But by all on and offline reports, recollections, fervent cries and night terrors of loss and longing, the evening was a rip-roaring success. So much so, in fact, that the Birmingham Review front line reporter has been missing in action ever since… if found, please return to BRHQ.
Luckily, we had more troops in the crowd – a man who shall now and forever be referred to as ‘photo ninja’, for his Matrixesque ability to weave through a mosh pit whilst messing about with that all important ISO.
And as for the rest of you, indulge yourselves in some glorious gig shots from Saturday 2nd March at The Flapper in THE GALLERY – featuring headliners Wood and Nails, alongside support acts Last Light, George Gadd, and Dearist. There are a few picked cherries to begin with, then the larger mosaic gallery – so viddy below my droogs, such a gromky shoom horrorshow:
Woods and Nails @ The Flapper 02.03.19 / Aatish Ramchurn
Now it’s no secret that both Birmingham and Birmingham Review love REWS, with the alt-rock duo having had some stellar sell out shows in this city over the past year; needless to say we were a little ‘Christmas come early’. But this evening was another step up, with REWS playing to their biggest headline crowd in the city to date – packing the rafters at the iconic canal side music venue, with barely enough room left to swing/swig a shot of rum. Or see, if you’re a under 6ft…
We also had a new reporter in the crowd, to give you a fresh narrative thread to hold on to whilst you peruse THE GALLERY – so dust off your best Meryl Streep internal monologue, sit back, reminisce or relive, and welcome Emma Curzon to Casa Review de la Brummagem. Ah, those misty water coloured memories… come back and see us soon REWS.
In an atrocious betrayal of student-kind, I must admit I’m not overly acquainted with the world of alt-rock. I was given, however, a very promising introduction into it on Saturday 17th November. The gig was headlined by London/Belfast duo REWS and hosted by Birmingham Review/Metropolis Music, at the cosy-yet-mysterious canal side pub The Flapper.
The line-up held solid performances throughout the night – although I was never quite enraptured by Thousand Thoughts, who opened the evening. They were good, but not spectacular. Still, I was genuinely touched by ‘Be Frank’ – a more tender, sedate number pleading to the addressee to open up about their mental health struggles.
The recently renamed four piece are a new signing to Marshall Records – becoming label mates and tour support for the night’s headliners – and are arguably still finding their feet. No doubt we’ll get to see them again next time they pass through the city. Plus, as mentioned, I’m not the biggest devotee of alt-rock… so mix these words well before baking and add just a pinch of salt.
Next up, local support MeMe Detroit (plus her band) gave the room a huge energy boost – at one point, we are ordered to “sing your fucking hearts out”. Amen to that.
On the cusp of releasing her Life in the Now EP, MeMe Detroit gave a commendable performance – one both heartfelt and dynamic (my personal highlight was the refrain of ‘Love Transcends All Again’) – and threw herself into it with much head-banging and dancing, at one point taking her guitar for a quick dash through the audience.
However, the best was definitely saved for last. With their slick onstage outfits, REWS’ would not have looked out of place alongside the cast of a Disney Channel musical – but once they started it became obvious: Shauna Tohill and Collette Williams most certainly did not come to just play at being rock stars.
Williams played the drums with the poise and precision of a concert pianist, but still positively exploding with enthusiasm and vigour. Meanwhile Tohill’s skill, and more importantly her passion, shone through in every note – as she threw her whole body into her performance, making it even more of a joy to watch.
Their opening songs probably showed this to the greatest effect and were my favourite part of the entire night. The audience appeared to agree – many were clearly veteran fans and sang along with great enthusiasm, the sudden energy boost as obvious as it was catching. The best was one of their oldest tracks but most recent single, ‘Can You Feel It?’ – a straight and simple rock anthem with frequent repetition, but of joyous, inspiring lyrics telling us to “Dance like no-one’s watching” and creating a rousing crowd-pleaser full of infectious joie-de-vivre.
Other well recognised tracks from the REWS repertoire, such ‘Death Yawn’ and ‘Shake Shake’, got a similarly ferocious response. Although a few of the set’s latter (and possibly newer?) songs didn’t land quite as well, missing some of the intensity that made the more well-versed numbers so enjoyable. REWS did, however, throw in a cover of 4 Non Blonde’s ‘What’s Up?’ that pushed the room to an almost health and safety challenging fever pitch – a new set addition Williams had alluded to in a recent interview with Birmingham Review.
So, my verdict: I’m still wouldn’t call myself an alt-rock aficionado, but if I was ever to have an introduction to the genre this was a good night for it. And I’d love to see REWS perform again, considering the band have ended their last two UK tours in Birmingham there’s a fingers crossed chance we may all get to as well. I’d better brush up, now where’s that’s copy of Kerrang! gone…
REWS – with support from MeMe Detroit + Thousand Thoughts @ The Flapper 17.11.18 / Phil Drury & Callum Lees
On Saturday 17th November, MeMe Detroit will be supporting REWS at The Flapper in Birmingham – alongside Marshall Records’ recent signed nu metal/alt rockers, Thousand Thoughts. For gig tickets and direct info, click here.
MeMe Detroit is ‘…effortlessly cool’, it says so on her biog. And talking to her over the phone, outside the ‘sleazy grunge and power indie’ that she may kick off stage, this is someone fully comfortable in their own skin. I could spend four hours in a sensory deprived meditative state and would still be the game show host in this conversation, and I’m not the one with a new record to sell.
“It’s not out until 23rd November,” explains Detroit – introducing her 5 track Life in the Now EP, which is currently getting toured across the country. “It’s going to be available everywhere – online, to stream. It’s being pressed up onto CD and there’s going to be a limited edition vinyl, just 300, coming out. But that’s not until the beginning of next year.” Always good to have some plastic with your name on it, but why the collector’s press?
“I’ve always loved vinyl, and it’s something I’ve always wanted to do,” tells Detroit, “have a record pressed up onto vinyl, So I thought, let’s just do it with this EP. I’m really looking forward to it… It nearly became a really rare limited edition because we found a tiny, tiny spelling mistake after they’d gone to press and we rushed through to get in and fixed it. Who knows, in 20 years it might be a really rare edition… we should have kept ten of them.”
It worked for Hendrix – urban myths have it that his third studio album was originally pressed up as Electric Landlady, adding a few noughts onto the end of an already expensive first edition if you’re lucky enough to own the typo. And I’ve heard of worse business models; EMI must be kicking themselves.
“It opens with ‘Churchside Inn’,” continues Detroit – walking us through the Life in the Now track listing, “an ode to my favourite pub, the Actress & Bishop. It’s not like… I don’t ‘owe’ the place anything, but it helped shape me quite a bit, and without really realising it. That’s where I met Neil (frontman of Blue Nation), my other half. It got me into DJing, and I met lots of people to do my music with there. So, the track came from that.”
And this worked for Lou Reed. But there’s a track that has already been released from Life in the Now that’s a very current observation, one that pokes astute and acerbic fingers at the contemporary culture of social media. “’Churchside Inn’ is followed by ‘Soc Med Junkies’,” adds Detroit. “I’ve heard it called ‘soc med’ before, but then I realised it sounds like ‘meds’ – like your taking your meds. We’re on our social media and that’s us taking our medicine… it’s just a play on words. I’m trying to say, don’t let your life be consumed with it.”
I could write a dissertation on this, given a time machine, a pen and some paper. But what compelled MeMe Detroit to turn her pen to the subject? “I was sat on a train one day and I looked up and saw like a sea of people on their phones, not conversing – even people that knew each other. Then I realised that I had been doing that too; I had looked up from my phone. And I just thought this is really weird, everyone in this carriage are just staring into the little square things and not interacting with each other. It felt really fake, and weird.”
“It’s like they can’t wait to have these conversations with people they don’t know, when there are people they could be doing that with then and there in the carriage. I just thought this is all wrong… (laughs) you just go ‘arrgghh’. When you take a step back you just go ‘what??’.”
A scene that, sadly, most of us will be familiar with – and sometime a part of. But social media can be a great asset, especially when you’ve got a gig or a record to promote. Or an interview to publish. How does MeMe Detroit tackle this double-edged sword, as an artist in the commercial world? “I’ve made a conscious decision; I have to go on social media for my job, but I try to not sit there scrolling aimlessly – I go on to do my work… and I might take 5 minutes to see what my mates are up to, and then I’m like ‘right, switch it off’. Back to the real world.”
Life in the Now carries a constant theme of self-honesty and empowerment, with the four remaining tracks addressing issues from fidelity to social constraints. The latter of which is surmised in the EP’s final track, ‘Run Riot’ – “written not long after the election,” laughs Detroit, “it’s like, don’t just stand in line and do what you’re told to do. Run free, go wild. Have fun and be true to yourself.”
Even the cover sticks a friendly two fingers up at society’s clandestine shackles, with a collage of pics from a baby making faces pressed up against glass. Honestly, I thought it was MeMe Detroit, but “it’s actually my photographer’s child. She had these photos done, and when I saw them I had to ask if we could use them for the cover because they look brilliant.”
“They really fit with the title,” continues Detroit, “how when you’re growing up you can get a little bit suppressed by society, from being a child you’re told not to do this not to do that, to be quiet. But I just loved these images, they’re like ‘just be yourself, don’t care what people think – pull faces, do what you want.’ It sums it up perfectly.”
I write ‘pull faces, do what you want’ on my notepad, committing it as my new mental mantra to be repeated over breakfast. And perhaps it’s the catharsis that MeMe Detroit’s live performances bring that give her such a firm grip on freedom and calm demeanour off stage.
Whatever it is, it’s a little infectious, with Life in the Now set to be an intelligent observation as well as some kick ass new music. Although that’s for an audience to work out in their own way, I guess. But how do these new tracks make the artist behind them feel?
“We played them for the first time not long ago…” laughs Detroit, “oh God, I was really scared. But they’re good; they sounded good. We’ve played ‘De Moe’ out a couple of times, but then we did all of them at the last show. It was a good gig, and we got really good feedback… I think it went down well.” As the first hint of self-doubt creeps into the conversation… perhaps there’s hope for us all.
‘Soc Med Junkies’ – MeMe Detroit
Life in the Now EP by MeMe Detroit is out on 23rd November, released through Me Me Detroit’s own SoulRock Central Records. For more on MeMe Detroit, visit www.memedetroit.com/
Local support at The Flapper comes from MeMe Detroit, playing a home town show to promote her new Life in the Now EP. Whilst joining REWS on all of their UK tour dates are Thousand Thoughts – Enfield’s nu metal/alt rockers who are currently promoting their debut single, ‘This One’s for You’.
Ed King caught up with Collette Williams, one half of REWS and the band’s ‘vocalising beat-rocker’, in between the band’s sell out shows in Manchester and London.
“We’ve never had a bad show in Birmingham,” tells Williams, “and we love playing there. Honestly. I know you probably get artists say that all the time – ‘yeah the shows there are great and we can wait to see – insert name of city here’. But Birmingham is definitely one of our favourites.”
And REWS, it seems, are a favourite of Birmingham’s, with that special kind of fan fevour following them from venue to venue, previously selling out shows at the Actress & Bishop and the Hare & Hounds. And now it’s back to The Flapper, where Birmingham Review first saw REWS back in February last year, with the band bringing a fresh army of fans following their support of Halestrom at the O2 Academy in September.
“That was absolutely fantastic,” tells Williams, “and really character building – we both had the time of our loves. Halestorm were the loveliest humans, let alone musicians, that we’ve ever met. They welcomed us with open arms and really made us feel like part of the family. As did Avatar, who were main support – again, a lovely bunch of humans. It was just fantastic.”
Reassuring humility for such a for huge band, since forming in 1997 Halestorm have become one of the most prominent rock acts in North America. But my spidey sense tells me REWS being invited to support them on their UK tour was more than serendipity. After all, the UK two piece are signed to Marshall Records – an iconic rock brand with more than a few fingers in American pies. Are there any plans for REWS in the home of the brave?
“…we will be heading across the pond next year,” admits Williams – keeping what sounds like exciting cards close to her chest, “that’s probably the most I can say about it at the minute. It’s not going to be our own tour as such, but we will definitely be jetting off an exploring territories previously unexplored…. it feels like every time we speak to you we give you these riddles that subsequently come out later, but that’s how is looking for now.”
But if, as, and when REWS do start strutting their stuff stateside, no doubt we’ll hear about it loud and clear enough. The term ‘game changer’ filters into the conversation. But REWS making some serious in-roads across Route 66 is more than just a hunch, or even an educated guess; their sound is so right for a US audience it would almost be rude not to.
Plus, rock producer Romesh Dodangoda – who has bands including Bullet for My Valentine, Lower than Atlantis, Funeral for a Friend, and Don Broco on his speed dial – has been working with REWS, giving their latest single ‘Can You Feel It?’ his legendary sheen. A wax and polish that has served his previous clients pretty well across the pond.
“It’s one that’s been around since the very beginning, but we’ve never been able to give it the full glory it deserves,” tells Williams – ‘Can You Feel It?’ is a ferocious rock anthem in REWS’ live set but didn’t make it onto Pyro, their debut album. “So, it was really nice to get it out there in the public domain. We had Romesh Dodangoda mix it, which was an absolute privilege, and he made it what it wanted to be – so we were really grateful for that, and we absolutely loved the energy that he captured. We’re super chuffed to have been able to share it.”
And long may it reign, wherever and how ever it’s played. But as the God of rock shuts a door, statue dictates they must throw a TV out the window – are there any new tracks we should be keeping an eye and an ear out for?
“There’s a brand new one, new in set, called ‘Get There Someday’,” tells Williams, “and we’ve also slipped a song into the set that’s not ours – it’s a cover version of a song that should be well known so we’ll let you keep your ears open for that one.” Intrigued, and covers can be surprising. Where are we between Motorhead and Britney Spears?
“We’ve played it at the last two shows on tour, and we’ve very much enjoyed playing it. It might not be something that initially springs to mind, but I think the fundamentals and foundations of this song – as it was originally done – you would probably see why we’ve picked it.”
Always good to leave on a cliff hanger. But not for long, as REWS will be bringing their new set – and mysterious cover song – to The Flapper in only a few days’ time. But there is another question mark hovering above this conversation, with it being nearly a year to the day that Pyro was released… album two?
“We’ve been asked about this a lot recently,” laughs Williams, “but Pyro is only being released in America early next year so that hasn’t even seen the light of day trans-Atlantically. We still have a lot of work off the back of that album to do. But we are writing, there is new material, a song or two of which we’ll share on Saturday – so we are still working towards that, it will be in our sights.”
Fair enough. My Christmas list and curiosity will just have to wait. Until Saturday, at least.
On Saturday 17th November, the mighty REWS return to Birmingham – rounding off a five date UK tour at The Flapper in Birmingham.
Support at The Flapper comes from MeMe Detroit – Birmingham’s ‘sleazy rock’ grunge tinged indie punkster, who is out on the road promoting her new Life in the Now EP. Whilst joining REWS on all of their UK tour dates are Thousand Thoughts – Enfield’s fresh faced but ferocious nu metal/alt rockers who are currently promoting their debut single, ‘This One’s for You’.
It’s been quite a couple of years for REWS – the ‘rock powerhouse’ two piece who have been grafting and gaining fans up and down the country, belting out some of the best live shows on the circuit and backing up every on stage inch with their stellar debut album, Pyro.
Wrapping their debut single, ‘Miss You in the Dark’, around a blue touch paper performance on Glastonbury’s John Peel stage last year, REWS quickly caught the attention of most music based national broadcasters – with Mark Radcliffe citing them as one of his highlights from the 2017 festival.
REWS‘ second single, ‘Shine’, grabbed the airwaves through Kerrang!, Planet Rock, Radio X, Today FM, 2FM, and Radio 1. Whilst the band’s October’s follow up release, ‘Your Tears’, got featured as the BBC Music Introducing Track of the Week – getting public plaudits from presenters including Huw Stephens, Alice Levine, Clara Amfo, Scott Mills, Dev, Adele and Greg James.
Coinciding with their autumn tour, which REWS will finish up and finale in Birmingham, one of the band’s strongest onstage tracks has got a studio spit and polish – ‘Can You Feel It?’ was released on 21st September, mixed and mastered by Romesh Dodangoda (Bring Me The Horizon, Don Broco, Lower Than Atlantis).
“’Can You Feel it?’ is a song that takes a positive spin on hurt feelings,” explains Shauna Tohill from REWS. “It encourages the listener to ‘let it out’, ‘dance’, ’sing’ and not be afraid to explore how they feel in order to better themselves & learn to love again. It was inspired and written during a period of heartbreak and describes the stages of grief that we endure.”
But not stopping on these shores, REWS recently supported Halestorm on their UK tour – seeing them showcase in front of thousands of new fans across the country, in what we suspect is a precursor to a trip across the Atlantic. And North America is going to go bat sh*t for REWS, if you’ll excuse the crudity. But it’s a game changer and no mistake. REWS have also just come back from a showcase gig at the Music China event in Shanghai, as organised by their label Marshall Records, but we’re going to put out some Can-You-Feelers about this find out a little more… tbc.
Joining REWS at The Flapper will be MeMe Detroit, who is touring the UK with her new Life in the Now EP – set for release on 23rd November. One of the brighter shining stars from the city’s music scene (and beyond, to be fair) MeMe Detroit is self described as ‘sitting somewhere between sleazy grunge and power indie… oozing sultry guitar driven hooks with a head turning vocal’ – a summation we liked so much, we stole it.
Gritty and gutsy, covered in war paint, melody, and the occasional acerbic observation, MeMe Detroit released her debut album, Live to Love You’ll Love to Live, in 2016 – a ten track declaration that manages to kick you in the teeth, guts, and up the derrière all at the same time. Awesome.
Follow up releases came in various shapes, sizes, and sharp undertones – with one of our favourites being the uber pertinent ‘Soc Med Junkies’, which pokes a well deserving stick in the rib cages of those silent conversationalists who are content to share only cyber space together. To check out the video to ‘Soc Med Junkies’, click here.
And appearing with REWS across all of their UK tour dates this autumn are label mates Thousand Thoughts, who signed to Marshall Records in 2017. Currently promoting their debut single, ‘This One’s for You’, the Enfield based four piece ‘take on elements of nu-metal, pop-punk and alt-rock, interwoven with themes of tragedy and loss’ – with messages of hope and inspiration thrown in for good measure.