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July 11, 2019July 10, 2019

BPREVIEW: Sam Lambeth presents 10 Years on Four Chords @ The Victoria 12.07.19

Words by Ed King / Pics courtesy of Sam Lambeth

On Friday 12^th July, Sam Lambeth presents 10 Years on Four Chords – a final gig showcase held at The Victoria on John Bright Street, where he will perform cherry picked tracks from The MonoBloggers, Quinn, My Perfect Summer and Winona. And like that… he’s gone. This really is your last chance to see the boy up on stage. Although as a musical epitaph, Lambeth released a compilation of his decade long back catalogue under the same name back in May this year – to read Abi Whitsance’s Birmingham Review of 10 Years on Four Chords (the album) click here.

Joining Sam Lambeth for the 10 Years on Four Chords last hurrah will be ‘an array of special guests from throughout his career’, standing in as his swansong band mates – extra support comes from further local artists Giant & the Georges, Bryony Williams and Paul Beaumont (Wood and Nails).

Doors open at The Victoria on 12^th July from 7pm, with tickets priced at £5 (+ booking fee) – as promoted by The Future Sound Project. All money raised from the door sales will go to Teenage Cancer Research, a charity Sam Lambeth has supported for several years, with NOT NORMAL NOT OK also invited to have a presence at the event – challenging sexual assault in the music scene, from dancefloor to dressing room. For more direct gig information and links to online ticket sales, click here to visit the 10 Years on Four Chords Facebook event page.

Birmingham Review first saw Sam Lambeth as frontman for/founder of Quinn, when the indie pop three piece were supporting erstwhile Goth rockers, Semantics, back September 2017. Describing their sound as ‘languid melodies disguised by fast paced distortion and an unashamed rock outlook on life’, Quinn’s set was confidently wrapped around their engaging frontman – with Lambeth’s self-deprecation and humour being one of the highlights of a thoroughly enjoyable evening. The line we settled on was: ‘Lambeth is a superstar in the making, with absurd confidence, deft solos and the kind of charisma that you would sign in blood to possess.’

But Mr Quinn had worn several hats before Birmingham Review saw him strut his funky leopard print stuff, having again founded and fronted both The MonoBloggers and My Perfect Summer – the former enjoying some pretty respectable momentum and attention, getting picked by music media such as NME and Radio 6 alongside support slots for The Lemonheads and Little Comets.

Likewise, when the first incarnation of Quinn went the way of the dodo back in 2018 Lambeth sought to re-establish the band with some pretty sold new material – darker than its predecessors, a smattering of tracks were floated around (which Birmingham Review dubbed ‘Evil Quinn’) but despite being pretty exciting evolutions sadly did not pan out as many of us had hoped. No doubt, Sam Lambeth included.

But not one to be easily thwarted or pushed of stage, Lambeth set about redefining his redefinition with a further band – the again exciting but again short-lived Winona. In fact, when we run through it all it’s difficult to pinpoint why Lambeth isn’t now sipping hare of the dog cocktails in the Ivy, kvetching with Noel Gallagher about all the new faces at this year’s Glastonbury. To paraphrase the words of Robert Burns… I guess things just fuck up. But it’s an odd equation gone wrong that ‘Sam Lambeth’ isn’t on the way to being a household name by now. Or at least, to Celebrity Love Island.

Platitudes and prophecy aside, 10 Years on Four Chords will see this decade of highs, lows, fortune and famine played out (literally) on stage at The Victoria on Friday 12^th July – in a portfolio packed showcase that presents ‘choice cuts from every band, resulting in a winning playlist of some of his (Lambeth’s) best tracks spanning his ten-year tenure.’

Expect tears, expect laughter. Expect growing old gracefully to be shoved down the back of the sofa for a night. Come and say well done/goodbye to someone who has been embedded, both on stage and off, in the Midland’s music scene for the last 10 years. Someone should bake a cake, or buy a watch. Do PRS and Birmingham City Council issue a long service award…?

‘All the Best’ – Quinn

On Friday 12^th July, Sam Lambeth and The Future Sounds Project present 10 Years on Four Chords at The Victoria – showcasing tracks from The MonoBloggers, Quinn, My Perfect Summer and Winona. Support comes from Giant & the Georges, Bryony Williams and Paul Beaumont (Wood and Nails). For direct gig information and links to online ticket sales, click here to visit the Facebook Event page.

For more from Sam Lambeth, and for a sneaky peak at what’s coming off stage at 10 Years on Four Chords, visit https://spoti.fi/2G6ANA1

For more on Giant & the Georges, visit www.giantandthegeorges.co.uk
For more on Bryony Williams, visit www.soundcloud.com/bryony-williams
For more on Paul Beaumont (Wood and Nails), visit www.spoti.fi/2IJ1IWc

For more from The Future Sound Project, visit www.seetickets.com/promoter/the-future-sound-project

For more on The Victoria, including venue details and further event listings, visit www.thevictoriabirmingham.co.uk

For more on Teenage Cancer Trust, visit www.teenagecancertrust.org

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NOT NORMAL NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.

To learn more about the NOT NORMAL NOT OK campaign, click here. To sign up and join the NOT NORMAL NOT OK campaign, click here.

If you have been affected by any of the issues surrounding sexual violence – or if you want to report an act of sexual aggression, abuse or assault – click here for information via the ‘Help & Support’ page on the NOT NORMAL NOT OK website.

May 25, 2019

ALBUM: Ten Years on Four Chords – Sam Lambeth

Words by Abi Whistance / Pics by Chris Close

Giving your work away for someone else to meddle with is tough, but it seems that Sam Lambeth has finally plucked up the courage to do so. Immediately feeling far more sophisticated than anything he’s done before, Ten Years on Four Chords has managed to dodge a Thelma and Louise-style ending, letting someone else take the wheel for a large proportion of the album. Bedroom-quality recordings no more; production has worked wonders on tracks like ‘All the Best’ and ‘Start’, making them potential indie anthems of the Summer – albeit slightly generic ones.

I’ll be the first to say it, there’s a lot going on here. The nature of a ‘best of’ album is to lump all the finest you’ve got into one (rarely neat and tidy) package, and that’s pretty much exactly what has happened.

With a combination of songs from the likes of Quinn, Winona, The MonoBloggers and Lambeth himself, Ten Years on Four Chords does unfortunately struggle to avoid feeling a little jumpy at times – the hop from tracks like ‘Time Stands Still’ to ‘All The Lazy Hipsters’ instigating similar aftereffects to that of whiplash. This is but a small critique though (and perhaps an unfair one) for an album that is, at the end of the day, a compilation and thus fulfilling its purpose.

Yet I do think there’s a lot to be said for the range of quality on this record; most notably tracks associated with Lambeth’s days with Quinn, there’s a clear growth of both maturity and musical ability in his material since then. Influences have become clearer, his sound more fine-tuned. And it seems that with his work post-Quinn, Lambeth has finally found what works best for him.

Of course, I understand the necessity of including tracks from the Quinn era on this album, with the band arguably being one of his most notable ventures musically in the titular Ten Years… However, I can’t help but wish that some remastering had gone on here. With Quinn no longer together I’m sympathetic that this may be inconvenient, and maybe I’m being a little too demanding of a compilation album, but the dip in quality is so notable that it feels a shame to have not done anything about it. There are some good indie tracks on this record and the only thing holding it back from being a solid album throughout is the wavering quality.

Nevertheless, this can only be seen as a positive step forward in Lambeth’s career; Ten Years on Four Chords holds some of the man’s greatest musical achievements of the past decade. From The MonoBloggers to Lambeth gone lone-wolf, there’s an immense landscape of material to cover on this album – weighing in at a heavy seventeen tracks and a whole fifty-eight minutes for you to sink your teeth into. Enjoy.

Ten Years on Four Chords (official trailer) – Sam Lambeth

https://www.youtube.com/watch?v=BK5BV1nH0yA

For more on Sam Lambeth, visit www.soundcloud.com/samlambethmusic

For direct info for the Ten Years on Four Chords showcase at The Victoria on 12^th July, including venue details and links to online ticket sales, click here.

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NOT NORMAL NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.

To learn more about the NOT NORMAL NOT OK campaign, click here. To sign up and join the NOT NORMAL NOT OK campaign, click here.

June 1, 2018May 31, 2018

SINGLE: ‘All the Best’ – Quinn 01.06.18

Words by Ed King / Pics by Bryony Williams

On Friday 1^st June, Quinn release their latest single – ‘All the Best’. Phew, where to begin…

Firstly, ALL HAIL SAM LAMBETH. This is unashamedly sycophantic, and mainlines into the comfortable narcissism that turned that fresh faced indie kid from the ‘Near to You’ video into the canine caning rockstar you can see to your left.

But sod it. Some people are born performers and Mr Lambeth’s ‘brainchild’ is a joy to behold if for no other reason than he’s at the front of it.

Secondly, I’m going to try far too hard in this review. Might as well admit it. Centre stage stadium pretensions aside, Sam Lambeth is a better music writer than I am and it pisses me off no end. Actually, to clarify, the fact he doesn’t write for Birmingham Review is what really flicks the nads, but it’s all pretty much the same to my ego.

So, with that in mind, let’s copy/paste something from the ‘All the Best’ press release:

‘All the Best’ represents the best of Quinn’s past and the exciting future they are set to embark upon – Lambeth’s knack for driving melodies are wrapped around soaring synths, pounding Balearic beats and subtle sampling. “We took a conventional rock song and messed about with it, but on some different coloured wrapping paper and tried to give Quinn a new identity,” Lambeth said. “I’ve always loved pop in its purest sense, and hearing Beck’s record Colors made me realise you can have it both ways.”

Couldn’t have put it better myself. Hush ego, hush. But Quinn’s latest single is catchy as hell. Like some metaphor involving an airborne virus and a big thumbed sports star, the boy writes a mean pop hook and no mistake. And whilst I wouldn’t use White Isle rhetoric to describe it, ‘All the Best’ is a clear windows down summer winner. Cars, floppy hair, mirror lens sunglasses etc, etc…

No pretensions, ‘All the Best’ won’t win an Ivor Novello, but it sends an army of smiling earworms marching down your lug holes from the first happy clappy riff until the somewhat unfortunate fade out. Lambeth’s vocals have seldom sounded stronger too. But with ball-out-of-the-park-regular Ryan Pinson in production it’s an unsurprisingly well polished chill pill. Apart from the fade out. I don’t like fade outs. But that’s me.

Lyrically, ‘All the Best’ – as the Bible of sugar coated indie decrees – is about unrequited love with a gracious smile and confident nod to the unknown. The irony is that behind this creative love in was a somewhat public clusterfuck of a fond farewell, one we won’t dwell on but is a) worth mentioning considering the song’s premise, and b) another feather in the cap of a man who seems to be endlessly chasing somebody’s summer. Refer to paragraph one.

OK, time for a counterpoint. There’s always a counterpoint. Hang on. Need to get my right click on the go again here…

When it came to the next project, Lambeth had one rule – don’t repeat yourself. “Our last EP, Crush, was a homage to the hazy melodies and fizzy fretwork of the ‘90s, and thus was very guitar driven,” he said. “For where I was headed next, I knew it had to be completely different. It was time to experiment.”

Different, sure, but completely..? And if you’re old enough, ‘Words that Say’ by Mega City Four. But this is what Sam Lambeth does with Quinn to such Technicolor effect, and there’ll be plenty of time for that dub step opera with the Ukulele Orchestra of Great Britain. Fuck it, it’s summer. We’ve got convertible cars to drive down the M4.

And to surmise with more open ended plagiarism, if it ‘aint broke…

‘All the Best’ – Quinn

Quinn release their latest single, ‘All the Best’, on Friday 1^st June. For more on Quinn, visit www.facebook.com/quinnrocks

February 2, 2018February 2, 2018

BPREVIEW: Trudy and the Romance @ Castle & Falcon 03.02.18

Words by Ed King

On Saturday 3^rd February, Trudy and the Romance play at the Castle & Falcon in Balsall Heath, with support from Quinn, Deaf Balloons and P.E.T

Doors open at 7pm, with tickets priced at £7 (plus bf) – as presented by Birmingham Promoters. For direct gig info, including venue details and online ticket sales, click here.

*This gig has been rescheduled from 14^th November 2017, with original tickets still valid. For more information please visit the Birmingham Promoters event page, click here*

Combining their ‘whip-smart imagination and tongues firmly lodged in cheeks’ with ‘a veritable witch’s brew of lovelorn sea shanties and mutant rockabilly pop’ (just an awesome description) Trudy and the Romance hark back to the bygone days of Teddy Boy cool but with a post millennium pop edge. Coming to Birmingham from their home town of Liverpool, Trudy and the Romance play one of their first 2018 dates at the Castle & Falcon before heading over to Manchester in April.

Formed in late 2014, Trudy and the Romance’s recent Junkyard Jazz EP has been picking up momentum and music press adulation since its release in November 2017, with DIY Mag citing the 5 track extended play as ‘a new record of crackers.’ We’d be happy with that. Their ashtrays are pretty awesome too.

Supported by the Sam Lambeth fronted Quinn, always worth a looksie, Trudy and the Romance will be further joined on stage by Wolverhampton’s Deaf Balloons and Birmingham’s ‘Grrl punk band’ P.E.T – the latter we hear strange and curious things about, but have yet to see strut their loud and hopefully funky stuff on stage. One for the shopping list though.

‘Is There a Place I Can Go’ (live) – Trudy and the Romance

Trudy and the Romance play at the Castle & Falcon on Saturday 3^rd February – with support from Quinn, Deaf Balloons and P.E.T. For direct gig info, including venue details and online ticket sales, visit www.castleandfalcon.com/event/trudy-romance-quinn

For more on Trudy and the Romance, visit www.trudymylove.com

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

For more on Deaf Balloons, visit www.deafballoons.bandcamp.com

For more on P.E.T, visit www.facebook.com/petbanduk

For more from the Castle & Falcon, including further event listings and online ticket sales, visit www.castleandfalcon.com

For more from Birmingham Promoters, 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