Get Cape Wear Cape Fly! Chinnerys, Southend

“What’s a battle cry / If it falls on death ears”

A telling lyric from Westcliff’s Get Cape Wear Cape Fly. Especially, 12 years into his career with new material aplenty. Launching your career with a cult classic (‘Chronicles of a Bohemian Teenager’) can often have a damming effect. Just ask The Enemy and Glasvegas. Despite this, head honcho Sam Duckworth returned this year with ‘Young Adult’ and, this past Saturday, he brought it to his hometown venue Chinnerys.

Now backed with an 8 piece band (all outrageously handsome btw!), Get Cape sounds better than ever. This is particularly true of new material such as ‘Adults’, ‘Animate’ and ‘VHS Forever’. The youthful exuberance that bred so much hope and escapism in 2006 is still there, but now, the musicianship is on another level. These feel like staple set numbers of a decade!

This is further striking on ‘DNA’ and fan favourite ‘Lighthouse Keeper’. The latter, a great song about life in Southend, always breeds huge devotion from the Essex crowd. However, ‘DNA’, surpasses it with its older, wiser and reflective stance. Get Cape’s vocal is oozes into shore like the waves just a few hundred yards away with an elegant ease to marvel at.

Quite simply, this is the best version of Get Cape that’s ever materialised, go and watch for yourselves!

Trampolene: Scala, London

Gigs, so often enjoyable but seldom do you see the likes of Doherty, Hawley or Ashcroft bare their souls. In Jack Jones, Trampolene have a front man who did just that at London’s Scala last week.

Jones is Pete Doherty and Nicky Wire rolled into one. The combination of intelligent punk rock and free spirited poetry on stage is as emotive as it is life affirming. When they play new single ‘Hard Times For Dreamers’, a chord was struck. The sense of coming together to fight back against injustice is almost visible in the room.

During ‘Alcohol Kiss’ and the Beatles inspired ‘Imagine Something Yesterday’, the band display their ability to be tight but expansive with their playing. A hopeful signifier that bigger stages will be graced in years to come.

For the first time this decade, a master of social comment has emerged in Jones. As he sings “it’s not who am I / It’s who I’m going to be / How longs this song / Been living in me”, it feels powerful and inclusive. Trampolene entice you in so much that, when Jones tears up on ‘Beautiful Pain’, a collective hug goes out to him.

Brace yourself festival season, this three piece are going to make a mockery of your headliners with their brilliance!

Image Source: https://www.instagram.com/katrinejungphotography/

DMA's - For Now

This album is new, apparently, and yet, its familiarity is immediate. At times, it’s effortless, catchy, and rhythmic, could it be an instant classic?

From note one of opener and album title ‘For Now’, it’s clear to see why Andy Bell professed “DMA’s are the future”. Guitars swirl like Bell’s Ride at their hazy best and crucially, there is broodiness lying within like early Verve.

Contrast that with 'Dawning', a pure trip down La's and Go-Betweens melody lane. Again, there is an essence of darkness, a snarl which loiters with the utmost righteousness. When spirit and belief merge like this, dreams of big unified crowds materialise.

The quest for purity of soul can occasionally be their downfall, however. A lack of shade dampens the beauty of those magic moments. ‘The End’ and ‘In The Air’ feel like they are reaching for something that isn’t there.

That said, when the C86 ‘Warsaw’ and ‘Lazy Love’ come to the fore, you could hardly blame them for striving for happiness every time. ‘Warsaw’ exuberantly blends Primal Scream’s debut album with the Paisley singles of early Stone Roses. ‘Lazy Love’, channels ‘Elephant Stone' via the indie-folk jangle of Belle & Sebastien’s classic ‘Boy With The Arab Strap’, you’ll wish it rambled on for hours.

An instant classic? It’s a way off. However, they are far more than Oasis revivalists. With Ride, Verve, The Cure, Primal Scream, Go-Betweens, Stone Roses all appearing as influences, a path is emerging for them to find their own voice.

Image Source: Alexander Gow - https://www.facebook.com/lnwyco/

Manic Street Preachers: Wembley Arena, London

It's the longest running joke
In history
To kill the working classes
In the name of liberty

This trio of working class heroes are from killed off, if anything, the Cardiff outfit are as assured as death and taxes. They brought their outsider pop music to Wembley Arena last Friday and we were there to check it out.

This gig was consistently good, and occasionally special. The truly magical moments emerged when The Anchoress joined them on stage. Head to toe in leopard print, shades and deep red hair, she outdone Nicky Wire (until his pins got a stunning airing).

Having to don the roles of Nina Persson and Traci Lords is a feat most would cower from. So, to strut on stage and take ownership of these songs was incredible. The performance of 'Little Baby Nothing' was Julliette Lewis (Natural Born Killers) and Uma Therman (Pulp Fiction) rolled into one. The cuteness of the delivery of 'if I'm starving, you can feed me lollipops' switching to the immortal rock n roll goddess on the chorus (You are pure, you are snow  / We are the useless sluts that they mould / Rock 'n' roll is our epiphany / Culture, alienation, boredom and despair) is something that will live forever!

Then came 'Dylan and Caitlin', her duet from the new album 'Resistance is Futile'. A lesson to any aspiring artist, lyrical discourse can matter in pop music. It doesn’t have to be just love, loss and escape as this Chris Farlowe meets Phil Spector song proves.

It's well documented they struggled with their latest recording. On this kind of form, we can only hope they enjoy being Camus' 'Rebel' for a long time yet.

Image Source: https://twitter.com/eemrb

Frank Turner: Cliffs Pavillion, Southend

It’s hard to think of Frank Turner as part of the establishment but, after 11 years as a solo artist, he is punk rock royalty. With that comes pros and cons. The angst, the rage, and the fall to the floor desperation inevitably fades. However, being a massive Freddie Mercury fan, Turner is developing into the consummate performer.

Essex, a far too deprived county of proper gigs, is pumped and raring to go as Turner strides on stage. The ease at which he glides around the stage or leaps onto speakers on set opener ‘1933’ is, well, palm of his hand should cover it.

‘Making America Great Again’ leaves a big imprint on his Southend faithful. To be progressive of political thought in this county is not the norm so, to hear the chorus “Let's make America great again / By making racists ashamed again / Let's make compassion in fashion again” belted out is staunch reminder that we’re not alone.

Of all the classics he plays, its ‘The Ballad Of Me and My Friends’ that always shines brightest. For those who find no solace in this anthem we say this, you’ll never know the collective spirit forged in a dark sweat filled room that provides goosebumps for a lifetime or, as Frank might say:

"But if your all about the destination / Then take a fucking flight / Where going nowhere slowly but seeing all the signs / And we're definitely going to hell / But we'll have all the best stories to tell"

Image Source: Martin Neal

Blossoms - Cool Like You

Blossoms’ breakthrough in 2016 was somewhat surprising, arising at a time when new bands weren’t a part of the mainstream. As a result, the anticipation for ‘Cool Like You’ has been sky-high. Not only because they are indie’s leading light, but, if they fail, the door opened for other bands, may close once more.

All fears are allayed, ‘Cool Like You’ is wave upon wave of melody. Vocally and synth-based, the hooks just keep on coming. Drenched in 80s pop, Blossoms have hit a groove that surely will carry them to glory.

Opening tracks ‘There’s A Reason Why (I Never Returned Your Calls) and ‘I Can’t Stand It’ are dialectically soaked in melancholy and sunshine like The Railway Children’s classic ‘Every Beat of the Heart’.

On tracks like ‘Faithful’ and ‘How Long Will It Last’ however, there is a sense Phil Collins has joined The Killers. It strays so close to the watery hallmarks of Stock Aitken and Waterman they are in danger of losing all credibility.

Art is only great when it moves you to the point of shock. This is not that. It is, however, a good alternative (ever so slightly) pop music. ‘Cool Like You’ is as much an indictment of the times as the polemic of their naysayers Sleaford Mods. It signifies just how far alternative music has had to shift its foundations to be commercially viable.

Nevertheless, that door, have it opened wider? Yes. Why? Melody, melody, melody! Even at its blandest, ‘Cool Like You’ delivers undeniable pop hooks. Furthermore, it calls in to question their peers’ ability to match them. Can The Blinders and Avalanche Party et al channel their substance a melody so good, radio controllers find it impossible to ignore?

The Bluetones: Water Rats, London

When big bands come to small gig venues, it’s invariably a great night and, The Bluetones at Water Rats was just that. Filmed for Vintage TV, the Hounslow massive rattle through an hour of their greatest hits.

Any Rik Mayall fan will tell you that, the best things about their live shows were the cock-ups. Mayall’s wit and charm would shine brighter in these mercurial moments than during anything scripted. For this reason, we hope Adam Devlin’s guitar failure makes Vintage’s edit. It showcased frontman Mark Morriss in all his comedic glory.

It’s striking just how many charting singles they play tonight (and how many they don’t). Especially in Water Rats, a venue synonymous with This Feeling and their new music nights. So many new acts walk through these doors with great tunes and attitude, but, in the long run, to no avail.

Radio and TV outlets need to wake up to the new talent available. The indomitable Caffy St Luce and Heather Ferguson are here tonight, they dedicate their lives to breaking bands, these outlets should be trusting them (among others) as they did with The Bluetones in the 90s. Otherwise, they are denying generations of music lovers a chance to go on journeys with their favourite bands. The highs of the top 10, the lows of the fading 5th albums, and then their glorious live comebacks when the kids have grown up.

This just leaves us to say, in the Bluetones immortal words, “So it’s on with the show”.

Image coutesy of  https://twitter.com/markpinsent

The Mu-Tones – Slab City Records

The MuTones, fronted by Marion’s Anthony Grantham, are a three piece from Manchester. ’Slab City Records’ is their debut single and will be released on Ugly Man Records on 30th June, supported a launch show at Jimmy’s Northern Quarter the same night.

The thunderous bassline carts you to their garage rock realm instantly. Through Grantham’s big hitting riffs and melodic vocals, ‘Slab City Records’ delivers a hard hitting but accessible form of pop music. Its fire and fury reek of hand carved tattoos reading ‘Blood, Sweat & Tears’, a loyal following is inevitable.

The backing vocals during the chorus bring a touch of Phil Spector’s girl groups to this relentless Iggy ‘Raw Power’ thunderbolt. As debut singles go, this is a great statement of intent.

W.H. Lung: Chats Palace, London

The Manchester outfit were surprise stars of 2017, emerging from nowhere to blow away crowds at the Green Man and End of the Road festivals. Last Saturday was their London debut, a feat often deemed (albeit wrongly) a huge landmark in a bands career. Was the hype worth it?

Pop music is a brilliant thing. It’s joyous but fleeting. W.H. Lung are a different animal however. Pop sensibilities loom but, their ethereal grooving like early Verve and the hypnotic synths of Can and Kraftwerk are clearly on a more substantive plain. When they break for applause, it’s disappointing, the yearning for the beatific Nick McCabe guitar work to continue is tangible.

Their sound is so engrossing, they transcend being in a band. It feels more like a social collective merging their vision to the sound of Talking Heads, Kraftwerk, Arcade Fire, The Verve, and Can. Despite the aggregated sound, front man Joseph Evans is an icon in the making. He’s unique and slightly awkward dancing immediately brings Morrissey, Ian Curtis and Jarvis Cocker to mind. He has the innate ability to channel the bands sonic through his dancing, akin to the loose natured dancing of Ian Brown when the Roses emerged.

Although they are in their fledgling stages, there is a fan base wholly immersed in their doctrine. At the heart of this is a clearly a willingness to follow a band who are fully committed to the creative process and the cultural change it can bring about. For the first time in a long time, rebels with a cause are on the march (Cabbage, The Blinders, Sisteray, Matt Edible) and it feels great.

Johnny Marr – The Tracers

The comeback single for Marr’s approaching third solo album slots right back into the groove he left in 2014. This time around, there is a sense of dread looming large within his guitars and lyrics.

Lyrically, this could easily be an indictment of the times, mirroring the fall from grace from so many tolerant societies. Marr’s tracers are the Farage/Trump-esque vultures cashing in on the social divides and are expertly reflected in Marr’s modern guitar take on Wire’s early days.

‘The Tracers’ is the sound of the lost being chased in a dystopian nightmare. Despite this, Marr flawlessly finds a way of including some ‘oooo-oooos’. This juxtaposition provides the glimmer of light this heavily shaded banger needs. The pop music king lives strong!

Miles Kane - Loaded

Kane’s solo career, has never really ignited. He has delivered electric live shows but, continues to live under the unfortunate tag of ‘Alex Turner’s mate’. Will new effort ‘Loaded’ be the breakthrough?

The gentile opening verse is reminiscent of ‘Out of Control’ and ‘Fire in My Heart’ from his second LP ‘Don’t Forget Who You Are’. That 60’s tinge of Scott Walker and Burt Bacharach looms large and, this time, there is an almost Kiedis like vocal.

As ever with Kane, the richness of the sonic is high. This kind of 60's pastiche is so often overlooked but, this kind of warming melody combining with the warped guitar blast would be a refreshing shot in the arm for daytime radio.

Embrace - Love Is A Basic Need

Embrace’s 2014 eponymous titled album was a remarkable departure from their epic gospel-indie sound. It took their established euphoria to new pastures and for once, shut the critics up. So where would brothers McNamara take us this time?

To coin an early Embrace lyric, they have ‘come back to what you know’. From start to finish, ‘Love Is A Basic Need’ is the archetypal Embrace sound. The slow emotive build to a crescendo of gospel singers and big choruses. Detractors will say it’s formulaic, but, few bands can define themselves this clearly.

‘The Finish Line’, ‘Snake Oil’, ‘My Luck Comes In Three’ and the duet with Kerri Watt ‘Never’, are all candidates to soundtrack some talentless no marks journey from X Factor audition to the judges sex dungeon round. Their ability to conjure rags to riches images to such a consistent level is admirable.

Lead of single ‘Wake Up Call’ is the pick of the bunch. As their recent tour proved, it’s a huge sing-along number, to the point that they open their sets with it. Fervent proof that older bands can still deliver radio friendly bangers!

Richard fronted songs usually offer something different on Embrace albums. On ‘Where You Sleeping’ though, it’s more a case of swapping Danny out for Richard. It’s another track where subtle guitar riffs build towards an upsurge of sentiment.

The familiarity of the album is both its up and downside. Twenty years on, some will say old hat, die hard fans will say a return to their roots. What cannot be called into question though, is their authenticity. This is not impassioned indie for the sake of it.

Tom Clarke: 100 Club, London

Sometimes, when bands break up, it spells the end for everyone involved. However, when The Enemy said farewell in 2016, a chink of light shone through the sadness in the form of Tom Clarke. The diminutive front man has a colossal vocal and, if Tom gets creative with it, what’s to stop him doing what Paul Weller has done post-The Jam?

Last week at the 100 Club, Clarke, armed with a guitarist and keyboardist, came out fighting. The set largely consisted of the classic debut album ‘We’ll Live And These Towns’. The tightness of Andy Hopkins and Liam Watts’ playing was sorely missed on ‘Aggro’ and ‘Technodanceaphobic’.

However, the raw power of Clarke’s soulful punk rock vocal carries everything else to The Enemy’s standards. Furthermore, on ‘You’re Not Alone’ and ‘Happy Birthday Jane’, the earnest beauty of Clarke’s writing is illuminated more than ever. The dual acoustic guitars serves the gritty anthem ‘No Time For Tears’ better also, the reduction in rock swagger gives it a mortality that the Ken Loach-esque lyrics deserve.

So, what about the new songs? ‘Don’t Need Nobody Else’ is defiant and full of The Enemy’ you’re your face attitude. Meanwhile, ‘Back To The Start’ demonstrates how to funnel the angst of the struggle into a crowd uniting sing-along.

The man of the people has spoken and will return in 2019. You have been warned!

Breed: The Water Rats, London

“London. Who wants to get heavy?” decrees Breeds guitarist before swigging his mates beer and launching into a set of heavy hitting riffs.

As they tear through their set, you can see the spirit of so many great early 00s bands rising. The chaos of The Datsuns & D4, the punk of The Donnas, the playfulness Young Heart Attack combine with their natural BRMC stomp to deliver a rock music tour de force.

Former single 'Get With It', often threatens to spiral out of control with its dirty BRMC rock n roll pulsing through its veins. The combo of throbbing psyche and 70s garage music is perfection for Breeds image. They have a great old school blend of irreverence and wanting to shag everything in the room.

Get to Jimmy's early in Manchester (April 20th), they are not a support band to be missed.

Avalanche Party: Water Rats, London

When the music weekly magazines were at the peak, they uncovered 'scenes' in little pockets of the UK. In a disparate digital age, this seemed to have evaporated. However, what IDLES, Cabbage, Shame, The Blinders and now, Avalanche Party, are proving that they do, only on a more widespread level.

Avalanche Party, from Yorkshire, come from the garage rock end of the spectrum but, they undeniably belong to the 'punkadelic' movement taking over the UK. Leading them, the soon to be iconic Jordan Bell. He transcends music with his theatrics. Every hand movement and every foray into the crowd sends the message 'you will love and understand us'.

Through his antics and tight musicianship, they create a platform for the ferocious beat poetry to flourish. Expressive as this is, there is a litany of slogans roaring to the surface for fans to hang on to. 'You aint stopping a hero', 'revolutions high', and 'redefine your notion, of the best a man can be' form a holy trinity of moments this crowd want to rip from their intestines and wear as a badge of honor.

On 'Revolutions High', something truly special happens. They create a freeness to what is essentially a garage rock number. The passion and venom that emanates from them is tangible. It's now not enough to just play well, Avalanche Party have taken the familiar and forged a new path to fight against Daily Mail reading, Reece-Mogg appeasing wankers of this world.

The bar has been raised!

Image Source: Rhys Skinner https://www.rhysskinnerphotography.com/

Embrace: Shepherds Bush Empire, London

The bravado of their 1998 breakthrough may have dissipated but, Embrace, are as good live now than ever before. A calmness exudes from the ever beautiful Danny McNamara and it radiates through Shepherds Bush Empire.

Embrace have never been recognised for cult of status. They don't have the Charlatans tag of 'underrated' or Shed Seven's 'underdog. Nevertheless, not many bands can open with a new song (Wake Up Call) 20 years on and be greeted with a singalong.

It's become accustom for Richard McNamara to have his own section in the set nowadays. Despite all the early classic early songs, the moment Richard takes the spotlight, the anticipation of 'Refugees' hangs in the air. Dancing is inevitable with its post-apocalyptic rave production but, the brutality of the lyrics, in the wake of yet another chemical attack in Syria stops most in their tracks. A rare outing of 'Drawn From Memory' preceded this, by the end of his section, an overwrought of audience were delighted to sink their goosebumps into the anthemic 'Someday'.

Classics 'Save Me', 'Ashes' and 'Gravity' are given an airing. However, its during 'Come Back To What You Know' though the greatness of their past is really highlighted. Sometimes, songs become the fans as much as the bands and this is one. Especially, as Embrace fans age, the tumultuous romantic failure of the lyrics carts everyone back to that first love or to the unrequited love of teenage years.

It's clear at Shepherds Bush, Embrace are far from done!

Image source: http://www.flickofthefinger.co.uk/author/jason/

Alfa 9 - My Sweet Movida

In 2017, LA’s GospelbeacH reignited the classic sound of California, this year, the unlikely grey skies of Newcastle-Upon-Lyme are following in those footsteps. The four-piece Alfa 9, have surged onto the roots scene this year with their third album ‘My Sweet Movida’.

Leading this charge is ‘Movida’, sounding like a lost single from The Coral’s ‘Butterfly House’ album. Phil Mason’s gentile vocal flow wraps around his, and Leon Jones’ effortless guitar playing. This is the sound of alternative pop music begging to be loved by the masses.  

'Different Corner' and 'When The Light Goes Out' make up a trio of great radio-friendly pop efforts on ‘Movida’. The former taps into the spirit Teenage Fanclub, much like Daniel Wylie’s sun-kissed album 'Scenery For Dreamers'. Meanwhile, ‘When The Light Goes Out' is a light trip through Paisley psyche, using the guitars of Shack’s ‘Cup of Tea’ and ‘Pull Together’ to garner real affection.

'When I Think Of You' however, best encapsulates this album’s spirit. It’s beautifully elsewhere, whether it’s talking about love, loss, and hope. The sense of longing and melancholy colliding with sun-drenched musicianship shape shifts from nostalgia to aspirational in moments. 'Coincidence Files' furthers this with the great lyrics “time it passed you by” and “it all works out the same”. Feeling lost never felt this sprightly before.

There is an expansive guitar side always threatening to break out on this record. The album isn’t lacking solos but, on 'Rise' and the trippy closer 'Fly', the highlight reel grows significantly. Think Stills at his sprawling best with Manassas.

Having proven this consistency, hopefully, Alfa 9's careers will be secured by playing sunny afternoons at festivals. This body of work highlights how giving artists time and space to grow can achieve great results.

Matt Edible & The Obtuse Angles - Stairgazing

There appears to be two strands of rock n roll on the charge at the moment. There is the youthful vibrancy of The Blinders, Cabbage and Avalanche Party to name but a few. Then, there are those old school outliers, like Wolf Alice, taking risks and forging new paths. Hull's Matt Edible falls into that latter category.

Opening with 'Jumping Houses' is proof of this. It's a national anthem for the debauched. Amid this wayward tale of heartache and intoxication, emerges the most intimate of choruses. It has that simplicity and raw beauty of William Blake at his best. Such is the power of 'Jumping Houses', the relief of the Christmas pop song 'Advent Beard' will come as welcome light relief.

To say 'Stairgazing' is a break up album would be to diminish this albums quality. There is too much to marvel at. On 'Don't Stay', takes Richard Hawley's grief inspired 'Standing At The Sky's Edge' album and funnels it towards the genius Matt Johnson's latter day The The.

'NightClubbing', an unruly anthem has a great universal appeal with . It's Oasis 'Whatever' inspired strings and the lyrical derision of the mundane have the hallmarks of the indie greats plus, signing off with the line 'When the funky house comes on / You know its time to go' is sure fire genius.

The willingness to explore is inescapable on this record. The classical filmic style on 'The Healing', is perhaps its finest example of throwing everything into the mix. It's Edible and Joe Bennett's guitar playing which really shines. At every turn, there is a guitar part (or 4) pushing and probing new possibilities.

We implore you to listen to this, then again, then listen whilst walking around your home town at 4am armed with a hip flask. It wont grow on you, it will envelop you into a world of possibility and tragedy.

Image Source: Darren Rogers @ Ocular_Art

Model Society: Water Rats, London

London four piece Model Society made great inroads a few years back but, their lack of presence left a ‘what might have been feeling’ in the air. Thankfully, they are back, with a new bass player and new tunes to boot!

Old fan favourites ‘Horizons’ and ‘Sounds’, were always steeped in The Members and The Buzzcocks but, now, they’ve taken on a rock n roll desperation. The feeling of last chance saloon echoes around the room and, it only breeds more love for the band.

The time off has clearly done them no harm. The new material is on fire. Latest single ‘Valentine’, hones their pop instincts whilst ‘Forever’ could be a lost Strokes classic circa ‘Is This It?’

All of this should be enough for any gig but, Model Society have ‘Systematic’ in their arsenal. It’s a rare breed of great social comment and great pop chorus combined. With the hallmarks of classic Blur and The Buzzcocks pulsing through its blood, set closers don’t get much better.

Towers of London - Send in the Roses

Yes ladies and gentlemen, it is the band you remember. Now under Alan McGee’s management, the London outfit are back and this time, is humble!

No one will forget the pantomime antics of ten years ago, which was a shame as, lurking behind the bravado were some decent punk tunes. However, their return last year saw them in a redemptive mood. Comeback single ‘Shot In The Dark’ felt like an emotive plea for a second chance. On new single ‘Send In The Roses’, the great rock n roll apology continues.

Make no mistake, this is not the sound of a band getting older and losing their edge. It’s the echoes of a band with clarity and a self-determination to prove their worth. Moreover, there is a self-awareness to the lyrics which will warm the hearts of anyone who felt wanted them to win first time out.

Guitar music is most definitely on the march again and, with punk-pop like this in its arsenal, it will dominate airwaves once again.