Badly Drawn Boy: Shiiine On Festival

Amid the mainstage anthems at Shiiine On stood Bolton’s multi-instrumentalist icon Badly Drawn Boy on Sunday afternoon. Hangovers were rife among the large crowd which prompted the question, would this crowd go for him?

Images courtesy of Toni Underhill

The former Mercury Music Award prize winner was in an unusually talkative mood. He warmed the hearts of the main stage with stories of visiting Joe Strummer’s house and jokes about how he really should be with his mum on her 80th birthday.

There was a looseness to his introverted contemplations on stage, unrehearsed but open. A trait that seemingly doesn’t come easy to him. Gough’s shyness and free spirit became his greatest weapon during the Shiiine On set, however. The stories and set changed as the mood took him. The crowd was being let into his innermost feelings and thus, the love in the room grew to a tangible state.  

Once he had let the room in, there was no turning back for the Dylan-inspired section of ‘The Shining’ and ‘A Minor Incident’. Gough dedicated the former to his brother who tragically passed away in July 2021. As his gorgeous north-west tone decreed “remember seeing your face shining my way” the room wept as one.  

When he announced ‘A Minor Incident’ would follow, thousands of onlookers looked to the floor, the sky, or their pint. Anywhere but the loved ones they were with. The emotion was about to spill over. Mercifully, Gough regaled how he was tasked to write a Dylan-esque track for the suicide scene of About A Boy because they couldn’t afford the real deal. That flicker of humour steadied a room of souls who were picturing lost lives. His deep vocals go to the edge of Dylan’s drawl but vocally, he is blessed with empathy and sorrow like no other.  Twenty years on, the way in which he places himself in Fiona Brewer’s position is still astonishing. During his harmonica solo, images of Toni Collette’s guilt-ridden and distressed performance flood to the fore but, the warmth in his acoustic playing and the melody embedded are so fine that they overcome.

This was not a set purely based on life’s darkest reflections though. Although performing alone, the technicolour vibrancy of ‘All Possibilities’ hope-drenched message resounded out like a beacon of light on the Somerset shores. The righteous punk of ‘Born In The UK’ took us through the seventies and the melodic splendour of ‘You Were Right’ dished out the fuzzy feelings cider no longer could on day three of a festival.  

Sometimes it’s hard to love someone, not Badly Drawn Boy though. Gigs come and gigs go. Only the special ones can leave you with lifelong memories and this was one. The naturally hibernating soul of Gough was lured out for an embracing hug with like-minded souls. Post-Covid, this middle-aged crowd can see eternity for what it is, a fallacy. What he did on stage was reignite ageing souls with the purest form of themselves. The formative teen, wide-eyed, and longing to change the world for the better. Although his songs might quite be the answer, they were the soundtrack of many lives that Sunday afternoon.

Ecko: Shiiine On Festival 2022

Scotland’s Ecko were second on in The Inn On Green This past Saturday at Shiiine On. It was, unbeknownst to them (and us), to be the start of something truly magical.

All images courtesy of Joc Anquetil (aka A Deeper Groove)

Many bands attempt to be Oasis. You can spot them a mile off. They don’t have it. No matter how good a tune they write, they’re plastic punks. Not Ecko. They look the part, they walk the walk, and they have the tunes but crucially, their souls are forged in the working class turmoil and that led to the Burnage boys’ glory.

Destiny awaits!

The noise and confusion of those early Oasis years hissed across the tightly packed pub. The devil shimmered through their guitars, satan has found his purpose and is going to lead us to the promised land once more. A quick glance around the room observed the 4am hungover looks of bewilderment. Was this really happening?

‘Psycho Candy’ pumped with the blood of ‘Alive’ and ‘Cloudburst’ was interjected with the sumptuous stoner noodling of John Squire. It was happening!

‘Get Out’ took Keith Richards for a ramshackle jam with explosive blues of 22-20s and threatened violence throughout, ‘Teenage Trip’ throbbed with raw power and demanded academy-sized venues immediately. Then, on the latest single ‘Don’t Get Me Wrong’, they rendered all 00s bands dead as they took indie-rock to stomping new heights. People left the venue singing in Scottish accents their power was instantaneous.

The crowd was small, but, this isn’t any festival. This is Shiiine On! You’re looking at a generation who sought music out on the evening session, Peel, and at gigs. People sang to snobby record store owners in order to find the white-label demo of their favourite band that never made it. This crowd bleeds new music!

A group Real People Brummies stopped us for The Institutes (who were insatiable btw) set time, 20mins of Ecko chat later, they got it. Glancing around, Supercool Indie Night, Shiiine On management, and many from the Shiiine Thursday club are doing the same. One by one Ecko are making it before our eyes.

Sunday morning, the news filters through that Ecko are standing in for Shambolics on the Centre Stage. The potential for 1800 people was on the horizon for the band. Should be fine, wasn’t like they were dancing to 4am with their old man in Reds the night before.

As The Fannies signed off the main stage in style, the Inn on The Green loyalists filtered to the dancefloor upstairs. If was to be just us again, so be it. Their rise is only a matter of time. What happened next was astonishing.

All images courtesy of Joc Anquetil (aka A Deeper Groove)

Saturday’s crowd had all studiously revised for this exam. Their Soundcloud demos had been pillaged, words had been learned. We were going down swinging for them. Some fledgling bands can falter in this light, Ecko are not one. They grew in stature as destiny flocked to them like a gravitational pull. Swagger oozed through their shoulders. Somehow the slight 18-year-olds looked colossal now.

By the set close, that 1800 mark was virtually amassed.

They weren’t done yet!

They could have walked off into the sunset heroes. Instead, they partied until 4am with the Inn on the Green loyalists to Utah Saints. Celebratory yes, but, to rock ‘n’ roll lovers, it felt more. It’s not enough to be at the party, if you’re going to leave an impact, you need to live that party like it’s your last. Ecko knows it and did it. Shiiine On!

Thousand Yard Stare - Earthanasia

Thousand Yard Stare have returned with their second album since the 2016 reformation. ‘Earthanasia’ follows 2020’s critically acclaimed ‘The Panglossian Momentum’ and was again recorded in Raffer Studios in Kent.

The album is available to buy on their Bandcamp page.

Since their return, they have had harder edges. ‘Action Stations’ throbbed with aggression and ‘It Sparks’ brought influences from The Cult to their fiery psyche styles. They took loyal fans from a position of wanting to reminisce about the early 90s through to their next chapter. Having their new direction accepted has given them freeing confidence on ‘Earthanasia’ to explore the destructive fringes of their creativity. ‘Hivemind’s blistering opening brings in the explosive rage of Sonic Youth and the fragility of Seafoods guitar lines. Unshackled by doubt, they bring in the psychedelic bliss of the previous album via Stephen Barnes most ethereal vocals to date. Together they create a sense of unity through the chaos. Whereas, on the former single ‘Isadora’, guitarist Giles Duffy taps into the immediacy of the ‘Version Of Me’ and ‘Wonderment’ and reimagines them in the form of a demonic nursery rhyme. Hope is often coursing through their melodies. Here, they’ve attacked the studio like a Dadaist nightmare where the concept never existed. An ode to lockdown if ever there was one.

The newfound confidence infiltrates the album’s two clarion call anthems ‘Broken Spectre’ and ‘Square Peg, Round Hole’. The former opens the album with a Sea Power via Moon Duo and latter-day The Horrors. The shimmering psychedelia rings out like a panic-stricken last call to arms, adopting a slot between melancholia and escapism. A desperate sense of urgency courses through its veins; it’s now or ever to save what we all love! ‘Square Peg, Round Hole’ however is an explosion of technicolour, as though John Squire joined Maximo Park to re-write their seminal album ‘The National Health’. Many can offer hope and defiance in song. Few can place themselves in the present, in the heart of the crisis like TYS have done here, and pick people up off the canvas.

What ‘Earthanasia’ does better than ‘The Panglossian Momentum’ is to consistently showcase a band on a journey that far outruns their beginnings. The title track ‘Earthanasia’ gives the album an ‘Inception’ style ending. Dependant on your glass half-full or empty outlook, the fleeting guitar licks are the light flickering or fading away:

“If our world was gonna end tonight / How we gonna make things right?”

The juxtaposition between the gentle sonic and Barnes’ angelic vocals is one that begins to transcend music. Musically, it allows the heart to fade away and accept what’s coming but, through Barnes, there is a route through the foggy nature of the guitars and saxophone. It lends itself exquisitely to the choices our country has faced from Barnard Castle through to whatever chancellor we have as I type.

‘Esprit Du Corps’ treads a similar path with its ethereal meanderings. The heartfelt introspections and political hope of Sea Power shine alongside the soaring melodies of Feeder as Barnes delivers a career-defining vocal. He soars with a vastness that belies his middle age. This is the stuff off of teenage kicks. Meanwhile ‘Adverse Cambers’ finds a way of combining the early hour’s contemplation of Doves’ debut with the melodic joy of Electric Soft Parade. Whereas ‘Borrowed Time’ serves up a poetic lullaby to Brexiteers and climate change Deniers:

“Leave me where I lie / I won’t be here tomorrow / Leave me asinine / The burden is mine to swallow…we’re all on borrowed time”

Their previous album in many ways was a second debut album. It said everything they ever wanted to say to the world. They thought it would cap off a great few years playing live and release the odd EP. What it did is best expressed in their single ‘Measures’:

“It doesn’t matter how you arrive here / Just be sure that you are here at the end / It doesn’t matter how you arrive here / Take pleasure in the message it sends”.

This sentiment flows from every corner of the album and has allowed them to be more expressive than ever. Long may it continue.

*Images and artwork courtesy of the band.

The Shakes – Sorry Officer

On 7th October, London-Liverpool hybrid The Shakes release their debut single ‘Sorry Officer’ via iii Records. To date, they have been wowing audiences at Shiiine On and This Feeling. Can their studio time match the live prowess?

You can buy ‘Sorry Officer’ on the 7th October via their Bandcamp page.

In 1994 Liam Gallagher bedded in between And Lydon and Lennon to become an icon. In the past 18 months, frontman Zac Nimmo has been finding space between Gallagher and Miles Kane as rock ‘n’ rolls heir to the throne. His looks, attitude, snarl, and dancing are too good to be denied. On ‘Sorry Officer’, he switches up from anthemic punk to beat poet spitting venom as the guitars hiss and swirl all around.

However, this is not a band all about the frontman. The riffs, the keys, and the solos are phenomenal. The Strokes are dragged by the throat to a brawl with the Small Faces and Oasis on this guttural single.

Not since The Libertines released ‘What A Waster’ has rock ‘n’ roll tapped into such a rich vein of disquiet. The immediacy of ‘Pretty Vacant’ and raw power of ‘Holidays In The Sun’ is rewired by Sam Gibbs’ scintillating gunshot guitars. They set ablaze to everything as ‘Sorry officer makes the aforementioned seem like nursery rhymes.

It’s the sound of Steve Craddock and Peter Green off their tits duelling with Will Seargent and Steve Jones in a late-night bar. Ian McLagan and Rob Collins pop in for a sesh whilst Entwhistle holds it all together!

*banner image courtesy of the band

**artwork courtesy of iiiI Records

They are not to be missed on their upcoming dates:

The Shakes – Demos

This past Friday, The Shakes opened up Martin Rossiter (Gene’s) benefit for Ukraine at the Shepherds Bush Empire. Everyone from James Acaster to Sleeper to the London-Liverpool express were given minimal stage time. Yet, they still managed to blow a hole into the soul for all who watched!

Out of tribute, no, just sheer respect to their ten minutes, we’re revisiting the Demos EP they released in January. Here’s our track by track review:

The Demos EP is availble to buy on the bands Bandcamp page. Images courtesy of the band.

Watch It

Hurtling out of the traps like the Small Faces on speed, ‘Watch It’ fires like The Strypes with The Buzzcocks fury in their hearts.

It has all the hallmarks of great 00s indie-punk bands but, though their guitars, there is an innate ability to take that sound to the vastness of Pete Townsend and hint at the psychedelic mayhem of ‘Disraeli Gears’. The guitar breakdown snarls like Paul Cook but has the prowess of Townsend and the life-affirming swagger of Noel Gallagher with that union jack guitar.

When Liam Gallagher hit his peak, he was the vocal personification of John Lennon and John Lydon. Frontman Zak Nimmo, here, has found something between Liam, Ian McCulloch, and Mick Jagger. Like Liam, he not only has the ability and confidence to carry it off, he has the charisma to work them into his live sets without it ever being pantomime. He is an instant icon!  

I’m Your Man

In between the glorious noise and confusion comes the infectious ‘I’m Your Man’. A sumptuous ode to the lovesick males among us. Teenage boys will bang their chest in bravado to ’Watch It’ but, in front of the bedroom mirror, will swoon with a lynx Africa in hand begging to be this expressive!

With the beauty of Zutons and The Coral and the devilment of the Buff Medways and The Libertines, they have unearthed a classic to wave the flag of good ship Albion once more.

Lost Along The Way

Not for the first time on the EP, The Libertines’ sense of togetherness is key to their success. The jagged ska of ‘Guanga Din’ is given an injection of Iggy via Hendrix. Their ability to keep the melodic visceral is remarkable, it keeps this looping verses integrity intact and thus, allows the solo to feel like a cannonball being launched into the night sky.

The aggression and raw power of the looping riff powers this Iggy via Hendrix and Libertines classic. Despite the penchant for ‘Guanga Din’, a visceral and muscular power rumbles throughout that Kinks would be proud of.

The Libertines imagery is hard to shake as lyrics detail a forlorn character making best-laid plans (“when I think of all the plans that I’ve made / I guess they got lost along the way”). Those wilderness years of the band caused a decade of ‘what might have beens’ for fans. Now, The Libs are back but, they’re most definitely playing second fiddle to The Shakes.

The solo shimmers and shakes like the psychotic bugged-out love child of Carl Barat and Dave Davies.

Here Comes The Rat

The guitars, oh those guitars, it’s heaven for lovers of The Stands, The Bandits, The Zutons. Liverpool has been paid homage to here and then some! Despite being the most well thought out piece is beset with the desperation all rock ‘n’ roll needs to thrive!

The Utopiates - Devolution

London’s Utopiates will release their hugely anticipated debut album later this year. Starting their party in 2022 Is a new single ‘Devolution’. To date, their remarkable output has been recorded from frontman Dan Popplewell’s bedroom. Now recording at Leeds Nave Studios with producer Andy Hawkins, they have a chance to expand what is, an already colossal sound.

The Utopiates catalogue is available from their Bandcamp page.

Clearly unphased by the step into a more professional arena, they bring their love of house music to the fore. Trippy acid house drums fall and climb alongside a ‘Cannonball’ (Breeders) bassline to lay the foundations for Ed Godshaw’s brilliantly blissful keys.

On previous material, their fine rhythm section has allowed Popplewell’s indie-soul vocals soul to soar and guitarist Josh Redding to find new ways to make John Squire the past. Here, in a Bobby Gillespie show of creativity first, they step back. Popplewell’s ability to refrain gives everything more snap and, crucially, allows for a collective spirit to prosper.

Similarly, Redding’s guitar work has been spiralling psychedelic magic from the rock gods Squire and Hendrix. Barely featuring here, he drops in with enriching hooks to kneed everything together, and then, when you think the archetypal blast is coming, he meanders in like Marr with a feather-light touch.

The Utopiates have a great sense of community as a band. Among their fans and peers, they soak it all in and are there for the ride, not the destination. This single is yet more proof of that. A delicate house number which, live, who knows where they could take it on bigger stages with better light shows. Distinctively theirs it offers avenues for collaboration on remixes. Visions of Graeme Park taken it to Hacienda heights or Jagz Kooner dragging into furious despair, it just has to happen, right?

The Shakes: Shiiine On Festival

Some bands you like, some bands you love, then, there are bands like The Shakes. The type that walks on stage mortal and leaves it immortal. After two years away, Shiiine On festival returned and, its loyal following would have been forgiven for ignoring the new bands. It didn’t. 

The London-Liverpool express opened up Centre Stage on the Friday to a big crowd and did not disappoint. Not since The Strokes and The Libertines have band looked this good and seemed this important.

The clothes, looks, and crucially, the tunes. They are now the zeitgeist!

‘Watch It’ struts with the r’n’b Small Faces and the far-reaching ambition of a young Liam Gallagher. ‘Lost Along the Way’ traverses the sodden world of ‘Guanga Gin’, the poetic soul of Morrison, and the grooves of The Ordinary Boys to create a truly magical moment! Meanwhile, on ‘I’m Your Man’, they deliver an infectious piece of rock ‘n’ roll that makes aging men in the crowd wish they could be 18 again and every woman fall in love with them.

Their scintillating majesty is led by frontman Zak Nimmo. Beautiful like a young Jagger, he moves like no one you have ever seen. From northern soul to RnB to borderline breakdancing, Nimmo doesn’t demand your attention, he takes it! Seemingly love the child of Brian Jones and Mick Jagger, Nimmo is the icon rock ‘n’ roll so desperately needs. Confident and substantive. He can tap into Liam’s melodic soul, the tenacity of Marriot, and the all-blaze riot of Howlin’ Pelle Almqvist.

Their next show at Camden’s Fiddlers Elbow is not to be missed!

*Image courtesy of the band

Mark Morriss: 229, London

Bluetones frontman returned to London last weekend to be the jewel in the crown of the Shiiine On summer party at 229. A gig with Mark Morriss is more than just a mesh of solo tracks and Bluetones classics. With a little charm and a lot of style, he’ll reel in the unbelievers, quieten the talkers and enthrall the diehard fans.

Those unaware of his solo career are reeled in with ‘Rimini’. The stripped-back acoustic version loses none of its ability to convey the loss of certainty and civility “that” vote brought in 2016. Despair has never sounded this good!

His muse has clearly been undeterred by lockdown on the new song ‘Madeline’. A darker tinged number showcased more strings to his bow. Then, on ‘Sick Again’, he exudes vibrancy and bombast that his 90s fame can only look on at in awe.

The Bluetones always had an ability to open the deepest of wounds. When Morriss strips their classics back, in this form the fervour skyrockets! The opening couplet of Bluetonic “When I am sad and weary / When all my hope is gone” will undoubtedly, transported many to the glory of 96. However, with covid still looking on from the abyss, recent traumas also flood the senses.

‘Learning To Fly’ opener ‘Talking To Clarry’ was given a glorious outing. As his vocals hit the achingly beautiful climax of “communication is blurred / I can’t understand a word”, we raised a wry smile. The Shiiine On festival has grown into a small family over the years. People from all over the UK have forged friendships at their festivals because one is never a stranger when you love the same band.

If like us, this is not enough Morriss, The Bluetones kick off the Star Shaped tour this Friday with Sleeper!

The Utopiates: 229, London

North London’s The Utopiates were second on the bill for the Shiiine On Summer Party at 229 this past Saturday. After wowing fans and critics alike with their EP ‘Anywhere But Here’, could they deliver on the big stage?

Despite technical issues, they grooved their way to the hearts and minds of the Shiiine On faithful. Former single, ‘Only Human’ lit up the room like a bush fire. Josh Redding’s guitars spiralled with such intensity alongside Dan Popplewell’s vocals to conjure, the embers are still burning bright five days on.

On ‘Antidote’, they found unity and power demands the UK’s attention, immediately. It soared above the clouds but crucially, always felt within reach. This kind of songwriting combined with this magical delivery will take them to the main stages of festivals and, thousand along to see them.

This is not a one-man band by any means but, at times Redding’s guitars drew the focus like no other of recent times. On ‘Anywhere But Here’ Popplewell’s acoustic guitar and Ed Godshaw’s keys laid the groundwork for his Squire-esque majesty.

In ‘Love Salvation’ they have set closer for life. Anthemic and euphoric, it had that mid-paced beauty that pulled a group of strangers together as one. Tripping along like Primal Scream, swaggering like Mondays, they’ve tapped into a golden age of love-seekers and found a way to make it sound fresh.

A truly astonishing performance from a band only formed in lockdown. It’s easy to see why The Pigeon Detectives have added them as support at the Forum this autumn. 

*Image courtesy of Shiiine On legend Louise Deveraux

The Shakes: 229, London

This Image provided by the band.

The Self-described “London-Liverpool Express” The Shakes opened Shiiine On’s summer party this past Saturday at London’s 229.

Openers they might have been but, they played to and owned this crowd like a band at the peak of their powers. Oozing charm and style, they grabbed this opportunity as if their life depended on it and, frankly, nothing is better than desperate rock ‘n’ roll!

In between the glorious noise and confusion was ‘I’m Your Man’. It’s a sumptuous ode with nods to Liverpool legends The Bandits. With the beauty of Zutons and The Coral and the devilment of the Buff Medways and The Libertines, they have unearthed a classic to wave the flag of good ship Albion once more.

In closing stages, they take a good set to a great set. ‘Change Isn’t’ and ‘Strange Sorry Officer’ bust open creative avenues which allow their mod instincts and love of ‘Definitely Maybe’ to collide. It’s debauched, firesome, and begging to be worshiped.

The Shakes may be in the early days but, on this showing, not for long. The confidence is irrepressible. True icons in the making!

*Banner image courtesy of Shiiine On.

The Utopiates - Anywhere But Here

North London outfit The Utopiates are back with their debut EP ‘Anywhere But Here’. To date, they have been nothing short of spectacular, can they maintain their form?

On their previous single ‘Only Human’, they delved into the past to paint their futures. This tried and tested method is on display once more. However, there’s an overriding sense of unity permeating the EP which takes it to new horizons.

You can buy the EP on their Bandcamp page.

‘Love Salvation’ is blessed with the soul of Puressence and Chris Helme’s infectious simplicity. As Dan Popplewell decrees “this trip is love”, images of Gareth Southgate’s England bringing harmony to a troubled nation flood the mind. All the while, Josh Redding’s guitars tap into the heart and psyche of Liam “Skin’ Tyson (Cast/Robert Plant) as they blast love into the sky. So effortless and hypnotic, they almost make Cast and Space Monkeys brand of joy redundant on this ‘Sympathy for the Devil’ meets the Mondays and Electronic meandering masterpiece

Title track ‘Anywhere But Here’ is heavily indebted to the grooves of ‘Wrote For Luck’ and the warped genius of Flowered Up. However, the menace in Popplewell’s vocals cut through to create a unique punk-cum-soul take on the baggy sound. Then, taking everything to higher planes are Redding’s guitars. Full of Mark Day’s debauchery and Squire’s ‘Second Coming’ and ‘Do It Yourself’ expansive magnificence, they climb towards the heavens like a guiding light.

Whilst the majesty dissipates somewhat on ‘The Getaway’, there is something truly laudable about its accessibility. The gentle hum of the Cure and shoegaze guitars and Popplewell’s dazzling Miles Kane vocals call upon all not just an indie niche. They can lure pop lovers towards something more meaningful and, reacquaint music obsessives with the pop that started their journey.

This EP "is love, it belongs to us and it’s the only thing worth living for.“

Bradford - Like Water

Blackburn’s Bradford, back in 1988 were handpicked by Morrissey for a support slot and then signed by Stephen Street to his Foundation label. Their wit, charm and kitchen sink drama pop songs were all set to make them the next big thing.

Alas, they found themselves in the unfortunate category of great songs, unfortunate timing like The Claim, The Orchids and Thousand Yard Stare. The aforementioned all returned in recent years and were met with sell out gigs and albums of critical acclaim. In this vein, Bradford have returned with their first original music in 30 years with new single ‘Like Water’.

With Street at the helm in the studio once more, Bradford’s relaunch begins where it left off. Social observations of the highest calibre. This tale of town centre characters is told with heart and never scorns. It’s this integrity which sets them apart. When its twinned with an effortless sonic flow, it becomes a joyous occasion.

Ian Hodgson’s lyrics have been affected by time but, never jaded. As he sings “everybody’s life runs out / like water”, it doesn’t dwell or recoil inwards, rather, they meander with que sera sera in their heart, pondering what might yet occur.

Ewan Butler’s guitars by no means take a back seat to Hodgson’s song writing. They lend the track the maturity it deserves. A sense of outward facing wisdom permeates throughout the crisp licks.

With their new album ‘Bright Hours’ due in 2021, a post covid world is set to see Bradford sell out many a venue with records this distinct and powerful.

San Pedro Collective – Where Do I Begin?

This collective, wait, this super group are made up of Rikki Turner ex Paris Angels, Suddi Raval ex Together, founder of the Manchester acid rave scene & Simon Wolstencroft ex-drummer of The Fall.

After their formidable debut EP ‘The Demon Sessions’ last summer, they have returned with their new single, ‘Where Do I Begin?’ On Blindside Records.

With their heart and souls forged in Manchester, this modern take on the acid house sound should come as no surprise. An infectious building piece of soul meets a climaxing house style.

Lyrically, it examines the inner torment of dealing with a toxic relationship. If all break ups and heart ache sounded this good, we’d all be getting dumped. Guest vocalist Sarah Bouchier, lends a crisp vocal that sublimely traverses from soul to euphoria.

After a stunning set at last year’s Shiiine On Weekender, keep your eyes peeled for future dates.

The Orchids: 100 Club, London

Valentine’s day, the 100 Club, and a Sarah’s Records reunion. It was a match made in heaven. Headlining, was the Glaswegian 5 piece, The Orchids.

With their 7th studio album in development, an added sense of excitement was in the air and, on first hearing of ‘Caravan’, another indie gem is in the offing.

Sadly, honorary Orchid Pauline Hynds Bari was unwell. Whist her eloquent beauty was missed on vocals, it led to ‘You Could Do Something To Me’ being dedicated to her. The gentle twisting and turning classic was more than a fitting tribute.

Beautiful personifies most of their work, but, on ‘A Place Called Home’, something truly exquisite happened. The acoustic and electric guitars combined to paint pictures of unattainable dreams on the horizon. It showcased the human condition quite like no other band can. A sense of isolation was felt by all but, the sense of belonging it gave the London crowd was tangible.

From ‘She’s My Girl’ through to set closer ‘Caveman’, they injected enough happiness into the room to rid the world of Brexit and Trump. ‘She’s My Girl’, swirled its way through the room like Storm Dennis but with vocals sent from the gods to reassure us all.

The crescendo of love on ‘The Sadness of Sex’ was akin to the euphoria of the great rave djs. Layer upon layer of love was built on this Style Council meets Saint Etienne gem. Friend of the band Michael Deans, joined them on stage to add his saxophone genius to proceedings. ‘Walter’, in particular, was given a stylish and raucous lift.

The night was brought to an end with the cult classics ‘Bemused, Confused and Bedraggle’ and ‘Caveman’. It was akin to the release of ecstasy. We’ve had their love and we’re begging for more!

*Image courtesy of This Is Anorak City