Treasures of Mexico : 100 Club, London

With former members of The Dentists in the band, Chatham’s Treasures of Mexico were always going to light up the 100 Club this past Saturday. Their penchant for sun kissed tunes displayed in full force as they supported the legendary Jasmine Minks and The Claim.

From opener ‘Holding Pattern’ to set closer ‘She’ll Never Get Over Me’, the Kent outfit hit a sweet spot, effortlessly rumbling along like The Feelies, circa ‘Good Earth’. With Bob Collins on lead guitar, they had the ability to step out from the shadows of gentle indie. Whether it’s Weller on the attack or the effortless psyche-jangle of the Fanclub’s Norman Blake on ‘Avalanche’ or ‘The Last Thing’, it’s clear Collins still has the “it” factor.  

During ‘The Last Thing’ and ‘She’ll Never Get Over Me’, front man Mark Matthews threatens a Mark E Smith menace that doesn’t quite materialise. It’s a tantalising piece of brilliance. As the melodic sunshine unfurled, an angst loitered and had the crowd on tenterhooks. The not knowing whether a punk fury was going to breakout of these perfect pop songs was exhilarating.

It’s on ‘Supercute’ where everything comes together for them. Matthews has tapped in to the romanticism of Spector girl groups and Lawrence from Felt, Collins has licks and solos to redefine the C86 movement and in Secret Affair drummer Russ Baxter, they have a melodic beat keeping behemoth.

You will be hard pressed to find a band this good, third on the bill of any gig for the rest of the year.

*Image courtesy of https://twitter.com/akumulator_uk

Embrace: The Roundhouse, London

For some bands, anniversary album gigs serve merely as financial gain and play on people's nostalgia. However, there are exceptions, where the pure spirits of rock n roll find a new lease of life. Primal Scream's re-imagining of 'Screamadelica', eight years on is still the benchmark. Incorporating the best pieces of club culture post '91 into an album set that launched a lot of them, it was a revolving door of Balearic fantasy wonderland past and present.

This past Friday night, Embrace played to a sold out Roundhouse in Camden to mark the 21st birthday of their debut 'The Good Will Out'. Now, they may not have pushed the boundaries like the Primals, but, there was a humility and a connection with flowing from stage to crowd and back again that few have achieved.

This connection reached its summit at the albums mid-point. 'Higher Sights' and 'Retread', are often overlooked for their albums opening three anthems 'All You Good Good People, 'My Weakness Is None Of Your Business', and 'Come Back What To What You Know'. On this night though, it's clear, Embrace fans have all been living similar lives. Such is there power to evoke memories of heartache and find inspiration to carry on, they serve as collective comfort blanket.

Danny McNamara is like a man possessed singing “Will you fight? / Let's see you fight”. There is power oozing from him rarely seen in front men, especially ones so successful. He still has that “one of you” tag about him. Humble and appreciative to the plight of the crowd, he carries everyone along with him to another plain.

Another of the overlooked numbers for live sets is 'That's All Changed Forever'. When you have classics like 'Fireworks' and 'Good Will Out' in your armoury, there can be no complaints for not seeing it on stage. On a night when people are inevitably looking back to the the late 90s, its sentiment carries extra poignancy. It could have only been written by those in the throws of youth. Pleading and defiant simultaneously, this tale of “you'll see” post break up is undoubtedly invoking that first love or the one that got away. It's even harder not to raise a wry smile at almost vengeful last line “Cause you don't know better than me”. We probably didn't.

The credibility Embrace carried through the set was largely due to their two quality albums since their re-emergence in 2014. They didn't need tonight, financially or critically. Danny's reaction to 'Retread; was “oh I forgot how much I like this one”. Despite being key to their success, it was though he won the lottery and got to front Embrace tonight.

Death Valley Girls : The Victoria, London

LA’s Death Valley Girls recently released their triumphant second album ‘Darkness Rains’ and, this past Wednesday, they played a sold out Victoria in Dalston.

For any new fans in the crowd, the sight of Bobby Gillespie in the room would have enhanced the anticipation of their arrival on stage. From the opening notes of ‘Abre Camino’ to set closer’ Seis Seis Seis’, Death Valley Girls redefined what it is to be a dangerous rock n roll band.

The power and raw sexual energy of The Stooges ‘Raw Power’ album flowed through them throughout.  Bonnie Bloomgarden is awash with glorious juxtapositions. Innocent and venomous, welcoming and dangerous. She is Poly Styrene and PJ Harvey wrapped up in 5ft of punk-psyche glory!

In Larry Schemel, they have perhaps the most humble and giving guitar player in the world. Stood almost off stage, he allowed the spot light to be focused purely on the rest of the band as their strutted and danced their way to the hearts of the London crowd. A remarkable feat when you consider that, his solos were akin to an occult taking over.

Despite the power and the darkness that emanated through the set, a sense of love and togetherness was always at their core. Accentuated on ‘Disco’, their Modern Lovers meets Blondie romp.

This was a firm reminder that, if you open your mind, rock n roll is still a dangerous and explorative field for artists to create in.

The Novatones: Prince Albert, Brighton

Southampton’s The Novatones hopped along the coast to Brighton’s Prince Albert to play Modern Age Music’s night last week. It felt more like a spiritual homecoming than a gig.

At times, they hit upon the energy of ‘Oi’, but they never lose sight of a great pop hook. ‘Guns and Dynamite’ fires like early The View meets The Strypes. Meanwhle, ‘She’s Out’ has the effortless angst of The Rifles with pop hooks of Little Man Tate.

As a music scene grows, so does its content intellectually and experimentally. So, when a band like The Novatones comes alone., especially with the aged sentiment of ‘Living For The Weekend’, the excitement just floods back. Rip it up and start again!

On ‘Avenue Road’, they have hit upon a set closer for years to come. The hard edged Motown of The Jam meets the humble escapism of The Enemy’s classic debut album. When punk gets this injection of heart and romance its impossible not to fall into the arms of your best mate and live forever.

*Image courtesy of https://www.facebook.com/rhonamurphyphotography/

Mark Morriss: Islington Academy, London

The Bluetones frontman returned to London’s Islington Academy this past week. He is arguably the hardest working live act in the UK. Forever touring and dazzling intimate crowds with wit and charm.

With a new album in the pipeline, the quest to blend the new with the classics was always going to be the biggest test. Whilst it’s great to hear the pop classics of ‘Cut Some Rug’ and ‘Bluetonic’, it’s the heartfelt ‘Rimini’ and ‘Rollaway’ that strike the biggest chord. The roots of Crosby Stills & Nash shine through here and, with his unique pop vocal, converting fans of yesteryear to the present seems inevitable.

The prowess of ‘If’ and ‘Never Going Nowhere’ hit a sweet spot with the crowd but, flittering just behind was the mystery of ‘Duchess’ and the bewitching nature of ‘It’s Hard to Be Good All the Time’.

The balance between old and new was still skewed towards the old among Morriss’ faithful. There were, however, moments when the crowd’s nostalgia dissipated and a new focus began to emerge. Let’s hope this was the first step to Morriss's renaissance he clearly deserves.

Darrah: The Railway, Southend

To mark the release of their new single, Southend's Darrah played a packed show at The Railway.

This was alternative pop music at its finest. Shimmering synths, psyche guitars and killer choruses. 'Can't Tax The Sun' was The Pixies through the prism of bubblegum pop. It was so infectious, it was dangerous.

On 'Stars' and the solo performed 'Pothole', Darrah displays an ability to pitch the rhythm of a set way beyond his years. 'Stars', a hazy Real Estate meets Teenage Fanclub affair, drifts by effortlessly. Meanwhile, 'Pothole' stripped everything back to showcase his estuary vocal at its most intimate.

The set closes on the new single 'Business' and, on this showing, it will be for many years to come. As the guitars throb away, Darrah's instinct for a vocal hook shines bright. There are hints of Lydon, Bowie and Albarn throughout, and by the time the synths start to sparkle, it becomes something quite special indeed.

Tim Burgess and The Anytime Minutes: 100 Club

For Independent Venue Week, The Charlatans frontman embarked on a tour around the UK's iconic small venues. For his London date, he came to Oxford Street's 100 Club. As any Charlatan fan will attest, they've been on a roll since 2015's 'Modern Nature' album. So, to do anything live to top that was never on the cards, was it?

Backed by members of the brilliant Average Sex (signed to Tim's O Genesis label), something magical happened this past Wednesday. Especially when Laetitia, the singer from Average Sex entered the affray. Tim and Laetitia became the post-punk Marvin and Tammi and, as a result, created a party for the ages.

'Clutching Insignificance', usually, a bewitching take on the archetype Charlatans sound became a different beast. Vocally, Laetitia is a behemoth. Her fire and 60s soul enriched the song to spark dancing both on and off stage.

Anyone who didn't fall in love with their partner or a past love all over again on 'One Last Kiss' is dead inside. On record, it’s a crisp take on classic Phil Spector and Brian Wilson records and with Average Sex in tow, heightened the icons sound.

Then, just when your thinking this party has nothing left to give, they dropped a cover version of Culture Club's 'Time (Clock of the Heart). The happiness oozing from the stage had an almost desperation to it. It had to escape, it had to infect the lives of others. The bleakness of the society had to be washed away.

Charlatans guitarist Mark Collins popped in for a stripped-back punk version of 'North Country Boy' before the party went out with a bang on Burgess' 2003 classic 'Oh My Corazon'. After this gig, the roll the Charlatans are on is going to have to pick up the pace to surpass this.

At the time of writing this review, the news has announced the tragic death of legendary comedian Jeremy Hardy. I would like to dedicate the happiness of this gig and writing about this gig to Jeremy. He has given me so many great nights out and in on Radio 4. You'll be sorely missed.

Lacuna Bloome: Nambucca, London

Brighton's Lacuna Bloome are the perfect example of why the UK needs This Feeling. At This Feeling's 'Big In 2019', they were brilliant in flashes but by no means the finished article.

For some, that won't compel gig-goers to Lacuna Bloome's next outing. However, we urge you to be a part of this journey. Anyone who witnessed an early Emily Capell or Trampolene gig will attest to the notion of a long rewarding journey.

There were moments on 'Alright' and the latest single 'Find Your Way' that guitarist Sam Leaver founder the paisley spirit of John Squire. The little flourishes of Roger McGinn's psyche and the free-flowing nature of the Primals debut album had the Nambucca's crowd loosening those shoulders.

The ambition displayed on the closing two tracks brought a warm glow to an audience desperate to have more heroes migrate to bigger venues. It also allowed the band’s personalities to shine through. Frontman Niall, a steely introverted frontman is countered by the showman Leaver on guitars. Much like their idols, they have one of the most fluid drummers in the game in Noah Haines and, in Molly Walker, the coolest bass player since Mani.

Everything is coming together for this band, we urge you to be there sooner rather than later!

*Image courtesy of Alice Sutton

Sad Boys Club: Nambucca, London

Eighteen months ago, en route to see Sisteray in Camden, The Blinders emerged, covered in face paint and blew our world apart. This past Saturday, North London's Nambucca beckoned us to see the jangle psyche of the Lacuna Bloome. Enter stage right, Sad Boys Club.

It's notable how much of gang Sad Boys Club look. The singer a pop icon, the bass player inevitably throwing shapes and the rest looking great but, more importantly, have a steely look of defiance. Cross one of them and you will regret it!

The pop hooks across this set, are so good that, in a parallel universe, Madonna is stabbing her record label execs for not securing these songs for her! New single 'Silverlined', indebted to The Cure, is sure to soundtrack the new romantic story lines of Stranger Things and Glow. On 'American Spirit', they echo former Fierce Panda Label greats The Crookes as they turn emotion amps up to eleven.

So, when the inevitable lazy journalists of the broadsheets announce “there's no more guitar bands” or wail about how “pop used to matter”, throw Sad Boys Club in their face. Thoughtful, credible pop music didn't begin with The Smiths and die in the mid-nineties. It lives and breathes in great risk taking bands like Sad Boys Club.

*Image courtesy of Jon Mo Photography / TW: @jonmophoto / http://jonmophotography.co.uk/

GETRZ: Nambucca, London

Swindon's Getrz kicked off This Feeling's epic 'Big In 2019' in Nambucca in style. Clearly inspired by 2018's conquering The Blinders, Getrz are intent ramping up the intensity this year.

We all crave iconic front men and women but, Getzr lack of ego was striking. In a set packed with punk rock anthems, they adopt the spirit of Primal Scream in order to deliver the best song. Whether its the more emotive 'Diazefam' or the destruction of 'P.S.A', Getrz come one and come strong.

This was a solid punk set, it's one you'd go see again. However, on 'What He Said', it became a set you'd yearn to see again. The punk became more grandiose and the devilish wobble on the guitars was sublime.

Be sure to check them out on their February tour:

https://www.skiddle.com/artists/getrz-123559059/events.html

*Image courtesy of Jon Mo Photography

Asylums: Camden Assembly, London

Southend’s Asylums celebrated their 5th birthday in style this past Friday at London’s Camden Assembly.  Supported by the raw talent of BLAB, the furiously entertaining Suspects and a certain breakout act of 2019, October Drift, it was a stark reminder just how fucking great the music scene in the UK is right now.

No one can touch Asylums on the pop-punk circuit right now. They check all the boxes of the greats with great hooks, melody and angst. However, it’s the lyrics which catapult them to another plain. Intelligent, witty and of the moment, Asylums can carry you to the mosh pit and lead you out the other side a better person.

‘Joy In A Small Wage’ is this generations ‘Live Forever’. Gallagher’s sentiment of ‘We’ll see things they’ll never see’ runs throughout. As fun as the sonics are, it’s the honesty and integrity of Luke Branch’s vocal delivery which cuts through the room. It almost makes Jarvis’ heyday look trite.  

Togetherness is thrown into disarray on ‘Napalm Bubblegum’. Worlds are torn down as their brand of cosmic guitar licks enter hyper drive. “This bubbles gonna blow” is putting it mildly. It erupted into a rabid frenzied attack of the senses.

With the success of their second album ‘Alien Human Emotions’, this was the perfect send of for the 2018 by the Essex outfit. Intimate but far reaching, feral but loving, Asylums have hit a groove that will surely win hearts and minds for a long time to come.

*Image courtesy of Rob Humm / Si Deaves / Thomas Prescott 

The Blinders: The Garage, London

“I know I'd go from rags to riches
If you would only say you care”

Tony Bennett, 1953

In the space of 12 months, Doncaster trio The Blinders have gone from a support band in small venues to selling out the Garage this past Wednesday, oh we care alright!

Many will reference IDLES as the most vital UK band right now but, for TT, The Blinders, with their meshing of styles and face melting punkadelia have the edge. They also have an ability to unite scenes like no other. The Garage is awash with punks, skins, mods, hipsters, young and old.

Newcomers to the band are obvious from the moment 'Gotta Get Through' blasts through the room. You can see their jaws dropping and souls being blasted into the ether. It's an envious position, no one will forget their first hit of The Blinders.

Having their Orwellian psychedelic punk anthems validated by their fans with the release of 'Columbia' has given them a new found confidence. The power and the drama ‘Ramona Flowers’ is elevated to an extraordinary level. There is an added showmanship to the furious ‘Rat In A Cage’, our raw heroes are becoming masters of their trade before!

Politicians keep dishing out the platitudes of healing a divided nation, well, The Blinders prove talk is cheap. They've ripped up the musical landscape with their sound and forged a togetherness in the darkness that no one saw coming. Long may they reign.

*The amazing image is courtesy of Sam Crowston:

https://twitter.com/Sam_Crowston_

https://samcrowstonimaging.com/

Suede: Hammersmith Apollo, London (Saturday)

“Misshapes, mistakes, misfits / We'd like to go to town but we can't risk it, oh / 'Cause they just want to keep us out”

Pulp, Different Class, 1996

Every time a Suede gig comes around, it’s a constant reminder that the human condition, the clashing individualism and collective belonging can be precious thing. It’s the musical equivalent of Ken Loach’s working class life and Danny Boyle’s underclass flamboyance.

From the moment Southend’s finest exports The Horrors take to the stage, the sense that the outsiders are taking charge once more is tangible. Quite simply:

“We are the pigs, 
We are the swine, 
We are the stars of the firing line”

Emerging silhouetted ramped up the anticipation of seeing the hip shaping acrylic shirt wearing Anderson. Despite the brilliance of the band, Anderson’s light still burns brightest. Even with all the success and adulation, he still seeks out the most intimate connection with the audience. None more prevalent than on the acoustic (and no microphone) version of ‘The Power’. It’s always been an emotional cog in their live armoury, this rendition became a hymn for the bored and disaffected in England’s satellite towns.

As the set grows, the realisation of just how remarkable their return to new releases in 2013 unfurls. The brutal examination of a Brett’s relationship with his father on ‘I Don’t Know How To Reach You’ (‘Night Thoughts’ 2016) brings a rare silence as Richard Oakes’ playing haunts this West London audience. ‘The Outsiders’ (‘Night Thoughts’ 2016), with guitar licks from the early days of The Cure, is as romantic as Anderson’s characters have ever been and, if alternative pop were still a thing, ‘It Starts An Ends With You’ would be challenging their highest chart positions.  Live, it allows Suede to convey that rock n roll desperation, the thirst to be heard is not just for the young.

As five thousand people head to the tube station, the quiet, reserved nature of the Suede fan returns. The staring begins again, Doc Martens are a sign of leprosy once more, and ‘through the slippery city we ride’. Little do they know, that art, in its purest form has been witnessed by people more beautiful than they’ll ever know.

The Spitfires: Chinnerys, Southend

It's been just under a year since the Watford band ventured to the Essex coast. Their previous visit witnessed a solid outing, this time, an evolution to something far greater emerged.

Maybe performing on national TV (The Andrew Marr Show) and chiding against the middle of the road has been a huge confidence boost. Whatever it is, their playing was tighter and harder and lead to some jaw dropping moments.

The pre-fame fire of The Ordinary Boys was all over this performance. However, with The Spitfires, it feels more earnest and pure. The stripped back version of '4am' heightened this wonderfully. The lyrical desperation collided with jagged Bragg-esque guitar licks to deliver a sense of togetherness few can deliver. Too rare are fists raised aloft and strangers hugged in moments of sheer joy today.

They should be buoyed by their new songs in the set. There was no clear piss break tonight. 'Move On' and 'Something Worth Fighting For' have embraced their love of Ska and Dub. Whilst the lyrical intensity remains, there is a brevity to them which injects a skanking euphoria to the room.

The Spitfires have gone from a band that only music obsessed fans know about to, the one those fans will beg their friends to come see. They have hit that level where what they do is undeniable.

Echobelly: Star Shaped Festival, Brixton

Festivals like Star Shaped are often sneered at for being regressive. To those chinless wonders, we direct you to Echobelly’s set at Brixton this past Saturday. Proving the future is unwritten, they littered a set of cult classics with new material and it more than stood up.

‘Hey Hey Hey’ witnessed Sonya Madan at her spell binding best. There was a nonchalance to her performance that exuded confidence and complete control. Key to Madan’s stature on stage is her long time writing partner, guitarist Glenn Johansson. His guitar was shimmering with looping psyche riffs on ‘Hey Hey Hey’ and ‘If the Dogs Don't Get You, My Sisters Will’, he is, undoubtedly, in the form of his life.

Timing can be everything in music, and Saturdays setting was the perfect platform for ‘Faces in the Mirror’. The tale of self-reflection which, is packed with doubt, regret and hope was met with a jaw dropping awe inspired silence, just for a nanosecond before applause. The crowd came for nostalgia and, they got it in the personalised and exquisite of forms.

The powerful message of ‘Faces in the Mirror’ put a fresh spin on ‘I Can’t Imagine The World Without Me’ and ‘Great Things’. Madan’s deeply personal lyrics transcended music in this moment, they didn’t compromise, and, they did great things!

The Real People: Star Shaped Festival, Brixton

It’s easy to see why Simon Fowler and Liam Gallagher have always cited The Real People as catalysts for their own success. Their breed of free flowing paisley psyche seeps into almost all of the great psychedelic rock n roll albums of the past 20 years in the UK.

What is harder to fathom, is why they remain outsiders in the alternative music world. As the layers of ‘She’ build towards their warped solo, whoever follows them onstage at Brixton is fucked. Luckily, it was My Life Story, there was no talent to be lost in the moment anyway.  

The Star Shaped team, on all their live events and club nights, do a great service in revitalising the spirit of the Britpop days. Truth be told, The Real People probably don’t belong both spiritually and musically. On ‘Complicated’ and ‘Dream On’, their timelessness comes gloriously to the foreground.

‘Complicated’, so effortless and striking, brings The Verve’s ‘History’ to mind with its ability to be whimsical and brutal all at once. ‘Dream On’ however, just blows Brixton Academy apart with its sweeping majesty, Neil Young and paisley guitars and emotive desperation vocal from Tony and Chris.

Be sure to catch them on their remaining 2018 dates:

Sat 6th October – The Flapper – Birmingham

Sat 17th November – The Platform – Morecambe

Sat 1st December – Leopard – Doncaster

Bugeye: Good Mixer, Camden

It’s hard not to think about the Mixer’s mythology on the approach to Inverness Street. The formative years of the art-rock scene congregating with the NME and Select journos, planning world domination. In 2018, the egos of yesteryear can be ill afforded in an era of isolation for bands.

Step forward London three piece Bugeye. They are back on the promotional trail with their slick new single ‘Is This Love’, this though, is where the formalities end.

It is a razor sharp display of post-punk riffs which are begging to be danced to. The in front woman Angela Martin, Bugeye have an icon in the making. Combining the wry snarl of Ari Up with the pithy sex fuelled Justine Frischmann, Martin is carving a space for glory.

Expect to see eye make up in a live venue near you soon!

Breed: Chinnerys, Southend

Dear aspiring bands, in-between gigs, do as Clacton's Breed do, get better! Back in April, Breed played London's Water Rats and oozed potential. Last night in Southend, it all came together.

They're playing has sky rocketed and, as a result taken them ot a menacing new level. The whiff of sex and violence looms large in every song and, in frontman Jake and guitarist Max star power is emerging. The pair have that Richey Edwards '4 Real' factor about them. Dangerous and brutal, they brew a frothing disorder as their stomping rock n roll pounds away.

By the time of set closer 'Get With It', the Chinnerys faithful all know one thing, these small crowds wont be thing for long. Their blend of wayward psyche and brutal rock n roll is too powerful for other bands to share the stage with them.

The Blinders: The Borderline, London

The re-vamped Borderline played host to The Blinders this past Wednesday night. It has been a mere 3 months since their last trip to the capital but, the contrast in the crowd is striking.

The Lexington gig in February had an air of ‘those in the know’ dragging someone along to see the UK’s hottest property. This show was the birth of a cult following. A small army of face painted disciples took to the front to mosh like their lives depended on it. We’ve seen it all before right? Well, the despair and isolation oozing from former single ‘Ramona Flowers’ is proof The Blinders’ existence depends on every note too.

There are nods to Joy Division, The Doors, and Nirvana, but crucially, their own identity is at the forefront now. They’re becoming more guttural in sound and more poetic in verse with every show. A dystopian landscape has been created and an underclass of intelligent creative souls are signing up in their droves.

With McGee and Lamacq in the audience and their debut due in the autumn, the big time is rightly approaching. With hordes of apathetic dullards tuning in to Love Island, let The Blinders infiltrate and remind everyone the power of working class art once again,

The Bonnevilles: The Railway, Southend

The Belfast duo, Andrew McGibbon Jnr (guitars & vocals) and Chris Mullen (drums) brought their brand of rock 'n' roll to Southend this past Tuesday night.

From the first crushing guitar part of ‘The Good Bastards’, the air takes on a murkier presence. Theirs is a swirling fog of blues, rock n roll and rockabilly. On 'Dirty Photographs' has the blues hook of Peter Green’s ‘Long Grey Mare’ channelled through Bo Diddley’s attitude, Cream’s sense of rhythm and chaos of The Black Keys’ ‘Do The Rump’.

Shining like a nugget of gold on a cloudy sea bed was ‘The Poachers Pocket’. Slightly fuzzy, a hint of Cobain’s drawl, and a blistering psychedelic solo melting all and sundry, quite simply, it’s epic!

Amid all the fuzz and devilment, an old school R'n'B soul permeates The Bonnevilles. No matter how abrasive or decadent, an enriching warmth continually permeates. Be sure to check them out on the remaining UK dates!