Birmingham Review Archives - Page 58 of 60 -

October 9, 2017October 8, 2017

THE GALLERY: KRS-One @ Hawker Yard 01.10.19

Hip hop veteran, KRS-One, arrives in Birmingham to close his six date UK tour, for what’s been described as an exclusive and ‘intimate’ show at Hawker Yard.

When it comes to gigs, I’ve always taken the term ‘intimate’ to mean ‘artist playing in smaller setting than they normally would’. But as I look at Hawker Yard for the first time – with it’s tiny, wooden stage and tented roof covering a pebble-floored area no bigger than a local pub – I realise that intimate, in this case, really does mean intimate.

The evening has been warming up with DJs from the monthly Feel the Vibe nights at Hawker Yard, with kids break dancing in the middle of the floor, reminiscent of hip hop in the 1980s, only with a boombox missing.

(It would have been great to have had some photos of the break dancers, but I did not bring my flash with me and the environment was way too dark to capture anything. In fact, I was feeling like this whole night was going to be a challenge, in terms of lighting)

The live sets start at around 9pm – kicking off with Omen, then followed up by Maxi Zee from Germany. They had 15 minutes of stage time each, but it was enough time for both acts to make an impression on the Hawker Yard crowd. At this point in the night, I had enough room by the stage to take photographs, but the moment Trademark Blud came on stage I knew that things would get even more difficult for me when KRS-One shows up.

Trademark Blud, supported by his beat maker and DJ, Tricksta, captivates minds with his hard hitting, politically conscious brand of hip hop. I restrict my photography by retreating away from the stage as more people are towards it. Whilst watching Trademark Blud rapping frenetically, I strategise just how I’m going to take photos of KRS-One in a closed setting like this.

The moment Trademark Blud leaves the stage, I make my way forwards and occupy the small gap left between the audience and the front of stage by squatting there. This spot is mine. And whilst I may make this sound uncomfortable, the truth is that it feels very relaxed; Hawker Yard just has a really friendly vibe, much like a community where you are simply made to feel welcome.

The man of the night, KRS-One, takes to the stage. Wildly glaring at the audience, and looking to make this a big night as Birmingham is the city he is closing his UK tour with. I take as many shots as I can before he even begins his first song, as I know it’s going to get rowdy as the night progresses.

KRS-One points to the area I’m occupying and says “It’s empty here” encouraging the audience to move closer to him, which they do with little hesitation. I spring up like a meerkat to avoid being trampled on, but I’m very much stuck in between people, all with their phones held high, capturing the moment that they were all standing right next to KRS-One.

I’m smiling throughout all this, mainly because I’ve never had this experience as a photographer; as if the low light wasn’t challenging enough, try getting any clear shots of an artist when squeezed in between so many fervent fans.

Wanting to get a few more crowd shots I retreat from the front, checking at the images at the back of my camera to make sure I’m happy with what I’ve got, as once I’m out there will be no return. And I had expected ‘Sound of Da Police’ (taken from KRS-One’s first album, Return of the Boom Bap) to be left until last, but fortunately for me it wasn’t so I could take my leave from the front after that.

But the whole idea of being a concert photographer is capturing these moments as they are. And that’s what these photos from KRS-One at Hawker Yard represent – a night where there is no stage, or status barrier between artist and audience, but one where a venue is simply united by hip hop.

KRS-One @ Hawker Yard 01.10.19 / Aatish Ramchurn – Birmingham Review

For more on KRS-One, visit www.krs-one.com

For more on Trademark Blud, visit www.trademarkblud.bandcamp.com

For more on Tricksta, visit www.facebook.com/TRICKSTA

For more on Hawker Yard, including full event listings, visit www.hawkeryard.com

For more on Mostly Jazz, including full event listings and online ticket sales, visit www.mostlyjazz.co.uk

October 4, 2017October 6, 2017

BPREVIEW: Rews + The Hungry Ghosts + Ed Geater @ Actress & Bishop 25.11.17

Words by Ed King / Live pics by Rob Hadley & Paul Reynolds

On Saturday 25^th November, Birmingham Review presents its winter showcase at the Actress & Bishop – a live gig, with Rews + The Hungry Ghosts as joint headliners, alongside Ed Geater in support.

Doors open at 7pm, with tickets priced at £8 (advance) and £10 (on the door) plus the relevant booking fee if you buy through a ticket agent. Tickets can be bought via See Tickets, Eventbrite and Music Glue – click on the name/logo of each outlet for a direct link.

Tickets are also available through the individual artists’ websites: Rews, The Hungry Ghosts, Ed Geater. Or you can buy tickets direct from Birmingham Review – contact us on info@birminghamreview.net to arrange physical ticket sales (p&p may apply).

So that’s what, where and how much sorted. Now a little more on who… Birmingham Review is lucky enough to have covered a whole smorgasbord of music across 2017, from the lava lamp delights of The Mother’s Earth Experiment to the eclectic ensembles of the Post Paradise showcases at Centrala. But there are always those that stick in our ears for a little longer, or to quote one of our headliners: “Like a little Tequila worm that crawls in, gets drunk, and stays in there forever.”

To show how much we love what we love, we’ve invited a few of our new(ish) friends to come and play at what is, in effect, our (non-denominational) Christmas party. And we’re inviting you, for the mere price of a ticket, to come and see a few of the horses we’re backing in the New Year.

You know that friend that always goes on about having seen (INSERT NAME OF BIG BAND) when they played (INSERT NAME OF SMALL VENUE)… well this is your chance to do one better. Three better, in fact. Check out the below for a sneaky peak at the Pyramid Stage headliners of tomorrow. Or even better, come down to the Actress & Bishop on Saturday November 25th and seem then a bit more close and personal… well, up close at least.

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Rews

First spotted playing at The Flapper back in February, where I got to interview the two women who are increasingly being referred to a ‘the next Royal Blood’ and Damien got to cover the gig. Seldom do you get such a good first impression, both on stage and off.

Since then Rews have gone on to storm Glastonbury (one of Mark Radcliffe’s festival highlights), nudge their way onto various national radio stations, be the first UK band signed to Marshall Records and line up an album, the actually eagerly awaited Pyro – out in November. Just don’t tell them I used an adverb. Infectious, awesome and will kick the teeth out of our Christmas party.

‘Shine’ – Rews (taken from their forthcoming debut album, Pyro)

For more on Rews, visit www.rewsmusic.com

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The Hungry Ghosts

It’s no surprise that WE LOVE THE HUNGRY GHOSTS at Birmingham Review. And to prove it, we’ve covered them here, here, here, and of course here. I have even had to stop myself from writing about their gigs, as my sycophantic rhetoric is in danger of repeating itself. Plus, there’s no better metaphor than a Joe Joseph metaphor and I’m tired of being outdone (I should learn the guitar to balance things out).

But all their praise is deserved; to quote Larry Love from Alabama 3, whom ‘the ghosts’ supported back in 2015, “they’re a rock band. A real fucking rock band”. Which indeed, they are. The next 24 months could be the pivotal point for a band who, and I mean this, could well land somewhere between The Rolling Stones and The White Stripes in both sound and success. All aboard the Slaughterhouse Blues Express, next stop ‘Amerika’…

‘Amerika’ – The Hungry Ghosts

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

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Ed Geater

I first saw Ed Geater at a showcase presented by Call Me Unique (who sadly couldn’t join us on stage, but has promised to make up for it at the bar) – but his name has been buzzing around the Birmingham circuit and beyond for a while. I have never met someone who didn’t enjoy an Ed Geater gig – seriously, if you’re out there get in touch we need to emboss you in bronze.

Master of the loop pedal, a seriously talent songwriter and an overall lovely fella, if some savvy subsidiary doesn’t snap him up soon we’ll eat all the hats. Check out Giles Logan’s great interview with Mr. Geater too, ahead of his headline show Hare & Hounds homecoming hoedown…. and breathe, that we covered back in March.

‘Symmetry’ – Ed Geater

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

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Birmingham Review presents its winter showcase at the Actress & Bishop on Saturday 25^th November, with Rews, The Hungry Ghosts, Ed Geater. For tickets email info@birminghamreview.net, or click on the following outlets: See Tickets, Eventbrite, Music Glue

For more from the Actress & Bishop, including venue details and links to event, visit www.facebook.com/Actressandbishop/

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

September 29, 2017

BREVIEW: Cult Figure: Kenneth Williams @ The Old Joint Stock Theatre 26.09.17

Words by Helen Knott

What does it mean to be a cult figure? Is it simply someone who is popular with a loyal, but limited, group of people, or does it have connotations of an almost unhealthy devotion?

Cult Figure: Kenneth Williams feels like the work of a fan, someone with a real reverence for Kenneth Williams. Painstakingly pieced together from diary entries, personal letters and radio performances, writer and performer Colin Elmer successfully captures the spirit of Williams’ singular persona. The piece is funny, fast-paced and enjoyable. This is particularly true in a first half that focuses on Williams’ early life as a child living above his father’s hairdressers and his stint in the forces during World War II.

The stories about Williams’ war years provided real insights into the life of a soldier and the work of the Combined Forces Entertainment, the group that travelled around, providing entertainment for the troops. Indeed, Williams lived through a fascinating era of history, and I would have enjoyed more exploration of the context that he was living and working in. Issues such as the illegality of homosexuality for much of Williams’ life undoubtedly impacted him and his work, but were barely touched upon.

Elmer instead focused on performing numerous extracts from Williams’ radio career, using skits from Hancock’s Half Hour, Round the Horne and Just a Minute to trace his evolution from a bit part actor, to an innovative comedian, to a TV and radio personality. This generally worked well and allowed Elmer’s real strength – that is, his well-observed impersonation of Williams – to take centre stage. Elmer’s voice, subtle mannerisms and easy charm resulted in a number audience members commenting in the interval: “I think it’s really him!”

The second half of the show was largely structured in a chat show format, with Elmer feeding audience members pre-prepared questions. This felt a little forced; just a device to allow Elmer to cover some big moments in Williams’ life, including celebrity-themed anecdotes and oddly, the Carry On films (which were rather rushed over, considering that they’re probably Williams’ best known work).

It didn’t help that Elmer was occasionally tripping over his very detailed, very precise script. This section may have worked better if it actually gave The Old Joint Stock audience the opportunity to ask their own questions. They were clearly a knowledgeable bunch and it would have freshened things up to see Elmer thinking on his feet.

Ultimately, the show felt rather one-dimensional. There was no sense of the darkness that haunted Williams, eventually leading him to die from an overdose. Williams’ mother, who he had a close relationship with throughout his life (she even lived next door), was strangely absent. Big and complex questions about Williams’ private life and professional legacy were untouched.

Cult Figure: Kenneth Williams clearly didn’t have ambitions above providing a nostalgic and fun reproduction of the best bits of Williams’ career for the comedian’s devoted following. It certainly succeeded in this: the production comes from a place of great affection and is beautifully performed, but it’s not going to win the cult figure Kenneth Williams any new fans.

For more on Cult Figure: Kenneth Williams, visit www.oldjointstock.co.uk/whats-on/cult-figure

For more from Old Joint Stock Theatre, including full event listings and online ticket sales, visit www.oldjointstock.co.uk

September 29, 2017October 1, 2017

BREVIEW: The Black Angels @ O2 Institute 26.09.17

Words by Emily Doyle / Pics by Rob Hadley

London’s self-described ‘sunshine doom’ 5-piece, Mass Datura, serve up a set of melodic prog to begin the evening. But thanks to a surprisingly long queue for entry at the O2 Institute, complete with drug dog patrols outside the venue, their early set is enjoyed by a smaller audience than they deserved.

And while the violin and keys are a little low in the mix, they craft some interesting textures – providing some excellent fodder to ease the crowd into the evening of psych to come (Mass Datura’s debut LP Sentimental Breakdown is out now on All Types of Slime Records, should you want to fall a little deeper down the rabbit hole).

A Place to Bury Strangers slink onto the stage next, in an unassuming manner; they seem satisfied in the knowledge that the majority of the crowd (this reviewer included) have no idea what is to come. The term ‘wall of noise’ is thrown around all too lightly but in this case it is appropriate; intense strobe lighting marks the start of their set, at 8pm sharp, and does not relent throughout the opening track. Within minutes, some audience members are forced to shield their eyes.

Lia Simone Braswell is one of those rare drummer-come-front person characters. Her kit occupies the front and centre of the stage, a vocal mic arched above her. She is a powerhouse. To her left is Oliver Ackermann of Death By Audio fame, whose distorted vocals cut through the maelstrom; to her right is Dion Lunadon, who indulges in some bass guitar abuse to rival the Clash’s Paul Simonon – trusting his bass into the crowd while Ackermann holds his guitar aloft, and the noise fades.

Braswell produces an autoharp. She proceeds to play a haunting tune, accompanied by delicate vocals, while Lunadon and Ackermann tune up. A Place to Bury Strangers launch back into the howling punk-rock of 2009’s ‘I Lived My Life to Stand in the Shadow Of Your Heart’ with renewed energy. In my notepad, I write the word ‘onslaught’ a total of three times at different points during their set.

The lights dim and A Place to Bury Strangers appear to leave the stage, so the crowd migrates towards the bar to refuel before the headline act. Without warning, a driving electronic beat starts up and multi-coloured lasers erupt from a small circle over by the bar; Ackermann has wheeled a flight case into the crowd and the performance continues. Braswell’s aggressive dancing keeps us just far enough back while Lunadon climbs on top of the case, bass guitar in hand. After this extended jam, A Place to Bury Strangers dissolve into the audience once more… The room awaits The Black Angels.

‘Currency’, the opening track from The Black Angels‘ 2017 album, Death Song, is greeted by cheers. The driving two note riff cuts through the O2 Institute’s main room, with what appears to be Beelzebub’s teletext projected onto the back of the stage. The Black Angels exude a quiet, stoic confidence; a stark contrast to the territorial noise-rock of A Place to Bury Strangers. Alex Mass’s shamanic vocals are hypnotic, a perfect counterpoint to the grinding drums from Stephanie Bailey.

2010’s juddering ‘Bad Vibrations’ lulls the crowd into a comfortable, woozy sway. Everything about The Black Angels’ performance is equally comforting and uneasy; each track is full of the warm, swirling psychedelia of their forebears, but also buzzes with a hint of discord. On stage the band are relaxed, but choose to keep their distance with a complete absence of dialogue.

The crowd responds with an equally subdued manner; one girl dares to climb onto a friends shoulders to sway along to ‘You On The Run’ and is met by a surprising amount of disapproving British frowns. The Black Angels certainly aren’t in Texas anymore.

After an encore culminating in their breakthrough hit, ‘Young Mean Dead’, the audience files out of the O2 Institute. On my way out the door I run into Martin of Tamworth two-piece You Dirty Blue, eyeing the Death By Audio pedals on A Place to Bury Strangers’ merch stand (I later learn that grinders emblazoned with the slogan ‘Listen To The Black Angels’ were also on offer). On reflection, we both agree that although The Black Angels were as excellent as you would expect, it was A Place to Bury Strangers that were the band of the night.

Mass Datura – supporting The Black Angels @ O2 Institute 26.09.17 / Rob Hadley – Birmingham Review

For more on Mass Datura, visit www.soundcloud.com/mass-datura

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A Place to Bury Strangers – supporting The Black Angels @ O2 Institute 26.09.17 / Rob Hadley – Birmingham Review

For more on A Place to Bury Strangers, visit www.aplacetoburystrangers.com

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The Black Angels @ O2 Institute 26.09.17 / Rob Hadley – Birmingham Review

For more on The Black Angels, visit www.theblackangels.com

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

For more from Kilimanjaro Live, visit www.kilimanjarolive.co.uk

For more from This Is Tmrw, visit www.thisistmrw.co.uk

September 28, 2017

BPREVIEW: KRS-One @ Hawker Yard 01.10.19

Words by Aatish Ramchurn

On Sunday 1st October 2017, KRS-One and DJ Predetor Pr!me come to Hawker Yard in Birmingham – with main support from Trademark Blud, Tricksta, Maxi Zee and Omen. Also on the night will be sets from DJ Jam Fu, DJ 6’5, Dek One and DJ Silence.

Doors at Hawker Yard open at 6pm. Early bird tickets are priced at £12.50, with standard release tickets priced at £15 – as presented by Mostly Jazz and Break Mission. For direct event info and links to online ticket sales, click here.

With a career spanning over three decades, Lawrence ‘Kris’ Parker, better known to the world as KRS-One, will be bringing his current six date tour of the UK to a close when he comes to Hawker Yard on Sunday 1st October.

Having kicked off at The Jazz Cafe in London on 23^rd Sept, KRS-One will be moving out to mainland Europe for several dates across October, before returning to the UK for a final showcase/lecture at The Moustache Bar in London as part of Black History Month.

Since his last visit to Birmingham at the O2 Institute last year, KRS-One released his latest album, The World Is MIND, in May 2017 – out through R.A.M.P. Agency. Parker‘s 13^th solo album (19 including those released under Boogie Down Productions) The World Is MIND marks a career in hip hop spanning over 35 years, one that began in earnest with the release of Criminal Minded in 1987.

Pushing on with Boogie Down Productions after the fatal shooting of Scott La Rock, before going solo in the early 90s, KRS-One is often cited as one of the more influential figures in the hip hop scene. Evolving his style, moving away from the more hardcore and gangster rap, incorporating elements of Jamaican dancehall, KRS-One has also been politically active and community focused since the late 80’s.

Following the death of DJ Scott La Rock (who had been mediating between a local gang and the third member of Boogie Down Productions, D Nice) KRS-One formed the Stop the Violence Movement in 1989, aiming to challenge the aggression and internal feuds within the hip hop community.

On Sunday 1^st October, KRS-One and DJ Predetor Pr!me will be headlining a night of hip hop and breaks at Hawker Yard – hosted by Mostly Jazz and break dance crew, Break Mission.

The night will start from 6pm, where resident DJs of Feel the Vibe (a monthly event at Hawker Yard) in association with Break Mission will warm up the event, before support acts Maxi Zee, Trademark Blud, Tricksta and Omen hit the stage. For direct gig info and link to online ticket sales, click here.

‘Show Respect’ / KRS-One

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KRS-One @ Hawker Yard 01.10.17 (official trailer)

https://www.youtube.com/watch?v=yPKLe2rS3Rk

For more on KRS-One, visit www.krs-one.com

For more on Hawker Yard, including full event listings, visit www.hawkeryard.com

For more on Mostly Jazz, including full event listings and online ticket sales, visit www.mostlyjazz.co.uk

For more on Break Mission, visit www.breakmission.org