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February 1, 2018February 2, 2018

ED’S PICK: February 2018

Words by Ed King

The shortest month of the year is here. Luckily it’s also the turning point, as life starts to push up through the thaw and Percy Thrower can start planning his planters. OK, bad example, but there’s a joke about daisies in the somewhere.

But luckily for us mortal coilers, the venues and promoters of this city are still packing a pretty heavy punch with February’s event calendar. If there truly is no rest for the wicked, then it seem incongruous that anyone got Christmas presents this year.

Comedy starts strong with the ‘queen of the acerbic broad smile’, or Katherine Ryan as she’s known in other publications, bringing her Glitter Room tour to the Symphony Hall (2^nd Feb) – a week before the Machynlleth Comedy Festival Showcase (9^th Feb) comes to mac with Joe Lycett, Tom Parry, Mike Bubbins, Rachel Parris and Danny Clives. Then it’s back to the Glee Club for a little end of the month self help, as Lloyd Griffiths (23^rd Feb) walks us through what it’s like to feel in:Undated in ‘a show about overcoming the overwhelming.’ I call them mornings, but we’ll see what he brings to the table.

Hurst Street is the home of dance this month, with Matthew Bourne’s Cinderella coming to the Hippodrome (6^th – 10^th Feb) whilst round the corner DanceXchange and Mark Bruce Company present a reworking of Macbeth (8^th-9^th Feb). And no doubt making St Valentine’s Day less of a massacre for many in this city, see what I did there, Birmingham Royal Ballet present The Sleeping Beauty back at the Hippodrome (13^th – 24^th Feb).

Music has everyone from the soon to be great to the already good coming through the city, kicking off with a cross city battle between Peach Club at The Sunflower Lounge (6^th Feb) and While She Sleeps at the O2 Institute (6^th Feb). A week later we have Iron & Wine at Symphony Hall (13^th Feb), followed by Bedford’s alt rockers Don Bronco at the O2 Academy (15^th Feb) as Dermot Kennedy plays the O2 Institute (15^th Feb). A day later there’s Mondo Royale spicing it up at the Actress & Bishop (16^th Feb) bringing a few different strands of your music rainbow across our city. In the days after that, we see Cabbage at the Castle & Falcon (17^th Feb), one not to be missed, The Ataris at The Asylum (17th Feb), Irit at the Glee Club (19^th Feb), Laura Misch at the Hare & Hounds (20^th Feb), Big Cat at the Indie Lounge in Selly Oak (23^rd Feb) and Puma Blue at The Sunflower Lounge (24^th Feb).

All the ‘big gigs’ this month are at the Genting Arena, in the shape of Imagine Dragons (24^th Feb) and the man himself, or one of them at least, Morrissey (27^th Feb). But there’s a few home grown releases this month worth saving your sheckles for too, as Amit Datani releases his debut solo album – Santiago (17^th Feb) and Table Scraps send another fuzz monster into the world with their latest long player – Autonomy (23^rd). Watch out for March’s listings for showcase gigs from both.

Exhibitions come from a multitude of angles this month, with the two blips on our radar being Factory Warhol at The Sunflower Lounge (10^th Feb) and The Dekkan Trap from Sahej Rahal in mac’s First Floor Gallery (17^th Feb) – with a few ancillary events to introduce both the artist and exhibition.

Some suitable love story based theatre starts treading the boards in this most Hallmark of months, with Penguins (1^st –10^th Feb) and Brief Encounter (2^nd– 17^th Feb) coming to the Birmingham REP, as The Last Five Years get played out at The Old Joint Stock (14^th – 18^th Feb). Then it’s the arguably less seductive A History of Heavy Metal with Andrew O’Neill & Band in mac’s Theatre (18^th Feb), before the award winning Mental has a three day at The Old Joint Stock (21^st – 23^rd Feb) and Terence Rattigan’s The Windslow Boy begins it’s run at REP (21^st Feb – 3^rd Mar). And for one night only each, LEFTY SCUM: Josie Long, Jonny & The Baptists and Grace Petrie present a mix bag of ‘Music! Comedy! Revolutionary socialism’ again in mac’s Theatre (27^th Feb) whilst back at The Old Joint Stock there is single An Act of Kindness (28^th Feb) to round off the month. But don’t worry, it’ll be back in March.

So, enough to keep you lovebirds busy this month – or to distract the kings and queens of singledom on that depressing light letter box day. But whether you face this world alone or together there’s always Fight Club for £1 at The Mockingbird Kitchen & Cinema (12^th Feb). Cheaper than a card, at least.

For more on any of the events listed here, click on the highlighted hyperlink. Ed King is Editor-in-Chief of Review Publishing, which issues both the Birmingham Review and Birmingham Preview.

January 31, 2018

BREVIEW: Trish Clowes – My Iris @ Eastside Jazz Club 25.01.18

Words by Anna Whittaker

Eastside Jazz Club is a new venue inside Birmingham Royal Conservatoire at Birmingham City University. Given the gig started at 6.30pm and was set in a university building, I was prepared to feel like I was still at work and be horrified by the lack of alcohol.

In fact, there is a cafe bar, from which you can take your drinks through to the venue, and they even do a little bit of food. Actually with the lighting and seating, it feels less like a lecture theatre-cum-practice room and less like a typical jazz club replete with sticky floor, general trodden in smell and dingy bar in the corner. The band gets loads more room than you see at most places, and the acoustics are great. Get here early for a seat.

Trampette, the support band of students at the Conservatoire, come on stage at 6.30pm. They’ve only been playing together since the summer but Tom Harris, Tommy Fuller, Josh Savage and Kai Chareunsy have a funky sound with songs based on your typical student things like a game of Jenga that went horribly wrong. It’s an interesting combo of keyboard/grand piano and bass guitar, with a drum kit and percussion section featuring bongos and a beat box to modernise the sound. Guest singer, Rebekah Wilkins, brings another dimension, and sounds beautifully like Melody Gardot. The best thing is they are definitely enjoying themselves. Trampette are also joined by a tenor sax player Harry Lear, for ‘Chickpea Mash’ they regularly stay with a slow rhythm then switch on the offbeat to more upbeat with impeccable timing on those pauses.

Talented saxophonist and composer, Trish Clowes, tours with her new quartet, My Iris. Clowes plays tenor and soprano sax with the accompaniment of Chris Montague on guitar, Ross Stanley on piano and Hammond Organ, and James Maddren on drums. Evocative and dreamy, Trish Clowes and My Iris build up slowly to an entrancing wall of sound as an intro to a much funkier guitar-led beat. There’s quite a lot of instrument switching going on but it’s smooth. The improv is fast but coordinated, reminding me a little bit of Ken Peplowski as there is a lot of doodle-oodle going on but it then fades into what seems to be her classic style on this album which sounds like the end of a rain storm. The puddles of sound keep coming, and actually this isn’t quite like any other jazz; with plenty of tempo switches. Clowes mixes in new material to the album My Iris released last year.

Next up is a ballad that makes the most of the gorgeous sounding grand piano. If you had to sum up the style of this set, perhaps ‘dreamy’ and ‘echoes’ would be the sort of words you would use. The piano solo in this piece is stunning to the point where the audience barely dare breathe; it’s reminiscent of Debussy. ‘Lightning Les’ finishes the first set and sounds like a barge coming through with discordant tones; you could be forgiven for thinking that the main chords were being played by an inexperienced clarinetist, blowing too hard and aiming at setting your teeth on edge, but it’s certainly a unique sound.

James Maddren’s drum solo provides some relief. But for some this might prove a little bit too experimental although it’s certainly not derivative in any way, and each musician is clearly highly talented; they meld together well, but it’s not relaxing listening. It would be nice to hear a few more solos from Clowes herself, amongst the bridges and twirls of the other artists, and we get a bit more of that towards the end of this piece on her tenor sax.

The start of the second set is more moody with just sax and piano before getting more boisterous. They’ve got sheet music in front of them, but I’d love to know how the ensemble get what they play from a mere couple of pages of scribble. This is more of a foot tapper and intriguing in its melodies. The older chairs in the audience all sit forward and start nodding in their seats, ‘Eric’s Tune’ is hitting the jazz nerve. Tap Dance (for Baby Dodds) is next, continuing the drum theme. This tune indeed has a tap dancing undercurrent throughout, with lead solo on tenor sax; it’s jumpy, it’s rhythmic while somehow mellow at the same time.

There is definitely something special about the weird wobbly sound of a Hammond organ that introduces the next piece, but what we didn’t expect was Clowes to do vocals rather than sax, in a sort of sound poem. This is really different, and such a contrasting intro to what comes next – an up tempo syncopation with echoes of the sax followed through on the piano. Tuning up the sustain on the guitar it’s very atmospheric; the moody ending is what makes them unmistakable.

Finally, ‘A Cat Called Behemoth’: the organ and guitar are the rhythm of its giant paws, the sax it’s swaggering walk, and the drums are fizzing the sound of each tensed muscle and especially every hair in his fluffed out tail. The students are amazingly attentive, by now mine are out on Sports Night ten sheets to the wind and don’t know what they’re missing.

My Iris is a completely unique sound, inspired by Clowes’ grandmother and messenger from Roman and Greek mythology (as well as a song called ‘Iris’). But as Trish Clowes says, Iris kept coming up from all directions as inspiration, like the many colours from the instruments her band.

For more on Trish Clowes’ My Iris, visit www.trishclowes.com

For more on Trampette, visit www.facebook.com/trampetteband

For more from Jazzlines, visit www.thsh.co.uk/whats-on/org/jazzlines

For more events from Eastside Jazz Club and Birmingham Conservatoire, including venue details and links to online ticket sales, visit www.bcu.ac.uk/conservatoire/events-calendar

January 21, 2018

THE GALLERY: The Bronx @ Mama Roux’s 17.01.18

Words & pics by Aatish Ramchurn

Tuesday evening. My car headlights stop working on my drive home, and the surprise flakes falling late at night are sticking to the ground. I’m hoping that on Wednesday I don’t wake up to eight inches of snow, and I can find a garage to fit me in to fix my headlights. Thankfully, both of my wishes are granted, and I have no problem making my way to see The Bronx live in Birmingham.

Knowing that the night has sold out, I arrive early to Digbeth’s most quaintly-decorated venue, Mama Roux’s. Standing by the stage in a virtually empty room, I watch it gradually fill up, with those arriving the earliest heading straight upstairs to the balcony to get the best view.

Until this point, I was unaware of who the support act was going to be, or if there even was a support act. I’d only seen this gig promoted by Surprise You’re Dead! Music, as The Bronx playing their latest album, The Bronx V, ‘in its entirety’. I found it a little hard to believe that The Bronx would be playing two and a half hour sets up and down the country.

Not that I doubt that they could. They’ve been touring as both The Bronx and Mariachi El Bronx for 15 years, even playing as both bands on the same night. It was just a gut feeling that there had to be someone supporting them throughout this club venue tour.

As it turns out, Ming City Rockers, from Immingham, are supporting The Bronx on their UK album showcase gigs. The East Lincolnshire rockers capture the attention of the audience with their fast-paced, punk rock and roll sound, reminiscent of The Buzzcocks and MC5.

Although there’s no restriction on the amount of photos I can take of bands at Mama Roux’s, I decide to impose the three song rule on myself, just so I can enjoy the rest of Ming City Rocker’s short, but powerful set, along with the rest of the audience. If you like your bands fast, loud, and slightly obnoxious (I mean that in a good way), their album, Lemon, would be worth checking out.

As Ming City Rockers leave the stage, I feel naturally drawn into the dispersion of the room, until this thought suddenly dawned on me: ‘This floor will be packed with people nearer the time The Bronx are on, do I really want to move away from the stage?’

I position myself to the left, until I’m wedged between stage speakers and the rest of the front row. I’m aware I’m not going to be in this position for too long but I have a decent place to start shooting from before things get less than ideal.

With the instruments set up, and beers settled by each amplifier, The Bronx are warmly welcomed by the Birmingham crowd. Frontman, Matt Caughthran, edges closer to the audience, greeting them as if meeting an old friend, before the band explodes into The Bronx V from start to finish. With where I’m positioned, I take advantage of getting shots in the limited time Matt Caughthran spends on stage – he seems more comfortable out in the middle of the crowd.

I’d gone into this gig presuming that my biggest challenge would be trying to get focused pictures in the middle of a frantic mosh pit, with an onslaught of stage divers and a poorly-lit environment.

However, it was something else entirely. Whenever Matt Caughthran was down in the room, from where I was perched on the slightly poked out corner of a speaker to give me a higher vantage point, I found myself in a Where’s Wally? situation, as I was having trouble differentiating which out of the many bald, tattooed men present was The Bronx’s frontman. Following the trail of the microphone cable into the crowd didn’t help me find him either, as he’s quite short. There were times I’m sure I was focusing on the wrong person.

After playing their fifth, eponymous release from their record label, White Drugs, The Bronx ventured into more familiar territory, with fan favourites such as ‘White Guilt’, ‘Knifeman’, and set closer ‘History’s Stranglers’.

I know us concert photographers tend to prefer to shoot in the comfort of photo pits, away from people knocking our elbows in minimal space. But I have to admit, shooting a vibrant punk show in a packed out, intimate venue with poor lighting, not only provides a fun, yet frustrating challenge. It also gives you images that document the soul of punk rock in Birmingham.

The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

For more on The Bronx, visit www.thebronxxx.com

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Ming City Rockers – supporting The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

For more on Ming City Rockers, visit www.mingcityrockers.co.uk

For more on Mama Roux’s, Birmingham, including full events listings, visit www.facebook.com/mamarouxs

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

January 16, 2018

BPREVIEW: The Bronx @ Mama Roux’s 17.01.18

Words by Aatish Ramchurn

On Wednesday 17th January 2018, Surprise Your Dead! Music present The Bronx at Mama Roux’s – where the band will be playing their latest album, The Bronx V.

Doors open at 7pm, with tickets priced at £17 (+bf) – but be warned, at the time of writing this event has already sold out so for direct gig info, click here.

To celebrate the release of their latest album, The Bronx will be playing The Bronx V ‘in its entirety’ in venues across the UK. The Southern Californian punks will arrive at Mama Roux’s on Wednesday 17th January, with the gig selling out just days after the Birmingham based promoters, Surprise You’re Dead! Music, released tickets.

Founded in 2002 by frontman Matt Caughthran, guitarist Joby J.Ford, bassist James Tweedy, and drummer Jorma Vik, The Bronx quickly attracted attention from major label, Island Def Jam Music Group, after just 12 shows. However, the band decided to put out their first few releases by forming their own label, White Drugs.

Their first major release came with their 2nd eponymous album (a title trend the band would continue) in 2006, when Ken Horne joined the band as their second guitarist. Subsequent albums would eventually be put out on White Drugs, including their 5th and latest album, The Bronx V, which was released in September 2017.

The Bronx last visited Birmingham as part of the Slam Dunk Festival 2017 at The Genting Arena, where they were joined by new drummer, David Hidalgo Jr.

When they’re not playing as a punk rock members of The Bronx also play as a mariachi band, Mariachi El Bronx, having three albums released under this name. But there will be no sign of any mariachi music at Mama Roux’s on the 17th January, as it will be pure, unadulterated punk rock coming from The Bronx as they perform their fifth album in this special showcase event.

For more on The Bronx, visit www.thebronxxx.com

For more on Mama Roux’s, Birmingham, including full events listings, visit www.facebook.com/mamarouxs

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

November 3, 2017November 14, 2017

BREVIEW: Black Rebel Motorcycle Club @ O2 Academy 28.10.17

Words by Molly Forsyth / Pics Phil Drury

Beaten leather jackets, faded skinny jeans, slightly greying hair and classic rock band tees… a seasoned crowd of music fans are with me at the O2 Academy to see Black Rebel Motorcycle Club (BMRC).

Formed in 1998, the San Francisco trio have anchored themselves as one of the Noughties’ most memorable rock bands, with a die-hard fanbase to boot. Traversing classic hard rock, blues, post punk and anything else from the grimier underbelly of rock, Black Rebel Motorcycle Club are a band who are proud to stick to their guns. While their contemporaries favoured disco beats and New Romantic candour back in 2005, they couldn’t cut through BRMC’s distortion and bluster. This is probably why the band are still going strong and touring in support of their upcoming eighth studio album, Wrong Creatures.

With their history in mind, it makes perfect sense for the opening act to be Restavrant, a rare breed of a band borne from the Los Angeles scene by two blues fanatics hailing from the Deep South. Restavrant come to Birmingham trucker capped, plaid clad and ready to bring the Texan heat to the stage. From the first song, the energy borders on dangerous when drummer Tyler Whiteside’s makeshift cymbals splinter from his strikes. What follows is an intoxicating blend of DIY punk and old school blues, but far more earnest than you would come to expect from an LA scene of poseur rock.

The creativity of Restavrant shines brightest for their half hour in the spotlight. Self-taught and unrestricted by traditional rock band set-ups, neither band member sticks to the beaten path in their playing techniques. Guitarist, Troy Murrah, is incapable of playing in a traditional style for more than two minutes, attacking the fretboard from almost every angle physically possible and showing the diversity of 16-bar blues with every song. Whiteside’s unorthodox kit, complete with an electronic pad, a suitcase for a kick drum and various other scraps of metal as percussion, is a perfect example of how this band infuse their Southern roots into their craft.

There isn’t much room for any respite or reflection in this stormer of a set, but Restavrant aren’t pretending to strive for anything beyond purely guttural rock, nor would you want them to. In a genre currently suffering under the rise of hip-hop and a trend towards minimalism and softness, Restavrant show determination to bring rock n’ roll back to its former glory, even if only for half an hour.

What follows from the main act of the evening doesn’t really match the pace or excitement that Restavrant incite within the crowd. I’m not expecting Black Rebel Motorcycle Club to have a full-throttle set for 90-plus minutes, but the 24-song set starts to drag from ‘Beat The Devil’s Tattoo’ onwards. I don’t want to suggest an experienced live band could sound amateurish, but it wouldn’t be unfair to suspect that tonight Black Rebel Motorcycle Club are suffering from sound engineering problems. There’s no emphasis on any harsh or soft moments, or indeed barely any change in dynamic at all from song to song. The guitars start to bleed into a drone that is hard to distinguish, save a few recognisable riffs; the issue is so prevalent that I didn’t realise they were covering Tom Petty’s ‘It’s Good to Be King’ until around a minute into the track.

Sound issues aside, I get the feeling that BRMC are aware of their longevity and find comfort in it rather than a challenge. There is definite fan service being paid, with the hardcore faction of the crowd clearly enjoying every second. For anyone else with a slightly more casual appreciation however, it’s a tough set to sink into. As a band famed for their live abilities, tonight Black Rebel Motorcycle Club aren’t quite delivering what they are known for during a live show. They remain mostly static, crowd interaction is minimal, and any playfulness with songs they’ve been entertaining with for years is hard to come by.

Drummer, Leah Shapiro, holds the fort perfectly as the rhythmic core of the group but seems almost bored of her role, rarely breaking away from the studio versions even though she definitely has scope and ability to. The stark, primary-colour lighting and moody smoke effects are reminiscent of early Interpol shows done as a gimmick. All in all, the set is unfortunately nondescript.

Their two biggest singles to date – ‘Spread Your Love’ and ‘Whatever Happened to My Rock and Roll’ – are unsurprisingly left till last. Frustratingly, it’s only now that the band come alive; a few plastic pint cups start to bounce off the crowd’s increasing undulation. Levon Been shows a little rowdiness and whips up the front row into a frenzy. After an hour of sleepwalking through their hits, all of a sudden it starts to resemble a rock show, albeit too late for me.

But there are brief moments of magic from Black Rebel Motorcycle Club tonight. ‘Ain’t No Easy Way’, ‘Stop’ and ‘666 Conducer’ are able to break through the onset ennui. Peter Heyes’ solo take on ‘Devil’s Waitin’’ is also impressive.

I leave the O2 Academy with no less respect for Black Rebel Motorcycle Club but a little deflated, having been pumped up with high expectations. I will make sure I give Wrong Creatures a listen upon its release, and my lingering hope is that the next time BRMC make a live outing the quality of the performance matches the undeniable quality of their back-catalogue.

Restavrant – supporting Black Rebel Motorcycle Club @ O2 Academy 28.10.17 / Phil Drury – Birmingham Review

For more on Restavrant, visit www.restavrant.bandcamp.com

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Black Rebel Motorcycle Club @ O2 Academy 28.10.17 / Phil Drury – Birmingham Review

For more on Black Rebel Motorcycle Club, visit www.blackrebelmotorcycleclub.com

For more from the O2 Academy Birmingham, including full event listings and online ticket sales, visit www.academymusicgroup.com/o2academybirmingham

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