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July 13, 2017July 27, 2017

BREVIEW: Cabbage @ O2 Institute 30.06.17

Words by Lucy Mounfield / Pics by Aatish Ramchurn

When I last saw Cabbage they were supporting Blossoms at the O2 Academy and, I felt, they stole the show with a brief, explosive set. Now they’ve announced a new EP, The Extended Play of Cruelty, and their biggest headline tour to date. Can the energy of their supporting act scale to a full set?

The venue was the upstairs room at the O2 Institute in Digbeth; a small room, which made for a more intimate experience. The first band on were Strange Bones, a Blackpool outfit who deserve a special mention.

Frontman Bobby Bentham was an absolute madman, jumping off the stage and into the crowd with a technician frantically spooling out the microphone cable after him. At one point he donned a balaclava shouting “BIG SISTER IS WATCHING YOU”, before approaching various members of the audience chanting “behead the despots” whilst waving his finger across his throat in a slitting motion. The confrontational manner of his lyrics matched his onstage presence – it was a cross between a bank raid and a political rally – with Bentham often addressing the younger members in the audience as the future “kings and queens”. He certainly had them on his side by the end of Strange Bones‘ short set.

Next up were The Blinders who calmed things down with their psychedelic guitar focused set. If Strange Bones brutally confronted the audience with political agitation, The Blinders came out with a more reflective approach. The lyrics took the form of poetic musings on life and society whilst the dream-like quality of the guitar produced a trance effect, which in a way deflated the audience who had been provoked into a frenzy by Strange Bones. Consequently this made Cabbage‘s entrance less bombastic, after being lured into a sedative mood by The Blinders.

There’s an elephant in the room. Cabbage have been embroiled in controversy over the last couple of months after it was alleged that lead singer, Lee Broadbent, had sexually assaulted a concertgoer as part of his performance whilst supporting Kasabian. These claims are denied by the band.

It’s tempting in these situations either to jump on the Twitter hate train or to leap to the defence of your favourite musicians, but I think we should do neither – we should refrain from indulging in speculation. I mention it because Cabbage made a point of thanking the audience for their commitment in the last “tough three months”, hastily adding that things can “get them into trouble”.

There was an overwhelming atmosphere of reciprocal gratitude and love between the band and the audience. Making such references indicated that perhaps Cabbage had lost a bit of confidence, something I felt with their quiet entrance and slow start, and clearly this allegation (and the negative media attention) has made the band more tentative . But by the end of the night Cabbage were back on form with the energy of the audience seeping into their set.

When I saw them last, Cabbage opened with ‘Uber Capitalist Death Trade’, which is a belter and probably their most recognisable track. This time they opened with ‘Terrorist Synthesiser’ which combines punk sensibilities, thumping drums with a funk edge, proving their dynamic range. They played a few new songs from their upcoming EP, including their new single ‘Celebration of a Disease’ which brought the audience to more of a quiet rumble instead of the loud cheering and singing which they did on Cabbage’s more memorable numbers.

The next new song (apologies, didn’t catch the name) proved more of a hit than the official single and could end up a fan favourite with an incredibly up-tempo drum beat and a good head banger. To keep up with the pace, singer Joe Martin raced through the lyrics half rapping them like a Streets song, which was fun but ultimately made it really difficult to understand the lyrics which are an important part of Cabbage‘s appeal.

Joe Martin got the crowd going with his ‘Dinner Lady’ and ‘Kevin’, the lyrics being chanted back by the audience and showing that Cabbage can dissect anything and everything to make a great song that resonates with both the disaffected youth and the beleaguered workforce. ‘Tell Me Lies About Manchester’ was a particular favourite of the set – the hypnotic chorus and bass rumbled along with ska inflections, creating a fevered sense of anticipation for the frenzied ending. One more song was dedicated to their drummer, Asa Morley, and was a great show-piece for him and his kit.

Cabbage put on a good show. Both front men were dynamic, moving about the stage and interacting with the crowd;Joe Martin did his striptease routine and ended up in just his trousers. And I am pleased to report that the only groping I saw was from the audience, after Martin and Broadbent climbed up on the barriers and everyone in the the crowd went somewhat mad. By the end of their last song, ‘Uber Captalist Death Trade’, it was clear that Cabbage are adored by their fans; a relaxed and confident grin appeared on the band’s faces.

Cabbage‘s new songs may not be as rough and ready but they have shown that the band can evolve musically and challenge their punk roots. However it can be hard to make out the words in their new material (which don’t have as much bite) and even the performances seemed tame – it doesn’t matter how much you’ve sharpened your rapier wit, if I can’t hear what you’re saying in a crowded room reverberating with amplified guitar chords then it falls flat.

Obviously these songs are new to both band and fans alike, so with practice and time they may well become more defined. Plus it’s all part of being the main act on the bill; I’ll just have to keep going to more Cabbage gigs to find out.

For more on Cabbage, visit www.ahcabbage.bandcamp.com

For more on The Blinders, visit www.soundcloud.com/the-blinders

For more on Strange Bones, visit www.soundcloud.com/strangebones

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For more from the O2 Institute, including full event listing and online ticket sales, visit www.academymusicgroup.com/o2institutebirmingham

For more from SJM Concerts/Gigs and Tours, visit www.gigsandtours.com

June 30, 2017July 27, 2017

BREVIEW: An Evening with Jackson Browne @ Symphony Hall 27.06.17

Words by Ed King / Live pics by Aatish Ramchurn

I’m standing on a corner in Selly Park, Birmingham, waiting to go and see Jackson Browne; it’s a grey English Tuesday, I’m late and my hair is too long for the humidity. Some problems are obvious and fickle. But with a portfolio stretching back to the front lines of the 60’s what to expect on stage (and off) tonight is a little less clear; the Symphony Hall has billed this gig as ‘An Evening with…’ but that might not be long enough.

Known for a string of household hits he wrote for other artists, then propelling himself into the spotlight with his eponymous debut LP in 1972, Jackson Browne was a golden boy of his time. Combining celebrity status with talent (something that’s not a given in the music industry), sex appeal, five albums in five years, and an ability to write songs of equal beauty about love, loss and foreign policy, Jackson Browne carved himself a unique place into the American songbook.

There’s some pretty sterling peer reviews too, with Bruce Springsteen declaring that “in 70’s post Vietnam America, there was no album that captured the fall from Eden, the long slow after burn of the 60’s – its heartbreak, it’s disappointments, its spent possibilities, better than Jackson’s masterpiece Late for the Sky” as he inducted Browne into the Rock & Roll Hall of Fame in 2004. And that from the man who wrote ‘The River’.

But to me Jackson Browne’s seminal album was Lives in the Balance – which combined his almost Faustian songwriting (…a dark red signature somewhere wouldn’t totally surprise me) with a proud dig at America’s ‘friends’ and the ‘Governments killing their own’ that we still rally against today. Some problems are obvious and yet never go away. But at 50quid a pop I’m not sure how many people will be sitting left of centre at the Symphony Hall tonight – despite the four story auditorium being virtually sold out before we published our BPREVIEW.

After some rushing around with a ticket in my mouth looking for gates and doors (think last call for a long haul flight) I land at Seat 16 / Row N – as central as I could have hoped to be; the lead mic stand is about 30metres directly in front of me. As soon as I sit down Jackson Browne walks onto the Symphony Hall stage with the casual confidence of a teenager who’s learnt to live forever, moving straight into ‘Just Say Yeah’ and launching ‘An Evening…’ with a track from his penultimate LP, Time the Conqueror – the first release via Browne’s own imprint, Inside Recordings.

The sound is immediate and impressive, with a tight band who clearly work well together fronting a man whose vocals sound as near to the record as you could expect them to be. Mind you, when you’ve been performing for half a century this is either patronising or a moot point. Or arguably should be.

‘The Long Way Round’ is up next, from Browne’s most recent album Standing in the Breach; even messing up the first verse doesn’t faze the front man, as we “…just start over” and laugh our way through the mishap. I hear more ‘whoops’ and ad hoc cat calls than I have from any Birmingham audience in a while. A solo piano introduces the next song – ‘After the Deluge’, the closing track from The Boss lauded LP – and starts a trend of sporadic stand up ovations that would continue throughout the night.

Somewhat downplaying his own political portfolio, Jackson Browne introduces the often “unrecognized… scathing satire” of Randy Newman next, with a cover of ‘A Piece of the Pie’ – the Harps & Angels album track that cites Browne as the chorus’ punchline. Worth noting here that Greg Leisz plays lap guitar in Jackson Browne’s touring band, who is excellent throughout.

We leave the acerbic dissonance of Newman’s two fingers to the American dream and head “back to my songs… like falling off a log” with the title track from Browne’s 1993 LP, I’m Alive, before returning to the source (kinda, sorta) with the title track of his sophomore LP, For Everyman. It is at this point I notice some of the Symphony Hall audience who are holding their hands in the air, pointing to the ceiling and giving the occasional fist pump of solidarity; a nasty side of me can’t help but laugh at the ironic and ‘strangled cries of lawyers in love’, celebrating an ideology they are paid well to forget. Integrity’s not a pastime and altruism’s a bitch. But judgment’s pretty shitty too and I’m not proud of these thoughts.

A superb drum roll denouement highlights the tight proficiency of the touring ensemble on stage, before bringing us another call to arms with ‘Walls and Doors’, again from Browne’s latest LP – “a song that would be good for your country to hear right now”. Written by the nueva trova singer/songwriter Carlos Varela, the poignant pen from America’s island neighbor couldn’t be more pertinent – as Browne’s homeland continues to ostracise the “collective joy” of Cuba whilst our own gets dangerously close to doing the same with mainland Europe. A shout out request brings Browne back to the ivory to perform ‘For a Dancer’, which breaks me in two, before a foot stomping delivery of ‘Doctor My Eyes’ takes us into the interval. I pick through the somewhat sauntering Symphony Hall crowd, looking for the quickest route to rum and then back to my seat.

The second set opens with ‘The Late Show’, alongside an almost offensive volley of requests from the post interval drink audience. It seems ‘For a Dancer’ set a dangerous precedent; dance boy dance… it’s a little rude. Although one shout out mercifully (selfishly) makes is down from the balcony and onto the stage; Browne tunes a steel guitar with Latin flavour as the unmistakable message of ‘Lives in the Balance’ comes triumphant off stage, complete with an extra verse citing 9-11 sang beautifully by Althea Mills. My turn to stand up and clap.

Another cover (and homage) brings Warren Zevron’s ‘Caramlita’ rolling round the Symphony Hall, as shoulders across the ‘world renowned’ auditorium twitch with memory, condemnation or ignorant bliss. How appropriate. Now we’re heading into the halfway point of a two set performance, something not many artists can hold up, and I write ‘if he plays ‘Late for the Sky’ this could be the last of my perfect evenings’ whilst Browne pays tribute to his friend and lover, Valerie Carter, though ‘That Girl Could Sing’ – from his 1980 LP, Hold Out.

So guess what comes up next… I put my notebook and pen on the floor.

The rest of the set plays out with some of the great and good from Jackson Browne‘s half century portfolio with ‘The Pretender’, ‘In the Shape of a Heart’ and ‘Running on Empty’ all getting a notable outing. There were some noticeable omissions too, as that-song-from-that-film was left in the dust jacket, along with ‘The Load Out’, ‘Rosie’ or anything from Lawyers in Love. As half the Symphony Hall takes to its feet whilst the other half rush to the front of the stage, we say goodbye to ‘An Evening with Jackson Browne’ in an encore medley of ‘Take it Easy’ and ‘Our Lady of the Well’. And I was right, we would have welcomed longer.

I have my reasons for being here tonight as everyone in this room will do; at nearly £50 a ticket in a four story auditorium, that’s a lot of reasons. And as I began the evening wondering who I’d be sharing it with I end realising the error of my assumptions; Jackson Browne is a composite songwriter, a confident performer, with the power of both his lyrics and his melodies reaching comfortably across five decades and beyond. You could accuse me of ‘gushing’ here but it’s hard not to when you see this on stage.

I guess it’s the memories and the inspiration too, getting to believe that one person’s work can truly make a difference – and what’s more personal than your politics, eh Steve? This made me write.

And now, over 30 years after the car journeys that introduced me to this artist, I get to see such expression delivered so beautifully – all whilst crossing two boxes off my bucket list and singing along to both of them.

(‘Late for the Sky’… in case you were wondering)

For more on Jackson Browne, visit www.jacksonbrowne.com

For more from Inside Recordings, visit www.insiderecordings.com

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For more on the Guacamole Fund, visit www.guacfund.org

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

June 23, 2017July 27, 2017

BPREVIEW: An Evening with Jackson Browne @ Symphony Hall 27.06.17

Words by Ed King

On Tuesday 27^th June, An Evening with Jackson Browne comes to the Symphony Hall.

Doors open at 7:30pm, with tickets priced between £42.50 – £49 plus booking fee. For direct gig info, including full venue details and online ticket sales, click here.

N.B. At the time of writing this event was near to being SOLD OUT – please check availability directly with the Symphony Hall or reputable ticket outlets.

“They sell us the president the same way; they sell us our clothes and our cars. They sell us everything from youth to religion the same time they sell us our wars.”

Jackson Browne released his eponymous debut album back 1972, following a pretty revered string of songs written for other artists – including Nico, Joni Mitchell, Eagles and The Byrds. Signing to Asylum Records in 1971 Browne’s five albums would build a steady commercial success story, consolidating his place in the spotlight and making him a lauded contributor to the American country and folk music scenes.

But to a child of the 80’s, growing up with Marty McFly and the Reagan administration, it was Jackson Browne’s 1986 album, Lives in the Balance, that would leave its mark above all else. As the de facto soundtrack to any long distance car journey with my mum, Lives in the Balance would be the first album I learned to sing along too – embracing the questions, accusations and declarations that Browne threw at America’s aggressive foreign policy, even if only initially by proxy. I was eight.

As my understanding of the world grew, and my frightening realisation that the game is indeed rigged, the track ‘Lives in the Balance’ itself would become the painful reference point and retort of so many frustrated discussions. I owe a lot of my perspective, political and otherwise, to the words that run though this album.

What is happening today happened yesterday, and was carved from the foundations of every day before that. We are ruled not governed.

Lives in the Balance was also Jackson Browne’s last release though Asylum – the label launched by his then manager David Geffen – with Browne signing to Electra for his subsequent four LPs. Jackson Browne would go on to form Inside Recordings in 1999, releasing his last two studio albums on the imprint – Time the Conqueror (2008) and Standing in the Breach (2014).

An Evening with… denotes music, stories and on stage anecdotes with the suffix – so considering the relentless tour schedules, rock, roll and public domain relationships that Jackson Browne has accrued in his fifty professional years, this could be more colourful than most. No offence Neil. Joining Jackson Browne on stage at the Symphony Hall will be Val McCallum (guitar), Mauricio Lewak (drums), Jeff Young (keyboards), Bob Glaub (bass), Alethea Mills (vocals) and Greg Leisz (lap steel, pedal steel).

Tickets from this Jackson Browne tour are also being sold to in aid of the Guacamole Fund, a ‘tax exempt, public charity’ that has been ‘supporting grass roots activities, with education, outreach, networking and funding, in the areas of the environment and wildlife, social change, peace with justice, energy and a non nuclear future’. To learn more about the Guacamole Fund, click here.

‘Lives in the Balance’ – Jackson Browne

An Evening with Jackson Browne is coming to the Symphony Hall on 27^th June. For direct event info, including venue details and online ticket sales, click here.

For more on Jackson Browne, visit www.jacksonbrowne.com

For more from Inside Recordings, visit www.insiderecordings.com

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For more on the Guacamole Fund, visit www.guacfund.org

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

June 17, 2017July 27, 2017

BREVIEW: Kyla La Grange @ Mama Roux’s 12.07.16

Words by Ed King / Pics by Aatish Ramchurn

Monday nights. As our focal point would later surmise, “…the worst of all nights”.

But I’ve had some happy Mondays in my time: bank holidays before self employment, teacher’s strikes at primary school, waking up to another week with Lucy. They all involve extra time in bed but they are there to be had. And tonight is another notch on the post, so to speak, as Kyla La Grange and a colleague’s ninja illness have brought me unexpectedly out to play.

A relatively healthy crowd seems to be embracing this school night optimism too; Mama Roux’s is comfortably full. As the three metre gap between us and the support band, an indie pop dance hybrid called FOURS, gets gradually swallowed up there’s just enough room to wind your way to the bar. In Birmingham, fifteen minutes outside of the city centre, two weeks after payday, this is a solid result.

FOURS should receive a special commendation, not only for the lead singer’s vocals – restrained, powerful, all that you’d want and want to be jealous of – but for being amongst the most engaged of Kyla La Grange’s audience during her headline set. Albeit dressed like a child sacrifice at the Summer Solstice, FOURS were full force support both on stage and off; noted, revered, reported.

Kyla La Grange sneaks on stage with ‘Hummingbird’ – one of the anthemic pop tinged singles she has released recently instead of album #3. Ah… album #3. The opening/title track to La Grange’s superb sophomore, Cut Your Teeth, rolls out like heavy skies, before the brooding accusations of ‘Justify’ round off tonight’s speak for itself introduction. A gut punch of a song, again from her bevy of stand alone singles.

Kicking off a six date stint across Albion with tonight’s gig at Mama Roux’s (kudos Birmingham Promoters) any rehearsal room cobwebs are deftly, quickly swept away. From the embroidery to the side profile, there’s thought on stage tonight – an arena presentation in a Monday night music venue. And despite Kyla La Grange’s last LP coming out in 2014 (a fact that must have challenged the Sony A&R involved) there’s enough of an addictive undercurrent to her two albums, along with a suitably track marked crowd, that won’t let her go unnoticed. Even in Birmingham on a Monday.

Two more of the ‘higher octane’ album tracks from Cut Your Teeth, alongside an ethereal dig at detachment from her debut, introduce La Grange’s 2015 single, ‘So Sweet’. An unashamed (who was even accusing) pop predator, I shouldn’t like this song; everything the hatchling arrogance, peer pressure and recreational drug use of my teens pushed me to declare… but God help me I do. And performed live on stage it’s even better.

But it is this guilty pleasure/dichotomy that sums up fevered little ego when it comes to Kyla La Grange. Sugar, spice, are all things nice? There’s an Indie rawness to Ashes, which evolves into the darker electro edged pop of Cut Your Teeth – tie that in with some pretty stunning photo shoots and masquerade make up, and you’ve got an artist who can command some attention. Plus I’m a sucker for putting out 14 tracks through a major label; I can almost hear the phone conversation, the dialing tone and silent annunciation of combative swearwords.

So where do you go when the Katy Perry through a Ketamine haze doesn’t shift enough units, how do you silence the paymasters that put your there? And this is Sony remember. As more and more calypso samples shake themselves free my cynical crystal ball starts to mutter and curse.

(Ed’s Note… Kyla La Grange gave us a quick rib dig once we’d published this BREVIEW – she’s no longer on Sony, all the recent singles have been independent releases. Which kind of throws more spotlight culpability at this concern, as well at my lack of research. After much deliberation… watch out for our follow up review of Kyla La Grange’s next single. Conversation TBC)

Then ‘Cannibals’ comes to march us to the end of the set; possibly my favourite track off Cut Your Teeth, delivered so absurdly perfect I have to watch the veins on La Grange’s neck to be sure. My friend and I nod, smile and mouth ‘…she good’ in over accentuated head movements. The rest of the crowd are clearly already there, and would possibly hang me up by my unbranded belt if they felt I wasn’t behind them. Never poke a hipster.

And perhaps I shouldn’t worry about the rest of world either; perhaps I should trust that a redbrick philosophy graduate who can cohesively argue the case for Miley Cyrus being ‘self possessed and fiercely confident’ has a strategy at play. Or perhaps we’ll lose something special to a sink hole of adulation, quarterlies and online trend predictions. All I know is my framing technique now requires a joke about Mondays, so here’s a link to some Garfield cartoons.

Go and see Kyla La Grange; this gig was awesome. And buy both of her albums, they’re awesome too. What happens tomorrow…

For more on Kyla La Grange, visit www.kylalagrange.com

For more on FOURS, visit www.soundcloud.com/itsfours

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

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

March 12, 2017

THE GALLERY: Harmless Untruths of… Hoopla Blue, Mutes, Grain Death, Matters @ Blotto Studio 04.03.17

Ed’s note… On Saturday 4^th March, local label FOMA threw a party – a showcase of the Harmless Untruths… from some of their roster and beyond.

Headlining were Hoopla Blue, the ‘ridiculously gifted’ Birmingham band who will be opening for The Flaming Lips in August alongside Amber Run. Hoopla Blue have been on the tip of Rob Hadley’s tongue for many months now (Birmingham Review’s Head of Photography) and this was a good opportunity to see them in a label setting.

Plus we got to revisit Mutes, who we haven’t seen with a professional focus since the All Years Leaving Festival in 2015. Grain Death (…i’m thinking Witness?) and Matters (part Them Wolves, part Mayors of Toronto) were relatively new to us, although the latter had popped on our radar after seeing them at the third YR Welcome festival.

So off we went, on the rum hunt for hidden delights and Harmless Untruths… from FOMA. Aatish Ramchurn was the lone scout we sent on reconnaissance to the back streets of Digbeth, tracking down for Blotto Studio and some people making noise. His brief: ‘Write it from a photographer’s point of view’. Luckily he made it in, out and even through such an oxymoron instruction.

Check out his words and pics for THE GALLERY below, or click on the relevant links for the Full Flick of Pics.

Words & pics by Aatish Ramchurn

Sometimes the best experiences can come from venturing into the unknown, and this gig was definitely one of those times. Taking place at Blotto Studio in Digbeth, FOMA held a showcase for the bands on their label, with Hoopla Blue and Mutes.

Until this day I had no idea that a rehearsal space like Blotto Studio even existed. Trying to find it on Google street view was initially a bit confusing, as it appeared to point at what looked like a shed or a garage with no signage. I figured, whatever. Turn up, park outside, go to the ‘shed’ and see what happens.

I ring the doorbell. A guy opens the door and for some reason I’m thinking, ‘do I need a password to come in?’. I say “I’m from Birmingham Review… as a photographer”. A woman’s voice from round the corner says, “…Birmingham Review? Yeah, let him in. He’s on the list”

The guy advises me that I should still keep my coat when I go into the main room, and he was so right about that. It was just as cold as it was outside and I doubt many in there had taken their jacket off.

The venue itself was a warehouse type of place with a small raised stage at front – nicely lit up with warm tone of red, taking away the cold sensation. The crowd themselves were mainly young, hip and liberal, bar the odd older person. A nice and welcoming bunch.

First band on were Matters. An instrumental trio of guitar, synth, drums, and programming, with each track lasting about six minutes or so. Their sound did seem to set an overall tone that matched the atmosphere of Blotto – dark, underground, and yet pleasing at the same time. I was having some difficulty getting a good photo of one the band members due to her face being largely obscured by her Moog set up and having the main speaker stood next to her. Probably a rare instance where it was just easier getting a shot of the drummer, as I was able to get shots from the side of the stage.

Not knowing much about the bands that were playing that night, I thought Matters were setting the tone for what was about to come. Then Grain Death come on with the standard four guys, guitars, bass, and drums set up. Now I’m realising this is going to be a night of very different acts. Grain Death brought their indie noise pop sound to the stage with a lot of confidence, even after an awkward soundcheck.

Mutes, the first of FOMA’s acts, played with a lot energy – their fast paced, punk infused electric sound with the antics of their frontman providing some great images to capture. At this point, I realised I’ve taken way too many images – a freedom and problem with having too much free reign when shooting at small venues. So with Hoopla Blue, I decide to impose the three song rule on myself.

Overall, FOMA’s Harmless Untruths of… showcase was a lot of fun – reminiscent of hanging out at a squat party where everyone is chilled. And whilst the night did go on until late (as a squat party can do) after Hoopla Blue played I called it a night.

Harmless Untruths of… Hoopla Blue @ Blotto Studio 04.03.17 / Aatish Ramchurn