giving a confident, soulful and relaxed performance full of humour and high energy.

And for a reportedly shy woman, Laura Mvula also appeared confident and relaxed from the moment she walked on stage. Her down-to-earth humor and warmth, coupled with the rich, dark, smooth resonance of her voice, enthralled the room from the very start of her set.

A set that was dynamic; ranging from the hypnotic opening song, ‘Like the Morning Dew’, to the upbeat, relaxed and almost tropical sounds of her second track ‘Let Me Fall’ – which had not been completed in time to be included on her debut album, ‘Sing to the Moon’.

‘Father, Father’ tugged at the audience’s heartstrings, with its beautiful simplicity – whilst a sizzling performance delivered the more energetic tracks such as ‘Green Garden’.

Mvula was supported immaculately by her band, who framed her performance perfectly throughout the set – from the spellbinding instrumental and vocal arrangements of ‘Like The Morning Dew’ to the haunting backing vocals of ‘Sing To The Moon’.

Even the false start to her final song, ‘That’s Alright’, where a broken bass guitar was swapped for a double bass, couldn’t fault their collective performance. Mvula simply kept the audience engaged with lighthearted self-deprecating banter and affable charm.

A charm Mvula had shown throughout her performance, regaling stories about the background and the inspiration of many of her songs – such as the teenaged heartbreak behind ‘Flying Without You’, and the frustration and self-doubt that evolved into the evocative and empowering ‘She’.

In answer to the unsurprising demand, Mvula’s encore was with her brother, and the band’s Cellist, James Douglas; where the siblings performed Douglas’ own arrangement of Michael Jackson’s ‘Human Nature’.

And like the rest of the performance, the encore was beautiful, understated and human – leaving the highly charged crowd roaring with applause.

Laura Mvula is a local talent Birmingham should be truly proud of.

For more on Laura Mvula, visit http://www.lauramvula.com/home

For more gigs at The Glee Club (B’Ham), visit http://www.glee.co.uk/birmingham

By Matthew Osborne / Pics by Katja Ogrin

Going to see Alt-J seemed like an inconvenience on a Sunday, as I had to tear myself away from the Swingamajig festival – which was infected with Type A Carnival Fever when I left.

Whilst Alt-J undoubtedly know how to party off-stage, I expected the show to be a come-down of sorts; so the onus was on the band to perform the show of their career in order to impress me (and gain valuable positive column inches).

Opening act, Princess Chelsea, failed to engross me – so I headed to the bar and tried to wedge myself into a good vantage point, in the claustrophobically packed arena.

Eventually I managed to find a good spot, away from the usual giant men I stand behind; but instead positioning myself next to the two drunkest blokes in the venue.

When Alt-J came on, it transpired that not only did these two know every word (and apparently were taking bets on which track would be played next) but were incredibly adept at dancing to downbeat music. And seemed fairly intent on starting a mosh-pit.

Moving as swiftly as the crowd would allow away from the duo, I noticed that the varied make-up of the audience. Alt-J must have struck a chord with the folk of this land; perhaps intrigued by the unusual way Joe Newman sings, or the ethereal sounds that seep out of the band’s debut An Awesome Wave.

Whatever the ingredients, the formula is a winner for this moment in history – with the entire crowd knowing pretty much every word, as it turned out. The only thing that separated Alt-J‘s impeccably sharp performance from their recordings was when the band took a step back and let us sing.

It turned out that I knew most of the words too.

There was a real sense of togetherness between the crowd and the band, and songs were performed and greeted like old standards, despite being all less than a year or so old.

The only new additions to the set were ‘Buffalo’ (Alt-J‘s contribution to the film Silver Linings Playbook) and a couple of unusual covers including (I was told by another member of the audience) a Kylie Minogue song.

But the true test of Alt-J‘s mettle will be in the coming years. Right now seems like the right time for them, and even though they didn’t continue the party spirit that I had left behind to see them, I was not disappointed.

The crowd rooted for them, and the fact that they are very likable, normal guys, I feel is a good part of their appeal.

The live show, however, is not dynamic; there was very little movement onstage and the songs are perfect replicas of their recorded counterparts. But the songs are good, and to be able to hear them at very high volumes is a treat.

Throw in some flashy lights and you’ve got yourself a lovely show. My advice would be to catch Alt-J in the smallest, most intimate club that you can, and catch them quick – before they become absolutely massive.

For more on Alt-J, visit http://www.altjband.com/

For further listings at the O2 Academy (Birmingham), visit http://www.o2academybirmingham.co.uk/

Pics & 10 Word quotes by Lucy Heath / Words by Ed King

Brainchild of ‘Birmingham’s beardiest DJ’ (producer, promoter…) Sam Redmore, Freestyle has been cramming a broad genre policy into the upstairs room at The Bull’s Head for the past three years.

Starting off with live acts then rounding up with DJs, Freestyle’s eclectic approach has brought an array of bands you might not know but probably should. Or not. Nothing’s ever that linear. Let’s stick with information + opportunity = informed opinion.

Friday May 3^rd saw Johnny Kowalski & the Sexy Weirdos take centre stage, playing their ‘Carnival Punk’ to the Freestyle crowd.

Purveyors of self professed ‘musical lunacy’, Johnny Kowalski & the Sexy Weirdos launched themselves in the year of our lord 2010.

Building a fast track reputation from reportedly energetic (a wide reaching descriptive) performances, Mr K & Co enjoyed a successful 2012, including festival slots at both Boomtown and Nostock.

Having recently released their debut album, ‘Victory for the Monsters’, it’s been a busy 2 ½ years for Johnny Kowalski & the Sexy Weirdos – with more festival and UK tour dates in the offing

Lucy Heath went to Freestyle @ The Bull’s Head, armed with a camera, notebook and generously unsolicited +1, for a sexy & weird Birmingham 10 Word Review.

10 WORD REVIEW

“The venue is awesome! The band were very good, the support band could’ve been better but I enjoyed it a lot.” Alfie

“The band sounded great! They have a very ‘Birmingham’ vibe, It’s very unique to Birmingham. I like the feel of the venue, it’s nice to come down and unwind with a good band” Helen

**To submit your own 10 Word Review, email ed@birminghamreview.net – citing the date, venue and gig. Make us laugh (cry, think, respond) & get your reward**

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For more on Johnny Kowalski & the Sexy Weirdos, including digital downloads of ‘Victories for the Monsters’, visit http://www.sexyweirdos.co.uk

For more on Freestyle, visit https://www.facebook.com/freestylebirmingham

For further listings at The Bull’s Head http://bullsheadmoseley.co.uk/