Shiiine On the Underdog

"The fact of being an underdog changes people in ways that we often fail to appreciate. It opens doors and creates opportunities and enlightens and permits things that might otherwise have seemed unthinkable."

David and Goliath, Malcolm Gladwell, 2013

Shiiine On 3 was a glorious display of David vs Goliath. Every act seemingly should never had made it but did. A fervent reminder that belief can be all, especially when its in the art of our working class.

Headlining Friday night were the indestructible Levellers. Could a group of Marxist folk-cum-punk rockers ever be considered mainstream anymore? Nevertheless, the fire of 'Liberty', rueful melody of 'Fifteen Years' and the togetherness of 'The Road' are a stark reminder that pop music can be full of love, socialism and make a difference.

The examples of the underdog just kept on coming over the weekend. Clint Boon, an organ player from Oldham, now an icon of the industry Dj-ed to adoring fans. The criminally unknown Theatre Royal continued their good run in 2017 in the Inn on the Green pub. Recent single 'Locked Together On The Lines' drew the crowd, but the power of 'French Riviera' will place them in hearts forever.

Amidst the big choruses lay two beautiful. Firstly, celebrating their 30th anniversary, The Orchids played arguably the most angelic indie set known to man. 'Something for the Longing' will ring in the heads of anyone who watched until they next see this remarkable band. The jingle jangle of 'Bemused, Confused and Bedraggle' brought on a freeness that would have had Arthur Lee beaming from his multicoloured cloud and 'Peaches' was, is and always will be a classic.

The second came from a man, without who, this festival simply could not exist, Steve Lamacq. He was this generations John Peel, shining light on anyone who dared record a demo. His set covered his 30 years but more importantly, it gave little indie nights their dignty back. It became about the people in the room singing the 'Size of a Cow' chorus as one, feeling every bit of angst of 'Mis-Shapes' and, as Lammo stopped to tell all, it was about what John Peel fought so hard to give us, 'Teenage Kicks'.

A conclusion is usually appropriate at this time but, Shiiine On 3 can only be summed up by The Orchids' 'A Kind of Eden'. See you all next year!

Grace and No Favour

For those who don’t know, and far few do, Grace Petrie is solo artist with agift, not seen since Billy Bragg’s formative years to write anti –Tory protest songs and love songs with wit, charm and often, heart-breaking emotion.

Petrie, hailing from Leicester, is four albums in to her career now, and whilst she has a small band of loyal fans, we are certain this should be more. So, in 2017, could Grace Petrie ever be played on daytime Radio 1? It would appear not, so, why not?

Can it be that her blend of punk, folk and pop music is not what they are looking for? Well, loathed as we are to mention Ed Sheeran, he ticks two of those boxes. As for punk, their daytime playlist currently hosts Foo Fighters, Enter Shakiri, 30STM, and Royal Blood so it’s not that.

Maybe it’s her song ‘Ivy’, a loving tale of friendship and kindness as she sets off to meet the new born protagonist. The sense of hope and the swelling of love as Petrie and her friend drive all night from Glastonbury is so unifying, so ready made to tug on heart strings for the millions of us who have been in similar situations. Does it matter, should it matter that she came from left wing Left Field stage? The press love a media spat so, when she decrees “who gives a fuck about Kasabian”, isn’t this just another tick in the box for airplay?

If that wasn’t enough, there are name drops for Billy Bragg and Phil Jupitus and an ode to Dolly Parton’s ‘9 to 5’ in the closing moments.

Our main suspicion lies with her left leaning politics. Perhaps R1 are concerned with balance? Something I’m sure they agonised over when play listing Robin Thicke’s ‘Blurred Lines’ or every time Eminem’s peroxide French crop comes to town. If it is acceptable for Thicke to sing “I tried to domesticate you” and “Me fall from plastic / Talk about getting blasted” then surely it’s fine for Petrie to objectively sing about Edward Woollard throwing a fire extinguisher of the roof of Tory HQ in 2011:

“Well how quickly thrown, Was all your judges stone / Oh how quickly the obliteration of your reputation / So detested so deplored so unyieldingly appalled /  By elected officials who, had recently committed fraud”

Maybe the beeb enjoy being systematically dismantled by the privateering party but, if they don’t, may we suggest playing some tunes that might provide the ballast against a predominantly right wing press.

Hell, Coldplay are first name on the team sheet for R1. Where do they think they stand on immigration, gay rights, the EU and austerity? They’re not exactly skipping through fields of wheat despite how boring they are.

Yes music is subjective, so maybe they just don’t like her. However, it stinks of something more than that. It took Frank Turner, a straight white middle class male, selling out Wembley Arena in 2012 for R1 to pay attention his blend of folk and punk. Is this answer for Petrie, and anyone else who has an image and sound beyond grasp of Simon Cowell?

The Crookes Top 10

“if we’re gonna try / lets go all the way”

The Sheffield outfit, frustratingly, have been one of the UK’s best kept secrets since their debut ‘Chasing Ghosts’ in 2011.

The Sheffield outfit, frustratingly, have been one of the UK’s best kept secrets since their debut ‘Chasing Ghosts’ in 2011. Despite support from Steve Lamacq early on, they just didnt catch that big break.

A month out from their final 3 tour dates (http://thecrookes.co.uk/tour-dates/), we take a look at our top 10 favourite moments:

To prove out point, here is our top 10:

1.       Outsiders

2.       Before The Night Falls

3.       Just Like Dreamers

4.       Backstreet Lovers

5.       Echolalia

6.       Bloodshot Days

7.       Maybe In The Dark

8.       Sofie

9.       The World Is Waiting

10.    Afterglow

Absolute Radio’s Final 5: Shiiine On Weekender

Shiiine On Weekender was one of TT’s biggest highlights in 2016. So, to whet our appetite before we venture west, we take a look at the 5 contenders in Absolute Radio’s competition. The winner will open the main stage at this years shindig and win a £1000:

Shakedown Stockholm – Silence

No longer are female twins scaring the shit out of audiences riding tricycles or bullying human scarecrows in the League of Gentleman. Joanna and Davina front Shakedown Stockholm, a seven piece band from the northwest.

‘Silence’, is a classic piece of brooding rock music. Their intense entwined vocals are the stuff of hedonistic sweat ridden nights.

Deja Vega – Eyes of Steel

The Cheshire three piece won many a fan at last year’s Shiiine On Festival, opening for Eddy Temple Morris’ closing party. It would be only fitting for them to step up to the main stage in 2017.

Especially based on ‘Eyes of Steel’. Guitar playing this dangerous demands big stages. Not a big leap from motorik, but, with far more on the line. You’d be forgiven for imagining yourself as Jon Snow charging into the battle of the bastards.

Gypsy Fingers – Hey Maria

Gypsy Fingers are comprised of Luke and Victoria Oldfield, Luke being the son of legendary composer Mike Oldfield.

‘Hey Maria’ sees Victoria take on the vocal duties and delivers a sultry cross between The Bangles paisley era and early Lily Allen.

The Keepers – Here Comes Spring

The Keepers are British psyche-pop band from Northampton. ‘Here Comes Spring’ follows in the footsteps of fellow Northampton band The Moons and Temples.

This slice of haze, melody and big key changes pay homage to Syd Barrett era Floyd and the pop sensibilities of Noel and Ashcroft. While they are steeped in English heritage, lyrically there is more than enough to carry this in the present day.

Iridesce – Rise

Camden was once the epicentre of all things Britpop so, it’s only fitting that a Camden band form part of this competition.  

The Camden four piece are clearly onto something with this epic effort. The simmering vocals saunter through a cascade of guitar riffs seamlessly. They are but one killer hook from delivering something truly remarkable.

Head over to Absolute Radio here to listen and vote now:

http://absoluteradio.co.uk/competitions/shiiine-on-voting/index.html

5 Days of Richard Ashcroft: These People

Day 5 - These People

Has a song been more needed in recent years more than ‘These People’? Rather than attack the Tory divide and conquer tactics with an angst ridden punk polemic, Ashcroft delivers s slide guitar lead ballad.

The message of survival and rising above stacked odds is that bit more inspiring when, one look around Brixton displays thousands of people arm in arm, together and few things are more powerful than that.

His new material, is largely a reawakening of deep seated desire Ashcroft carried to dizzy heights in the 90s. There is a clear ‘fuck you’ attitude to anyone with preconceptions of who he is. While sonically on ‘These People’, this not overt, the power and intensity he garners on the line ‘I know we can survive’ is remarkable.

As he wraps his glorious vocals around this line, it ceases to be about romantic survival and operates on a new plane. He elevates the people to another level where belief is everything. It’s not enough to just sit back and watch bands we love anymore, the standard has been reset again by Ashcroft and its default setting is real, humble and critically, it’s brilliant.

5 Days of Richard Ashcroft: Space and Time

Day 4 – Space and Time

An underrated classic from The Verve’s arsenal is met with a rapturous response at Brixton Academy. The beauty of the release 3 minutes in never diminishes. Neither does the life affirming end ‘keep on pushing cos I know it’s there’.

However, on any Verve track ensconced with trippy guitars, it’s tough to watch live without Nick McCabe and Simon Tong in tow. Yes, Urban Hymns was all but written by Ashcroft alone but, when the 3 combine, fewer things have been that special.

It’s highly unlikely to ever see The Verve together again, but, with hope on the rise politically, and psyche and rock n roll emerging from the shadows of the UK once more, we can dream.

5 Days of Richard Ashcroft: Fighting On Your Own

Day 3 - Hold On

If anyone at Brixton needed the new album sold to them still, 'Hold On' was going to do it. Despite everyone the wrong side of 30, Brixton is transformed from gig watchers to a rave in seconds of the killer strings and piano loop starting.

It’s such a big and hopeful sounding record and consequently, the only track that eclipses The Verve tracks played. It has the unique togetherness of Oasis’ ‘Live Forever’ (‘I feel like we are the only ones alive’) and the defiance of Nicky Wire with the line 'And the truth is on the march again / Wipe those tears away'.

Crucially though, Ashcroft is not so much performing ‘Hold On’ as he is battling it with the audience. He isn’t here to be cherished and will not settle for anyone, let alone adoring fans telling him what they expect of him. Ashcroft clearly see’s performing, especially new material, as a fight where he will be the only one left standing.

Despite the bullishness, his ability to romanticise, to be lost and longing for another to help remains at its best:

“Learning on your own / Can turn your heart to stone”

Oddly, us mortals attach ourselves to this more than his unique ability to lead but, without the two together, you’d be left with something far inferior.

5 Days of Richard Ashcroft: Into The Half Life

Day 2 - Velvet Morning

The Verve’s tale of being munted in the twilight hours and coming up with great ideas only to discover at 6am they are horseshit, is one we all familiar with. So, the moment the gorgeous slide guitar starts, its impossible not to reminisce about said douched nights.

Even after 20 years, the goosebumps still flourish when the big key change and Ashcroft’s incredible vocal hook chime. A feeling of triumph swirls around Brixton Academy as personal memories of the half-life come to the surface far outweigh the songs message of coming down in the second verse.

Despite all the fame and accolades, Ashcroft is still able to paint a picture of loneliness during ‘Velvet Morning’. Like a young William Blake, Ashcroft cuts a figure of the poet wandering the streets of Soho alone. Where Blake was intrigued and excited by it all, Ashcroft was chasing something that was never there.

Perhaps it’s the realisation that this was futile is where the real beauty of ‘Velvet Morning’ lies. Yet again, he shines a light on how to move forwards despite being inherently flawed.  

5 Days of Richard Ashcroft

Mad Rich is, as we all know, a bona fide legend. So, rather than just review he’s epic performance at Brixton Academy this past Saturday, we’re going to focus the next 5 days on 5 songs from his set.

We start with the 2016 comeback single ‘They Don’t Own Me’.

Having already played classics such as ‘Sonnet’ and ‘Space and Time’, there was a danger that anything new would be seen as a piss break for the audience. However, this is Richard Ashcroft we're talking about.

On record, it’s a good Verve circa Urban Hymns track, but live, it’s alternate beast. Many singers feed of the adoration of a crowd, for Ashcroft, he demands that you go with him. As the adrenaline runs through him, he drags people from awestruck onlookers to brothers in arms.

Perhaps the most interesting thing about ‘They Don’t Own Me’ is, it feels like Ashcroft was reluctant to write it. With all the love and defiance to power he has put out already, it must be odd to do it again.

Nevertheless, a lesson to all aspiring bands is on show here, if you’re going to do it, mean it! The anguish in his voice in the opening line is a testament to how much believes in the soul:

“Is it true what they say? / Nothing in life is free / Are you looking this way / Surely this can't be”

It's in the closing moments that Ashcroft unleashes all his frustration and emotion. With every repetition of 'they don’t own me' he becomes that feral behemoth of ‘Rolling People’ and ‘Come On’.

Despite all the success, Ashcroft, with songs like this, remains that unique blend of outsider and flag bearer of togetherness.

Travellers Tunes Presents: Flying Pyjamas 2

The second Travellers Tunes saw some stiff competition from Field Day, Camden Rocks, Depeche Mode and Elton John but, I think we got away with it.

We had four great acts, raised money for Reverse Rett and caused some pretty spectacular hangovers! Let’s check out the live reviews:

The Bracknall

As the Essex outfit, The Bracknall, take the stage, one thing is more than evident. They look the real deal. They look like a rock n roll band destined to break hearts and leave a trail of destruction in their wake.

So, what about the substance then? In short, bags of it. At times, the spirit of Zeppelin comes roaring to the surface. On ‘The End’, there is a huge hit in the making as the spine-chilling verses combine with the dark euphoria of the chorus.

If they hadn’t proven their rock n roll credentials with this set, they jetted straight off to the Camden Rocks festival in their other great band Electric Child House.

Ruby Delby

“With a little charm and a lot of style”

The Bluetones, 1996

Sandwiched between our guitar behemoths was the sparkling Ruby Delby. Her blend of blues and folk as the sun beamed through the windows was just what the doctor ordered. Her unique ability to lead you somewhere and then twist her vocals to open up unexplored areas of folk music is a sight to behold.

Her interaction with the crowd on ‘guess the song’ and her cover of Prince’s ‘Purple Rain’ endears her to the audience, but, moreover, it was a display of someone who can have any crowd eating out of the palm of her hand.

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The White Tips

This was the Aylesbury trio’s debut London gig and they did not disappoint. Their love of Nirvana and Pixies was worn as a badge of honour, especially on set highlight ‘Camping Trip’.

There are many bands with decent riffs right now, The White Tips will circumnavigate navigate this because, their riffs are crisp and concise like their aforementioned heroes. Even when they are thrashing it out, the pop sensibilities lurk beautifully in the corner.

Queensburys

Hailing from Grays, Essex, the young four piece stole the show. So often with new bands, audiences find themselves trying to depict the genres and influences they can hear. For Queensburys, what is abundantly clear, they’ve found their own groove and it’s a joyous one.

Do not be fooled by the diminutive figure of frontman Thomas Champion, he is a rock music colossus in the making. There’s a hint of the recently departed Chris Cornell as he growls and howls those key moments. Champion also possesses an innocence and purity in his vocals which, gives their storytelling a guts and glory vibe.

It would be remiss to solely mention Champion though. Dan Lamb (bass) George Brown (drums) and Archie Brown (lead guitar) are not just tight, their showing an expansive side to their playing as well.

Having had time to reflect on the horrific attacks from Saturday night, Queensburys have left me with nothing but optimism. Four mates grafting to create something better for themselves and for others to enjoy is peptic symbol of individuality and belonging, aka the human condition.

Keep your eyes peels for the Queensburys, they are set our glorious Albion.

Stake Your Claim On The Morning Sun (part 2)

As you may or may not know, Greg Gilbert from The Delays has been diagnosed with bowel cancer. Due to a genetic incompatibility, Greg no longer qualifies for free treatment on the NHS. His wife has set up a Go Fund Me page (link below), which, as a huge fan of the Delays, has been moving to watch the total grow from other fans.

Tomorrow, The Delays, along with Sam Duckworth, Mystery Jets, Eddy Temple Morris, Band of Skulls and many more will take to Greg’s hometown venue 1865 to raise more money for his treatment.  

Please donate and buy tickets and continue to spread the word:

https://www.gofundme.com/give4greg

http://www.seetickets.com/event/cavalry-a-benefit-concert-for-greg-gilbert/the-1865/1060398

In the run up to this great fundraiser, we have revisited all of their singles (part one here):

Valentine

They may have emerged in the 2002/3 boom, but, by their return in 2006 there was a second wave in full swing. Arctic Monkeys and Bloc Party were conquering the charts, so where did they fit? The answer, perfectly in the middle of the aforementioned.

They continued their venture towards dance music with this dancefloor banger and its killer bassline but never losing sight of their pop sensibilities.  

Hideaway

‘Hideaway’ made a return to the roots of ‘Faded Seaside Glamour’ with its jingle-jangle guitar pop style. Their new found spirit of Ibiza was not lost though. Its feel-good factor has the ability to soundtrack a hedonistic trip to the Balearics.  

Hooray

As so often is the case, once bands begin to dominate the charts, the vultures swoon and the industry plies it with shit merchants like Hoosiers and Scouting For Girls to masquerade as authentic alternative pop bands.

So, when Delays the returned with this spikey and spritely pop song, it was annoyingly overlooked. It has the feel of a Bluetones classic and is a must for anyone who missed it first time round.  

Keep It Simple

To go all Jerry McGuire for a moment, “you had me at hello”, and by hello, we mean, Keith from The Office is in the video!!!

 This is the first single which lacks that killer hook in this catalogue. Sonically though, it is not to be sniffed at. It’s by far and away their most mature single and thoughts of the Mercury Prize began to materialise rather than the top 10.

Unsung

Frankie Boyle questioned Radio 2 programmers that Jessica Hoop is not mainstream when she can sell out the Royal Albert Hall in an interview in 2015. The industry’s obsession with a soft and dull sound just never seems to go away.

By the release of ‘Unsung’, the same scenarios were emerging for the band. With this unfortunately apt song title, they were about to drift away. That said, they did so by encapsulating their sound in one song. There are jingle jangle guitars, euphoric synths and Greg’s distinct vocals carrying everything to another level.  

Stake Your Claim On The Morning Sun (part 1)

As you may or may not know, Greg Gilbert from The Delays has been diagnosed with bowel cancer. Due to a genetic incompatibility, Greg no longer qualifies for free treatment on the NHS. His wife has set up a Go Fund Me page (link below), which, as a huge fan of the Delays, has been moving to watch the total grow from other fans.

This Friday, The Delays, along with Sam Duckworth, Mystery Jets, Eddy Temple Morris, Band of Skulls and many more will take to Greg’s hometown venue 1865 to raise more money for his treatment.  

Please donate and buy tickets and continue to spread the word:

https://www.gofundme.com/give4greg

http://www.seetickets.com/event/cavalry-a-benefit-concert-for-greg-gilbert/the-1865/1060398

In the run up to this great fundraiser, we have revisited all of their singles:

Nearer Than Heaven

We first come across The Delays supporting Ocean Colour Scene at Hammersmith Apollo and, it was this slice of pop heaven that peaked our interest. The vocal from Greg still has the ability to float you away to happier and warmer places. There is an occasional gravel coming through too which, combined with the Oasis-esque guitars at the end showed there was far more to come.

Long Time Coming

Long Time Coming was a great bridge from the Britpop era into that indie boom of 2003-2005. It has a great simplicity to it like many of the great 90s pop singles. The amount of sunshine they crammed into this was remarkable. The harmonies and guitars combine to conjure, for TT, their crowning glory on this coming of age belter.

Hey Girl

For fans of The Byrds, Primal Scream’s debut album and c86, ‘Hey Girl’ was a modern take on jingle-jangle guitars. Considering all who have been drawn to this arena, The Delays remain one of the few to craft a great pop song from it.

Lost In Melody

A big leap was taken on this non-album single, merging dance and indie styles. It came as no surprise that Remix legend Eddy Temple Morris took interest and would later go on to remix ‘Hideaway’.

Everything that had been sun drenched on ‘Faded Seaside Glamour’, now lurked in the ether as this darker, punchy synth laden path was taken. Few could argue that the ground work for Bloc Party’s joyous arrival in 2005 was being laid.

Check back tomorrow for part two.

Please donate and buy tickets and continue to spread the word:

https://www.gofundme.com/give4greg

http://www.seetickets.com/event/cavalry-a-benefit-concert-for-greg-gilbert/the-1865/1060398

Travellers Tunes presents Flying Pajamas

“If you lose your faith in love and music / The end wont be long”

The Libertines, 2002

Friday 20th January was a bleak day for hope. Saturday 21st January however, was a day of passion, love and togetherness. Men and women marched as one to reject the new US President's odious views.

Travellers Tunes occupied music haven of the New Cross Inn for its inaugural event to raise money for Reverse Rett. Rett Syndrome is a post-natal neurological condition which most often strikes previously healthy little girls between their first and second birthday and leaves them with multiple disabilities and medical complexities for life. We raised over 600 quid and couldn't have done without the generosity of the venue and all the acts playing for free.

Kicking things of was the brilliant Annie & The Make Believe. The jingle jangle flow of 'Lets Get Together Again' delivered the sunshine spirit of Emmylou Harris and Gram Parsons to the delight of the crowd. They shifted the mood through darker tales of romantic failure on tracks such as 'Shivers' and 'November' but, the melodies never falter. For fans of First Aid Kit, Annie & The Make Believe need to be on your radar!

Next up was former Engineers member Daniel Land and his band. In a nutshell, this was shoegaze/dreampop nirvana. The atmosphere they created with their swirling riffs made the New Cross Inn feel the size of Wembley. Particularly standing out were the set opener and closers 'Glitterball' and 'Echo & Narcissus'. Move over Sigor Ros, Attenborough has a new soundtrack!

How anyone was going to follow this was a question clearly lingering in the air. Thankfully, Hull's finest, The Holy Orders brought their A game and shredded people's faces with their blend of alt-rock. Front man Matt Edible, has a rare ability to switch up from James Dean Bradfield to rock behemoth in a heart beat and, on 'Deviants', he and the band delivered one of the moments of day. The riff, the catchy chorus and the desperate rock n roll poetry all came together gloriously.

Teeing everyone up for the headline slot was the insanely charismatic Billy Doze. 'There Will Be Time' and 'For Now and Then' were so heartfelt, the feeling that the crowd growing attached to Doze was becoming tangible as his set concluded. Plus, anyone who can turn a Christian hymn into a crowd pleaser is definitely going places.

Headlining the night were indie superstars in the making, Luna Bay. These young pups from London were on fire from the off. By the time they closed on their latest single 'Smoke and Mirrors' South East London was putty in their hands. The brevity they enthuse into their songs, lifts them above so many of the established acts on Radio X at present, it will only be a matter of time before they high up on festival line ups.

Saturday 21st January saw this editor's faith in love and music restored. We hope the coming together of disparate music genres gave cause for optimism to all who came.

Watch this space for announcements on our next event.

The Final Five: A New Hope

5. Pete Astor - Spilt Milk

Astor's foray into his past delivers richness and warmth much, which, in year beset by iconic loss, is needed ever so badly. 'Really Something', 'Mr Music' and 'My Perfect Life' act as a holy trinity of alternative pop music. Simplistic tunes to warm the heart but with complex discourse. Bravo!

4. Savages - Adore Life

‘Adore Life’ is an album that delivers on the potential of the debut and explores new possibilities simultaneously. They have gone from being an exciting post-punk band to one threatening greatness on this record.

3. Hooton Tennis Club – Big Box of Chocolates

The slackers from Wirral have emerged from their debut album with astonishing results. Their follow up has invoked several new styles including fuzz, rock n roll and an all round more emotive edge. 'Statue of the Greatest Woman I Know' has put The Vaccines on notice for rock n roll kings. 2017 is theres to take on the live circuit.

2 Boxed In - Melt

From the early days of Keith, Oli Bayston has been threatening this kind of breakthrough. This album will hypnotise you and gently release you onto a sun kissed wave of bliss. Boxed In were once Annakin Skywalker to Hot Chip's Obi Wan. Now they are the masters!

1. Trampolene – Pocket Album Five (Divided Kingdom)

Yes this may be an EP but, we've not heard anything over a longer format that compete with these 4 songs and poem. Divided Kingdom's glorious social comment is set to devastating guitars. This is a real single of the year contender.

'Dreams So Rich / Life So Poor' continues the rich vein of British cultural observation. It wraps itself up in Strokes-esque rock n roll but, crucially, has personality oozing from every pore.

'Blue Balls & A Broken Heart' suggests the brilliance of the Libertines wasn't lost on a fashion of trilby hats and lies about being at Filthy McNasty's. This ballad encapsulates Blake, Morrissey, Doherty and anyone who ever dreamt of Arcadia in Albion.

Like the aforementioned Blake, head honcho Jack Jones can self reflect beautifully in his natural surroundings. Even with a slug. Today's political climate is so centered around on burying 'the other', well, this finds beauty in the outsider and encourages everyone to embrace the different.

Closing this glorious EP is 'She Is A Nice Girl'. A sprightly Libertines via The La's acoustic number which relays the fondness of yet another who is misunderstood. 2016 has been a year of misunderstandings on a monumental level, let this track guide us back to humility in 2017.

Top 20 of 2016: 10 - 6

10   Heron Oblivion - Heron Oblivion

The San Francisco super group will lure you in with Meg Baird’s lush vocals before Noel Harmonson and Charlie Saufley’s guitars melt your ears with the spirit of Jimmy Page. No one has delivered the calm with the frenetic so poetically this year.   

9 Misty Miller – The Whole Family Is Worried

What a special talent Misty Miller is. Heartache has never sounded so devastating on ‘Best Friend’ and sarcasm has never been so devilishly delivered as it is on ‘Happy’. The album details a troublesome time between the ages of 18-20 with expertise way beyond her years.

8. The Coral - Distance Inbetween

Not content with just reaffirming themselves to the world, The Coral have set about introducing key aspects of prog into their pop songs. ‘Beyond The Sun’ uses spellbinding organs, allowing this track to float away into the ether. Meanwhile, ‘Distance Inbetween’ pays homage to Dave Gilmour’s archetypal Floyd sound with a slow build and superb solo release.

7. Whyte Horses- Pop or Not

Sultry psyche-pop music from start to finish. The influences appear in great numbers but, it’s the vibrant melodies that shine through.

6 Recreations - Baby Boomers 2

The way in which Duckworth changes gears on ‘Baby Boomers 2’ is ultimately its biggest success. For fans of alternative pop music, this album is perfect. It moves from downbeat electronic folk to Calvin Harris pop with cutting lyrics and thus, is always intriguing.

Top 20 of 2016: 15 - 11

15. Blossoms – Blossoms

A stark reminder that radio friendly guitar music is not only achievable, it’s essential. It might not be a call to arms like ‘Definitely Maybe’ or ‘Up The Bracket’, but, the Stockport outfit demonstrate much needed ambition to be knocking on their doors.

14. Stick In The Wheel – From Here

UK Folk music exploded at the end of the last decade. It produced some great albums, but inevitably, it tailed off with a whimper. Stick In The Wheel inject the scene with much needed urgency, authenticity and the spirit of punk.

13. The Crookes – Lucky Ones

Sheffield’s great romantics deliver yet another consistently high blend of hope, guitars and poetry. Ever evolving, they introduce slices of The Cure and Depeche Mode to their visions of Kerouac, Burroughs and Ginsberg.

12. Pete Doherty – Hamburg Demonstrations

Doherty’s journey continues to deliver time and time again. Melodies of intense quality just never seem to leave Doherty which can be seen on the classic ‘I Don’t Love Anyone (But You’re Not Just Anyone). To hit this high 8 albums in is remarkable.

11.  Steve Mason – Meet The Humans

Mason’s third helping steers the closest to his Beta Band days with its undeniable grooves. However, this album is more than that, he is yet once more ahead the curve with this blissful blend of folk, indie and that magical voice.

Top 20 of 2016: 20 to 16

20. Suede – Night Thoughts

After their triumphant return in 20 with 'Bloodsports', Brett Anderson's bohemian rebellion returns once more. 'Night Thoughts' may tread a familiar path but, after 23 years, the quality is high and more importantly, Anderson's voice of the voiceless remains firmly in tact.

19. Baby Strange – Want It Need It

Raw and visceral rock n roll from the fledgling Glasgow three piece. Watch out fans of Warpaint and Beach House. There’s a new menace in town, and its going to kick down your front door and smash the gaff up.

18. Victoria Hume – Closing

Hume has an innate ability to write melodies simultaneously haunting and beautiful. Hume expertly proves that tales of ‘taking chances’ are not just delivered by punk rock icons on ‘Wild Winds’.

17. Nap Eyes – Thought Rock Fish Scale

If you thought slacker-rock was done for, think again. It ambles around through singer Nigel Chapman with a sense of aimlessness but, with just enough angst that you feel that glory could be around every corner.   

16. James Dey – The Night Time

Kudos to Tom Robinson for turning us on to this one. This is folk music in the guise of pop perfection. Simple tales to warm the soul from start to finish. Dey depicts beauty in the imperfect with such skill, especially on ‘Smokers In The Corridor’.

Shiiine On: Then, Now, Forever!

“When something's good it's never gone”

New Order, 1990.

From the second summer of love to the end of 1996, saw several cultural spikes from the UK. Acid House, Baggy, the Camden pop art scene and the 60s renaissance of Oasis, Ocean Colour Scene and Cast. They haven't just sound-tracked the lives of the 30 plus crowd at the Shiiine On Weekender, they continue to be the fulcrum for subsequent generations looking for something real. Yes, The Libertines, The Streets and The Enemy have contributed significant albums, but, there has never been that Joe Strummer defamation “finally Beatles mania has bitten the dust” written about the Happy Mondays, Oasis or Stone Roses. Why? Well, as this great weekend showcased, it was music by the people for the people. Not a bunch of tossers kitted out Topman clobber. Every act, DJ, venue host, heck, even the dancing security guard proved that a working class hero is still something to be.

'Do you remember when....' is probably the most uttered phrase this weekend. Do you remember when he Bluetones went straight in at number 2 with 'Slight Return', or, when Steve Lamacq used to help us with our homework on the evening session? On and on the fond memories went.

To cynics, the Shiiine On Weekender is a festival for the outdated and irrelevant. They're wrong. For any artist or band yearning to breakthrough, a lot of these bands hold a the answers their looking for.

Echo & The Bunnymen show the value in looking cool as fuck. Mark Morriss and Rick Witter demonstrate the value of between song banter. Meanwhile, Echobelly's Sonya Madan's ability to connect her dancing to their sound gives that additional meaning to songs and makes her look every bit of a star now as in 1995. In a world where music is stolen as much as its bought, these things matter even more now. Talent is not enough to garner adoration, it's got to be earned!

Recently, the glorious Caitlin Moran spoke about the differences between the approach taken by Radiohead and Kasabian on Richard Herring's RHLSTP (RHLSTP) podcast:

“Radiohead and Kasabian are interested in exactly the same music. Kasabian are a working class band from Leicester and Radiohead are a middle class band from Oxford. I love both intensely and dearly but this seems to absolutely typify the differences between working classes and middle classes.......Where as Radiohead make these impenetrable things and don't really talk to the audience, we make these scary things and to make you cry. Where as Kasabian make the same music and are like oooooaaaaarrrrrggggghhhhh. There was a quote from Serge after a Radiohead gig saying 'there was no birds on blokes shoulders, that's a shit gig'. That's exactly it, they want to share it with everyone and make it joyful.”

This come one, come all spirit is alive and well at the Shiiine On Weekender and can be seen in the various cover songs played. It's an art form often overlooked but cultivates identity so easily, it should be rehired immediately.

The Farm remind everyone of their punk and protest roots via The Clash's 'Bankrobber' and arguably draw the biggest reaction of the weekend when Paul Hooton rightly revels in the victories over the West Yorkshire Police, Thatcherites and the Murdoch press.

The music industry is often looked upon negatively, and often with good reason. The lack of reward for the risk is nothing compared to what it was for this weekends acts. Nevertheless, is there a better time to be in a band? There are more festivals, more radio stations and a ton of more interesting less corporate ways of promoting yourself. The talent that Cabbage, Whistlejacket and The Academic possess, the world is theirs to take if they want it enough.

The odds are clearly stacked in favour of those from more comfortably backgrounds but let the likes of Jake Bugg and especially Skepta and Kano be the example of not only how but why it should be done.

NB:

Please go read Mark Beaumont's Guardian review and the beautiful piece from Step On Magazine:

https://www.theguardian.com/music/2016/nov/14/shiiine-on-weekender-minehead-butlins-bez-britpop?CMP=share_btn_tw

http://steponmagazine.com/purple-love-balloon-shiiine-on-weekender-wrap-photos/

Get Cape, Love Southend, Fly!

“Southend is the new Margate is the new Brighton”

Jokes Sam Duckworth during his homecoming gig on Southend Pier where he played his debut album in full. However, to see enthusiasm with which the brilliant charity Metal promoted the arts in Southend this past month, it’s hard not to be filled a sense of hope in these bleak political times.

Nostalgia is a funny thing to be a part of. At times, it’s a sad refusal to move on from the glory days (Liam Gallagher) but, when done properly, serves as a great juxtaposition of then and now (Primal Scream’s 2012 Screamadelica tour). This gig was certainly the latter.

For everyone on the pier, ‘Chronicles…’ is a classic, and thus, nerves are rife. What if it’s a bad gig, will it be tarnished? How apt that the gentle and warming ‘Once More With Feeling’ eases you in. Just one tender blast of the trumpets and everyone feels at home.

The hometown faithful react joyously to favourites ‘I-Spy’ and ‘War Of The Worlds’, a sight that many of us thought we would never see after that great send of in the Forum. These songs have that feel of Billy Bragg’s ‘A New England’ and ‘Greetings To A New Brunette’. No matter how much time passes, they remain great alternative pop classics which unite crowds.

It would be rude to say there was a standout song on an album the alternative community adores. However, ‘Call Me Ismael’ encapsulates everything great about Sam Duckworth. Great meaningful lyrics of everyday life and its struggles, which are enhanced by powerful brass section. Vocally, it strays from emotive to rebellious and when the punk via DnB breakdown comes in, well, it’s impossible not to feel optimistic about life.

Being from Essex, you’re supposed to work in the city, like garage music and be right wing. It’s not a bastion of compassion and alternative culture. Nevertheless, the teenagers tearing up the Pink Toothbrush and the older punks at The Railway provide a bedrock for it and it’s a privilege to come together for whatever guise Sam is operating under. 

Remembering Les Incompetents

Sadly, London band Les Incompetents are now confided to NME's shitty '00s bands we forgot about' lists. They deserve more than this.

As 2004 was drawing to an end, it was becoming abundantly clear the Libertines were finished (for now). Pete's drug problems caused riffs which would take years to heal. This was leaving a big hole for someone to fill.

The history records will show that the charisma vacuum of Alex Turner's Arctic Monkeys and the ego maniacal Johnny Borrell of Razorlight went on to fill it, but, for a short and exciting period, it looked like it was going to be Les Incompetents.

They, like The Libertines, had back and forth vocals which gave sense of brotherhood that the UK has always craved. Furthermore, after the intense William Blake-esque poetry of Albion seeking Libertines, they offered a far more light hearted nature.

At the heart of this were a string of terrific singles. 'Reunion' opened with the glorious line 'No not this way / I haven't even been paid yet' and has a guitar breakdown which always draws a smirk as they took piss on stage.

'RamShackle Riot Show', only one minute eighteen seconds long, it packs in an amazing amount of lyrics and the faux-honest mocking of Libertines in the third verse is priceless:

So say goodbye to the heroes
That never knew your name
Loved them to death
But they never felt the same
And know they've gone for ever
They have gone for good
Over the motorcycle
Like I always knew they would

Pulling everything together in one glorious moment was the single 'How It All Went Wrong'. A song which is full of drama, humour and great singalong moments. Ten years on we are still wondering who 'Andy the disco Queen' is and, more importantly, we are still dancing to this track. The mid-noughties is often ill-defined as a second coming of lad bands. This single is perhaps the ultimate counter to that argument. It showcases a creative intuitiveness that the bigger egos of 'lad bands' rarely had.

Alas, all of this promise came to a premature end in June 2006 when frontman Billy Leeson was attacked from behind by former Green Party member Christian Briggs. This tragically left Leeson in a coma for over a month and by September that year, Les Incompetents were no more.

Despite leaving a feeling of what might have been, they were a joyous little star which burned brighter than most. Copies of of the compilation 'End of an Error (2004-2006)' are hard to come by worth every penny.