The Utopiates : The Social, London

Previous Utopiates gigs have seen them struggle with sound and strings. Struggle as they may have, their talent and dogged spirit always overcome. Last Wednesday, they headlined This Feeling’s Test Transmission night. It comes after a run of headline gigs and it shows. Strolling on stage, relaxed, hindered by nothing and no one, their aura says headliner forever more.

The confidence is personified by a blissed-out rendition of ‘Alpha’ as the opener. The tightly packed Social has had its pulses set alight by the anarchic holy Youth Movement and raucous garage licks of Velvet Hands. They could have been forgiven for changing their set, moving their big hitters first. Not a bit of it. They hit their casual groove and build elegantly until it’s time. Time for Josh Redding to deliver Squire psychedelia and Prince-esque majesty in the solo.

From here on in, the crowd, populated by lots of fellow bands are in total awe. Whether it’s the trippiness of ’Love Salvation’ or the Chicago-enthused ‘Devolution’, they turn heads in disbelief. On record, and especially on stage here, they mirror the greatness of Scorsese. Never rushed, they give space to the solos and Ed Godshaw’s subtle but killer keys and yet, always sound intense, like theirs a million things going on. It’s detail rather than overindulgence; personified by the brooding Depeche Mode inspired ‘Only Human’.

The window bands to reflect the audience back on stage is always a brief, and glorious time. That time passed at this gig. The Utopiates have greatness coursing through them and this was a huge stride to big stages and immorality.

*Image courtesy of Caffy St. Luce (Rocklands)

Afflecks Palace: Islington Assembly Hall

 Afflecks Palace, although headlining, were dealt a tough hand by label mates Pastel. So stark was Pastels’ performance, Afflecks had to work overtime to whip the crowd back up. Hard work is what Afflecks Palace lives for though. Running the label Spirit of Spike Island, producing records, writing records, artwork, and designing merch. They must be the hardest-working band in the UK!

Images courtesy of the Adrian Lee.

What might have taken some bands half a set to recover, they did by track three ‘Spinner’. The paisley guitars were drenched in floral glory. As sweat and booze fell to the floor, souls were released into a kaleidoscope of bliss.  

‘We Can Be The Avalanche’ went up a notch from the album. Pete Darling’s basslines darker and broodier alongside Pete Redshaw’s devastatingly destructive drumming took their clarion call to dizzying new heights!

In James Fender, the band has the humble icon the UK scene has sorely missed for some time. Fender looks like us, dances like us, and he is here to save us all! Proving to the world men in bucket hats are full of love and not to be avoided, he danced like it was 1988 apace with his ethereal baggy vocals. Watching him effortlessly groove across the stage to the sun-drenched ‘Pink Skies’ or explode into life on ‘Calling All Cars’ was nothing short of poetic.

With new songs ‘I’m So Glad You’re On Ecstasy’ and ‘Big Fish Small Pond’ sounding equally as dynamic, the future looks incredibly bright.

Pastel: Islington Assembly Hall, London

“Don't you feel alive / These are your times and our highs”

Last Saturday, as part of the record label ‘Spirit of Spike Island’ tour, Manchester’s Pastel went on second at the Islington Assembly Hall. They left all-conquering heroes!

It’s rare for a burgeoning band to leave everyone talking about the as-yet-unreleased songs of the set. However, in ‘Running On Empty’ and ‘Soho’ they did just that. Frontman Jack Yates vocals, sent from heaven, stoned, flood the senses with The Verve circa ‘The Verve’ and ‘Voyager’. Angelic with the ability to step off the power and let everything swirl around him in a t4echnicolour haze. Meanwhile, lead guitarist Joe Anderson was cementing his place as the heir to Nick McCabe’s throne.  Anderson’s celestial majesty conjured a druggy vortex the like of which have not been seen since their Wigan peers’ triumphant Glastonbury return in 2008.

The latest single ‘Escape’ brought a tear to many an eye. They combine the slide guitar beauty of ‘Space and Time’ with the scenic psyche soundscapes of ‘Blue’ and the bugged-out melancholy of ‘Virtual World’. The UK scene has never lacked meaning. It’s full of great polemic. What it has missed as the industry raced to the bottom, is a band willing to shun indie’s immediacy in the hunt for success. Pastel hadn’t forgotten! They have existence and it’s theirs to share!

It was a set of so much power, one in which where you leave knowing the world just changed. Despite this, they still had moments of great brevity spliced in. ‘Blu’ pulls in the delicate immediacy of DMA’s Matthew Mason and Johnny Took’s guitars whilst still striving for their own swirling splendour.

Pastel, despite their trippy sonic, looks like a band of brothers. The gang mentality in all fronting up the stage is reminiscent of Oasis's run to glory. Looking great, all in a line, demanding everyone’s attention! Jack Yates, has that mystical Bobby Gillespie appeal and knows when to refrain and allow his band to shine brightest. A gang, a collective, they rock ‘n roll in arts purist form.

The Wedding Present : Chinnerys, Southend

Ten years on from their last visit, Leeds’ iconic Wedding Present returned to Chinnerys in Southend. The intention: to play their indie opus ‘Seamonsters’ in full.

A curious album to take on the road; where ‘George Best’ and ‘Bizarro’ lend themselves to youthful exuberance and righteous angst,’ Seamonsters’ turned to the introspection of the 30s with mere flashes of the rage that had carried them thus far in 1991.

It’s within that spirit that the audience largely gazed. On ‘Blonde’, Sarah’s Records and Nirvana’s pop-tinged grunge enters the affray; but it is Gedge’s forlorn protagonist that the audience has come to rejoice in. No matter how old and settled we become as an audience, Gedge has the ability to transport an audience back to their naive unrequited love days. Meanwhile, the gentle psychedelia of ‘Rotterdam’ in tandem with Gedge’s ability to wrap his unique voice around melody was truly life-affirming.

There are moments (with 30 years’ hindsight, of course) where their performance sheds light on how music travelled in the direction it did back then. Opener ‘Dalliance’ walks proud with Wedding Present identity, but raises a glass to early Andy Bell guitar licks and in the closing stages, Swervedriver’s future roar lurks on the horizon. ‘Dare’ also takes from their archetypal ‘Bizzarro’ sound to the precipice of grunge and shoegaze. It may at the time have been seen as a departure from what made people fall in love with them. But in 2022, it sounds like a band that knew which way the wind was blowing and had the creative nous to propel their vision beyond their humble start.

They do, of course, dip in and out of those modest beginnings with ‘My Favourite Dress’ sounding as vital as ever and ‘Everyone Thinks He Looks Daft’ remaining one of the most fun anthems ever written. 

Whilst being a night of nostalgia, the true beauty of ‘Seamonsters’ is it’s sonic of introspection and self-reflection. It gives everyone the breathing space for an hour; to ponder life, love, and loss, which, post-covid is akin to therapy.

The Wedding Present were never a force of nature but, they are a force to be reckoned with. They have an emotive power many would kill for. Long may they continue.

The Reytons: Chinnerys, Southend

Rotherham’s Reytons sold-out tour came to Southend two weeks ago. Truth be told, their phenomenon had passed us by. They were just a mid-card This Feeling band with too much noughties nostalgia, right?

Wrong! Although heavily indebted to the noughties, this was not parody but, the kind of pastiche that nudges the wheel, albeit slightly, forwards. However, whenever that decade’s chief exponent, the Arctic Monkeys came into play, their visceral beauty faded. ‘Expectations of Fool’ fell by the wayside and ‘Reckless’ strayed to ‘I bet You Look Good on the Dancefloor’ with a Boy Kill Boy haircut far too readily.

Images courtesy of https://www.filmfreephotography.co.uk/

Ultimately, it didn’t matter, the set was electric. Banger after banger with little or no rets between songs kept everything fizzing with punk glory.

Their venomous delivery took the best parts of 00s bands and made them feel like Spartan! ‘Harrison Lesser’ took the twanging glory of ‘Rock ‘n’ Roll Eyes’ (yes, Razorlight, they weren’t always shite) and the pop cadence Jon Windle (Little Man Tate) to aggressive new pastures. Meanwhile, ‘Mind The Gap’ took the musings of Jon McClure and Ed Cosens into a siege mentality, and ‘Sales Pitch for the Bus Ride Home’, the greatest song title in a generation, took aim at The Enemy’s penchant for sounding humongous and, thought, we can be bigger!

The key to everything on the night was credibility. It oozed from them. Independent through and through, they have risen to the cusp of big venues. The drama served up in their kitsch sink lyrics is exhilarating, people like them, like us, should always have their lives lit up in rock ‘n’ roll. The Reytons are most definitely their own beast, a headline animal to be seriously reckoned with.

Echo & The Bunnymen: The Roundhouse, Camden

This past Monday, Echo & The Bunnymen played the first of their two London dates this month starting at the Roundhouse

Being forty years into their career, the case for a self-congratulatory greatest hits tour would be more than fair. In Camden Town, the scouse legends reignited a fire we’d not seen since they supported James at Brixton Academy in 2013 and blew them off the stage.

It was more than just finding form, more than proving a point, this, this was something celestial. ‘Show of Strength’ raged a war so colossal that souls were shaking! Will Sergeant’s guitar licks from became sirens of doom to echo through eternity.

The crowd favourites kept coming, but not as we knew them. ‘Flowers’, an elegant rock ‘n’ roll number on record became a death-defying storm of Brian Jonestown Massacre via Hendrix. ‘Bring on the Dancing Horses’ shimmered in all its glory, as per. However, a sense of searching lurked, it had the feel of it was being created in the studio there on the stage. The bands made it soar, striving to find new avenues of psychedelia, and crucially, it had that youthful demand to be heard. All the while, Ian McCulloch stood resplendent in the darkness reminding everyone who the mortals are.

It culminated in the greatest performance of ‘The Cutter’ ever. The current political climate and 2two years locked away boiled over into a joyously toxic display. Vitriolic but never divisive, they rewrote book on what it is to be a great band in those four minutes.

Quite how they match this showing we don’t know. We do know we’ll be at Shepherds Bush Empire on the 22nd to find out!

*Banner image courtesy of Harvey Wah Wah

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

In Earnest: Chinnerys, Southend

Southend’s In Earnest played their first headline gig at their iconic hometown (city) venue of Chinnerys last week.

Images courtesy of Rob Humm & the band.

October the 9th marked their release of their stunning EP ‘Reasons to Stay Alive’. A seamless piece of music that delves into the struggles of mental health in relationships. Not content with the challenge of recording the EP, of challenging discourse, in this fashion, their creative chops were again at full capacity. Playing the EP fully with seamless transitions was a joy to watch. Whilst physically, it may have looked frantic at points but, the guitar and pedal switches were delivered with aplomb. It added a bigger sense of drama to already tumultuous tracks like ‘I Feel Alone Even If I’m Not’ and ‘Hands Are Tied’.

They come as a collective but, it’s Sarah Holbourn’s voice are that people leave talking about. The harrowing lyrics are met with heaven-sent vocals to forge the most intimate of bonds with the Southend crowd. On ‘Put Me Under’, she drifts from Laura Marling to Phoebe Bridgers whilst songwriting partner Thomas Eatherton’s guitars shimmer with Bon Iver’s majesty.

Eatherton’s guitars, eloquent throughout, stack up to Holbourn’s beauty on several occasions. Whether it be the Ryan Adams-tinged ‘29’, the Cocteau Twins dreaminess of ‘Fables’, or the dreampop meets Billy Bragg, he has an ability to know when to let things breathe around him.

With another show at The Amersham Arms tomorrow and a film launch with Rooskin’s Rob Humm to supplement the EP in November, this is a band with serious creative chops that should not be missed.

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.

Rooskin: Chinnerys, Southend

Southend’s Rooskin played their hometown venue Chinnery’s this past Friday in support of fellow local band The Waterfalls. Having been away for 19months, and with a big crowd in, could they deliver?

At times, Rooskin transcended music. Maybe it’s the long wait for gigs but, their brand of hazy love songs and sunny climates was the warming embrace Southend needed. ‘Donnie’ drifted across the coastline to thaw even the coldest souls with its infectious joy. Like all special songs, it began to take on new meaning via its lyrics:

“I’ve been looking for love / in all the wrong places / it’s been tearing me up and I’m sick of waiting”

The poor life choices and dangerous crutches society have leaned on to get through the lockdown flood to the surface. However, the effortless guitars and glory of the vocals ushered the room back to positive planes.

Upcoming single ‘Eloise’ (released 20th August), got its first airing and, did not disappoint. A sense of hope permeated the room. As they sing of the West Coast, a spirit powerfully forms and feelings that all is not lost and never give up filled hearts once again.

Rooskin’s laid-back nebulous is given an injection on set closer ‘Goldfish’. The added bombast brought about a clarity and future for all to follow them off stage with. Dreams and schemes among the young crowd were almost tangible as their licks and harmonies soared upon the horizon.

Music lovers will always discuss why certain bands don’t make it. Unlucky, the look, charisma, etc. In Rooskin’s case, there’s nothing to talk about. They look like a gang, bonded together by in-jokes, love, and desire. There’s a wit to their between-song patter that forges more love with the crowd. They have all the indefinable qualities to go with sublime alt-pop melodies. You simply cannot deny this band!

Ocean Colour Scene: Dreamland, Margate

Saturday 24th July, the first gig back, should have begun with uncontrollable excitement. It didn’t. Is this safe? Should we be here? Trust in science was the only thing the brain could summon to urge me to go.  

Strolling into Dreamland, the knots in the stomach remained. Despite a few surging to the front for Black Grape, a clear sense of trepidation prevailed.

And then.

The rush of ‘Riverboat Song’s intro surged through the veins like never before. The psychedelic blues were greeted with an overspill of love. Eighteen months of pain ebbed away into Albion’s ether as Simon’s flawless vocals echoed across the coastline and Steve’s guitars shimmered upon the sunset!

The joyous “if I walk, if I walk, if I walk” reminds everyone of what they’d missed. The collective love of a crowd joining forces with artists. A chance to belong, to hug a stranger in sheer delight once again!

‘Second Hand Car’ and ‘Get Blown Away’, at any time, can plunge the emotions to despairing depths. After everything, you could have heard a pin drop and during Craddock’s mesmerising solo on the former. ‘Get Blown Away’, sent shudders through anyone with pain lingering in their hearts. All that might have been flashed before the eyes and loss swelled in the hearts. For four minutes, tears touched checks, fists punched the air, and lyrics were sung with death-defying defiance. The human spirit alongside British rock ‘n’ roll is a fucking a triumph!

OCS, with no ego and beautiful humility, guided us back to a feeling of hope. What started out with uncertainty ended up being an adventure of our own!

Jetstream Pony: 100 Club, London

Hailing from Brighton and East Croydon, Jetsream Pony are an indie super group, consisting of Beth Arzy (Trembling Blue Stars/Luxembourg Signal/Lightning in a Twilight Hour) on vocals, Shaun Charman (The Wedding Present/The Popguns/The Fireworks) on guitar, Kerry Boettcher (Turbocat) on bass, and Hannes Mueller (Endlich Bluete, The BV's) on drums.

They opened up the Valentine’s Day Sarah Records reunion at the 100 Club last Friday. Despite the annual celebration of love, they delivered some joyously melancholic indie. ‘I Close My Eyes’, with its Byrds-esque jangle and Arzy’s knowing and tumultuous lyrics, ignite the set.

Meanwhile, during ‘It’ll Take More Than Friday’, Boettcher’s bass playing takes the hooks of The Prisoners and threatens to overspill in a riot but, Arzy’s lush vocals simmer everything, just!

The ante is upped again on set closer and, latest single ‘Yellow Pills’. This was the sound of band hitting cutting loose. It took the throbbing intensity of The Membranes and the pop splendour of Phil Spector.

It was on ‘Had Enough’ where the set climaxed though. The Cure meets The Fall intro should have been enough. The spikiness colliding with shoegaze’s beauty was, one of those rare moments of cultures clashing that make live music the ultimate art form.

Jetsream Pony (and The Hannah Barberas) are supporting Even As We Speak at the Lexington on March 28th.

*image courtesy of Richard Weir

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

The K’s: Nambucca, London

After supporting the The Rifles last October, The K’s, from Earlestown, put the UK on red alert. Last Saturday, they headlined This Feeling’s ‘Big in 2020’ at London’s Nambucca.

Their Roundhouse support slot, was eyebrow raising. Their Nambucca slot however, this was biblical. More aggression and venom found its way into their Northern escapism meets The Jam sound.

Frontman James Boyle furiously attacked his lyrics with real menace, an approach he should seldom stray from in future. This was the real deal. His naturally far reaching and angelic vocals, came with a nasty streak and elevated him to icon in the making status.

In a perfectly scripted twist of fate, Carl Barat, the guitarist of a generation was in the crowd. Such was the brilliance of Ryan Breslin’s lead guitars, it felt as though the baton was being handed over.

With a sold out gig in Manchester the 25th of this month on the slate, it rapidly becoming clear that we won’t get to see them in intimate venues for much longer.

*Image courtesy of Ricky Atterby.

MOSES: Live at Water Rats, London

London’s MOSES signed of 2019 with a home city gig at Water Rats. It has been another year of great singles, and crucially, real creative growth.

Then, mid set, the bombshell was dropped. Frontman Victor announces lead guitarist Rory is playing his last show with the band. Two years ago, MOSES were very much a band that had a great frontman. On this night, they were tight as fuck, and it was Rory dying on his MOSES sword in glory.

Maybe it was supporting The Blinders in 2018 that turned the corner for Rory. Their slot with the Manchester/Doncaster three piece, all of equal greatness, returned MOSES to Cro Cro Land this past April ablaze. A spiteful punkiness permeated their rock n roll credentials to take them to another level. This power, was out in full force at Water Rats.

To date, MOSES have been a band who have been one paced. Luckily, it was always full tilt and exciting. ‘King Size’, ‘Cause You Got Me’ and singalong anthem ‘River Thames’ were all prime cuts of this energy. However, they’ve never fully done Victor’s song writing justice.

Now, with ‘Joy’ and ‘Findings’ in their live arsenal, they have the ability to take you on his emotional roller coaster. As he sings “give me hope, give me love, give me something that can help me find you” echoes of U2’s ‘Still Haven’t Found What I’m Looking For’ fill the room. His sense of loneliness in a city as overpopulated as London, is the modern day equivalent of Andrew Lincoln’s career defining performance as Egg in ‘This Life’.

What the future holds for MOSES post-Rory remains to be seen but, if this is all it was going to be, its how you sign off in style. It was Ali Cook scoring a ton in his last for England. With the growth shown in 2019 in the studio, it would be one hell of a waste though.

*image courtesy of Ana Ben Ana

Kid Violet: Live at Water Rats, London

London’s Kid Violet kicked of Creation23’s Shambolics sold out night at the Water Rats last Thursday night.

There were moments when they truly threatened to outshine the headliners. The heavenly looping ‘Columbia’ meets ‘Cloudy Room’ psyche guitars of the opener ‘Be Happy’ showcased stadium filling rock n roll ambition. With togetherness and love at its core, it was for all the right reasons too!

The racing riffs of ‘London Wonderground’ walked a glorious line in between The Rifles and Foals. Two distinct alternative crowds that don’t always mix were lured together with devilish effect. Meanwhile, the glam stomping power of ‘I Don’t Care’ is packed with the outcast party spirit of Bowie’s ‘Rebel Rebel’ and has hit written all over it. However, ‘Spaceman’ reached for the escapism of early Noel Gallagher song writing but fell short of the Chief’s early glory.

In frontman Billy Cotter, Kid Violet have an icon in the making. The menace of Liam’s vocals, Miles Kane’s strut and the endearing nature of Slaves’ Isaac Holman ooze from Cotter effortlessly. Despite his star quality, they had a gang mentality. Zac Smiths bass playing had dancefloor hooks at almost every time turn whilst, Pawel Plejewski and Charley Wilkinson’s shared guitar parts continually sparked off each off other.

Yes, yes we did mention them in the same breath as Oasis earlier. Are they there yet? No. When that spirit is ignited, we’re rightly getting fucking excited.

Shambolics: Water Rats, London

Fife four piece Shambolics brought their brand of dreamy rock n roll to the London’s Water Rats last Thursday. Signed to Alan McGee’s impeccable Creation23, the buzz was tangible for their first sold out London date.

Some bands are forever better live than they are on record. For Shambolics, it was more a case of let’s playing with their influences. ‘My Time Is Now’ goes from a Miles Kane anthem to a Donna Summer colossus live. Meanwhile, ‘Fight Inside of Me’ took the extravagance of the Roses ‘Second Coming’ and injected it with the pop-punk of The Buzzcocks.

The set hit magical heights when they combined modern day indie-punk with the 1970s West Coast USA. ‘Sandra Speed’ showcased the blossoming partnership of Lewis McDonald and Darren Forbes. The shimmering guitars of David Crosby and the excess of Stephen Stills combined on a tale of pure escapism, it was undeniable.

Latest single ‘Chasing A Disaster’, walked the tight rope being heavily reliant on The LA’s and The View but, it’s infectious melody was too good to reject. Toxic masculinity, a hot topic of recent times was washed away with warm embracing and carefree dancing during these blissful four minutes.

When Gerry Cinnamon burst onto the scene in 2017, he reminded everyone just how popular tales of everyday are.  On ’When She Goes Home’, we’re given even a bigger reminder. Via Fleetwood Mac’s ‘The Chain’, Shambolics lit up the Water Rats with their tale of a naive female protagonist. Put through their CSN harmonies and early hooks of The View, they’ve built a joyous set closer for life.

The big challenge for Shambolics now is, converting all this magic into a killer album. It’s inevitable right?