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Freevolution
Freevolution
13/07/2007
FREEVOLUTION FESTIVAL @ NEWCASTLE/GATESHEAD QUAYSIDE MAY 2007 A free festival is always going to be a bit mad. After all, if you get kicked out you’ve not lost anything, other than your dignity of course. Free entry means you can drink lots of beer, jump around and make a fool of yourself without the wallet-stinging ticket price. Bonus! So when the Freevolution festival pitched up on the Quayside of Newcastle and Gateshead on a drizzly Bank Holiday Monday, the north east celebrated it in true Geordie style. Lashings of Strongbow and plenty of noise! One stage stands next to the towering Baltic building in Gateshead, whilst the other is pitched towards Byker across the river Tyne, aptly named 'Innovation' and 'Invention'. The city is thriving and building on the success of last year's festival with bigger and more promising acts. As Soulwax, Simian Mobile Disco and Calvin Harris are scheduled to perform up by the famous Tyne Bridge, Newcastle's favourite sons Maximo Park head up a line up of fresh acts across the water. It was only a year ago that some of the headline acts performed at the ill-fated HiFi North festival only a few miles away from today's site. Billed as the first of an annual event to feed the festival starved north east with a indie rave feast of Global Gathering and Homelands style portions, HiFi was set to be the start of something big. But alas, the £52.50 ticket price may have been too much for Geordie revellers as the event was poorly attended, bands were axed from the line up last minute and 53 people were involved in drug related arrests. However, the next day Freevolution took place on the Quayside and proved to be a big success. HiFi North failed, whilst Freevolution excelled. Fast forward to this year and a crowd largely made up of teenagers and students are wandering from one site to another, stopping at the Quayside’s bars on their way. Rowdy gangs of emo kids shove each other annoyingly, lovesick teenagers awkwardly hold hands, chavs are jumping in front of people in the queues for the portaloos and beer boys nurse pints of lager and kids are sliding down the green banks on pieces of cardboard when the police aren’t looking. Over at the Byker site, guys with backpacks full of Strongbow are mobbed as they hand out free samples and kids shove their fake I.D's into their faces. Acts such as Bonde Do Role, Hot Club De Paris and The Enemy attract a good crowd, as do Datarock and To My Boy on the other stage. We head over to Baltic Square where Calvin Harris is starting up. He may think he’s bringing back disco, but all he’s providing to the Quayside is a soundtrack for the fights that break out amid the crowd. Kids are crowd surfing regardless of the concrete floor below, resulting in brawls that the audience seem to enjoy slightly more than the performance going on. Meanwhile, Harris is skipping between a keyboard and a mic as he runs through his debut album 'I Created Disco' like a poor man's Mylo. People stand still watching, some nodding for most of the time until 'Acceptable in the 80s' kicks up and everyone has a right good sing-a-long. Next up are Simian Mobile Disco. Although best known for James Ford's input in material from the Arctic Monkeys and Klaxons, their about-to-be-released album of clinky electro magic doesn't disappoint and warms everyone up nicely for Soulwax. 'It's The Beat' shines as a clear favourite, as the duo twiddle knobs on an important looking machine at the centre of the stage. We'd love to stay for Soulwax, but frankly, we're sick of them. They must have performed at every single event we've been to in the past year or so and although they’re awesome we make a move with the majority towards Newcastle for Maximo Park. It looks as if the majority of festival-goers have joined us, judging by the journey we have to undertake to worm our way towards the front. Being amongst the setting for both of the band's albums is exciting. The monument they stand near is only up the road. The coast that's always changing is only a few minutes away. The Transpennine rail service Paul and his love defaced pictures of famous people on runs from the local station. There couldn't be a better setting for a free Maximo Park gig. They're not short of material either, packing almost two albums worth of songs into the show as we excitedly bounce around the sweaty crowd with beer soaked hair. 'Our Velocity' revs up and everyone goes wild. "And I'll tell you some more about ME!" A bowler hat wearing frontman Paul Smith shouts. The audience are only too willing to listen. "Is anyone on a date tonight?" Bowler hat wearing frontman Paul Smith asks before launching into 'A Fortnights Time'. It may not be the most romantic setting, but its getting a hell of a lot of people wet. A second album that's shot them officially into one of the most 'in demand' bands in the country today means that Maximo Park may be packing up their kit and trading their Geordie twang for neutral tones. "And no… we haven't gone off to London!" Smith announces to ear-bleeding cheers. It's been a while since a band made the north east so proud, making the gig the ultimate bonding session. There's a glitch in the sound quality that lasts for half a song, but the crowd are forgiving. The five piece polish things off with the electrified 'Limassol', firmly embedding the tune in everyone’s heads for the rest of the night, despite the beats 2 Many DJs knocked out at the Digital afterparty. The Toon Army were out in force! Support the cause behind it: www.wateraid.org/uk/
tags: | freevolution | more...
Air Traffic
Air Traffic
04/07/2007
Air Traffic with support from The Sonic Hearts and Jacob Boulden @ Liverpool Academy 2 Saturday 30 June 2007 Four years ago a young saxophonist by the name of Abi Harding cut a demure and low-key figure on stage at Manchester’s Academy Three venue when The Zutons were at the first rung in the climb to recognition, playing second fiddle to The Thrills. Little more than six months later, she rose out of her shell providing the party inducing touch and carefree enthusiasm for the crowd to feed off in a live environment and her voice appeared on radio more times than Terry Wogan's. Well, four months ago in the Roadhouse in Manchester, as Liverpool troupe, The Sonic Hearts cut their teeth supporting Kubichek, flutist Kirsty Donaldson, looked as though she was figuring out what it was all about. Tonight, she shows that she has done this with natural ease and the band are about to release their first single on EMI ('Hold On', out on the 9/07/07). Orchestrating the crowd participation for most of their time on stage, most noticeably during the slow swaying, rumbling pop celebration of 'Hallelujah'. The refined Donaldson cuts a free spirited and confident figure, allowing the wild mopped front-man, Sean Francis Butler to concentrate on his 60's pop vocals and plugged-in acoustic guitar chugging. It is Donaldson’s deft fluting that steers the outfit away from the path well-trodden by The Zutons et al, well that, and a deeper lyrical pit that gives Butler the feeling to instil into his endearing, laboured and positively tinged vocal thrust. 'Crooked Hair' is a self-deprecatory, climbing pop swipe at his own mop and it gives The Sonic Hearts a Universal kick. This could easily see them be the band to get EMI out of the financial doldrums that they’re currently languishing in. Questions need to be raised about the suitability of the charming, LA homed acoustic conjurer, Jacob Golden's suitability at fitting in between two sprightly full bands, as a bit of momentum is lost. However, the material on display from Golden, who released his debut album 'Hallelujah World', through Rough Trade Records in 2002, is whining, foraging and emotion laden enough to set a change in tone, but doesn’t cause attention to wander too much. Naturally, frivolous crowd chatter gives the personal nature of the material a neat ambient touch, as he slots in between the heart-tugging range of Joanna Newsome and the acoustic cruising of Willy Mason. The slow building weepie of 'On A Saturday', taken from the US cult classic The OC receives an enthusiastic reception. Goulden's personal touch also wins him friends and implies that in his own shows he has the potential to be potent and captivating. There are no two sides to Air Traffic, their uncompromising keyboard bolstered debut album 'Fractured Life' bears this point out. Tonight, with little fuss, they kick off through the climbing keyboard intro to 'Just Abuse Me' that builds into a melee of sliding guitar-led indie and switches back again to embolden their genuine, range flitting craft. Vocalist Chris Wall and co. keep focused and bring their album foraging to the live setting. Wall cuts a stern and driven figure, as he sits in front of his keyboard sideways to the audience, glancing over approvingly at the bounding and pogoing taking place when numbers from the debut album are fired out with gritty belief. The winding Travis kicked 'Time Goes By', makes best use of the pronounced sound in this quaint venue where viewing opportunities are at a premium. The lurid and catchy indie dirge of 'Charlotte', shows a searing seedy side that inevitably wins vast approval on a Saturday night. Air Traffic don't do image and they don’t do pretence, yet their growing popularity is not in question tonight. Something that is surprising in this current climate, eh? Read our review of Air Traffic's 'Fractured Life' here. Words: Dave Adair
tags: | air traffic | more...
Knowsley Hall Music Festival
Knowsley Hall Music Festival
30/06/2007
Feat. The Who, The Coral, The View, The Thrills, The Delta Fiasco Saturday 23 June 2007 Teething problems still happen at Glastonbury, so the grumbling and griping at the queues and stage time changes alterations continue. Being uttered during this, the debut of an event that gives the North West something to talk about is a little puzzling. Unlike many Festivals this year, there is a strong local flavour to this one. The organisers have really tried to give local acts a chance to shine and make this a distinctive occasion. Grabbing that opportunity with both guitars is the electro tinged local trio The Delta Fiasco. They woo the Myspace Stage with a contemplative and slightly troubled, slow building approach. Possessing the same moody reflection and uplifting jolts as modern upstarts The Pigeon Detectives, something that comes through in the vocals of the passionate Nathan Walczack. Those who beat the queues, appreciate the energetic aspects of forthcoming single ‘Paperhouse’ and several nods of approval implies that upon its release, The Delta Fiasco may have the music press in all of a flutter. Evergreen Liverpool outfit and perennial nearly-men, Shack provide the increasing crowd at the Main Stage with some skiffle skirting spirit and showcase their slightly eccentric lyrics, as material from an act that spans three decades provides a familiar if unspectacular touch. Singer Michael Head’s voice has worn well over the years and he battles early technical problems to help remind people of their quirky touch. A warm welcome greets the Irish outsiders of The Thrills, who despite a sun-drenched Californian sounding first album and yearning pop containing second album worth of material. Conor Deasy and co. choose to open out with a vision of their future in the pleading, yet positively projected, non-album offering ‘It’s All We’ve Got’. The big hitting pop pearl of ‘Big Sur’ sets off a crowd chorus and weather defying bounding starts to occur towards the front. A proper festival vibe is starting to filter in and the young indie kids look on with increasing anticipation. The scene is similar to the looks that will have greeted Oasis as they were carving a name out for themselves. Although, Dundee’s The View possesses the same uplifting hooks, pulsing drum-beats (provided with cock-sure craft by Steve Morrison) and cocky self-belief as Gallagher and co., their material is not quite as universal, yet. Deep Dundonian references puzzle even those seemingly in the know about them. The angular riffs and thrusting percussion of ‘Superstar Tradesman’ has a familiar, gritty push and catchy chorus, ensuring that gatherers get into it from the off. Despite being banned from every single Travel Lodge in the country for their rowdiness, the young pretenders are nothing but calm and amiable. The rugged and rhythmic anthem of ‘Same Jeans’, retains freshness in a live setting, despite its numerous airplay and the party spirit continues to climb, as though to stick two fingers up to the lingering black clouds. They have a reputation for quirkiness, fuelled by the spirit of The Beatles and an off-kilter tune-crafting touch. The prolific Wirral-ites, The Coral opt to stick mainly to the familiar singles including the heart-tugging ‘Pass It On’ and the spring-time, loved-out anthem of ‘Dreaming of You’ from their now vast back catalogue. For an ever forward looking outfit, the new numbers on display inclusive of the thrusting guitar-led ‘Who’s Gonna Find Me’, shows that a raw coat is slowly starting to cover their polished range. James Skelly and crew continue their low-key stage presence that has overtaken their frivolous bantering days, as they get into their quaint musical zone and stay there. No-one here seems to have a gripe with that approach. There were a few fears beforehand that the main attraction here tonight. Are The Who using this as a rehearsal for their Glastonbury closing performance the following day? Not a chance, as the lofty cry led ‘Can’t Explain’ is rolled out with their customary belief and tightness in delivery. Material as far back as the early 1970’s is aired with pride; ‘Won’t Get Fooled Again’ still captures the sense of bemusement felt towards ignorant leaders by a generation. Nothing changes, eh? However, it is not often that people will leave a The Who performance with a sour taste in their mouths, but news seeps through about the paramedics rushing to the aid of spectator John Astey, who later died. Organisers should be patting themselves on the back for having commenced - with a few inevitable glitches - an event that could be the focus of the North West’s musical calendar in years to come. No doubt, they too will have been saddened by this tragic occurrence. Words: Dave Adair Photography (above): Mark McNulty
tags: | same jeans | more...
Stephen Fretwell @ Manchester
Stephen Fretwell @ Manchester
06/06/2007
STEPHEN FRETWELL WITH SUPPORT FROM LIAM FRAY @ DANCEHOUSE THEATRE, MANCHESTER WEDNESDAY 23 MAY 2007 A compact setting that has the artist penned in like a baboon in a zoo pen and a stuffy, sound stifling atmosphere would send many a personal acoustic performer, back to the dressing room with their guitar between their legs. Not Liam Fray, who cuts a figure like Noel Gallagher waiting at a bus stop, he opts to take it all in his stride and ambles into a parade of erstwhile and stirring, but bracing simplicity. The meandering Mancunian blends urbane northern poetry and a Willy Mason moulding into Findlay Brown tinged vocal approach. Rugged, low-key street philosophy comes off with endearing grit and stern belief in highlight stroll, ‘Not One Could I Give’. Something that will go down well when Fray graces Glastonbury this year, as will the dry humour that keeps the interest ticking over between songs. A laboured, almost spoken Joe Carnall (Milburn) kick, draws the heart out in numbers towards the end. Complementing the earthy nature of the material on display, enabling Fray to walk away and move forward to a reputation enhancing trip to Somerset. The air is filled with a soul-stroking, heart tugging piece that stretches sorrowfulness to the edge, ‘San Francisco Blues’ and the momentum incrementally develops into the trickling turn of ‘The Ground Beneath Your Feet’. These fresh snippets show the life-bearing Manchester based, Stephen Fretwell continuing to mould his thought provoking material, as he gets ready to move on from the renowned, sour pop punch given by ‘Magpie’ several years back. Such was the publicity and momentum gained by this album that following it up is a thankless task. Reviewers’ row in the auditorium sits wide-eyed hacks, like vultures waiting to swoop in on the merest slip and feed on another fleshy carcass fattened by the success of one album. To combat this unsavoury threat, what on earth do you do? Well, you could stick to the blue print of your successful past and add a few cranked up guitar pitches and change the name of the girl you’re singing about? This isn’t the Fretwell way; he chooses open out his philosophical soul, armed with only an acoustic guitar and proceeds to re-invent his old material. This, he blends in with even more personal and biting latest offerings, choosing to do so in a personal setting that soon has a friendly air, provided by a laid-back stage presence and cheeky crowd banter. ‘Run’ is stripped of its once masterful, sprightly pop cloak, as the lyrics are delivered with greater projection from a softer, less playful base to trigger thoughts of Rufus Wainwright without the pomposity. ‘What’s That You Say Little Girl’ pumps up the blues into its lullaby foundation. Both of these are more than worthy for re-release in their re-jigged form. Thanks to a plea from a journalist earlier on in the day, ‘Emily’ avoids the cull from the live setting and the warmth with which it is received implies that it may not be a temporary reprieve, either. An extra guitar by virtue of Fretwell’s old friend John, gives ‘Darling Don’t’ the necessary extra strand to add a slight noire element. For those who believe that this earnest performer’s piano prowess is too often ignored, the rejuvenating ‘Coney’ captures that Duke Special frivolity. It is certainly going to provide the warmth, heart and a playful spring to the forthcoming second album. The banjo decorated ‘Scar’ shows a retro touch and adds to the growing life imbued by Fretwell. A performance of heart, soul, reflection and cutting cogency is delivered with a pleasing, genuine touch. "This performance illuminates the point that invention is great, but re-invention is so much better." www.myspace.com/liamfray www.stephenfretwell.com Words: Dave Adair Photography: Sarah Pooley
tags: | stephen fretwell | more...
Kosheen @ Manchester Academy 3
Kosheen @ Manchester Academy 3
23/05/2007
KOSHEEN WITH SUPPORT FROM THE VINCENT BLACK SHADOW @ MANCHESTER ACADEMY 3 MONDAY 7 MAY 2007: Early on, the Gwen Stefani and Gweno Saunders blending pitch of Cassandra Ford soars out, the sound system holds up and makes the show-time pop pearl 'Metro', come to life. The Vincent Black Shadow have an added keyboard kick tonight, promoting the live pang and complements the vocals of the decadent Ford to a tee. Flashy pop with soul entertains a keen gathering and extra pounce is provided by the jazzy drum-beats. The spiralling rock n' roll of 'Control' brings memories of the energy and thrust of The Bellrays to the fore and Ford gets all cocky and feisty. Title track from forthcoming debut album 'Fear's In The Water', builds upon a bass buzz and the hurried vocals gives the finale urgency and a haunting touch. The Vincent Black Shadow packs more moods into half an hour than Coronation Street. All this fuss about touts on eBay, there is one solid way to avoid it. That is too possess such a live buzz and reputation for bringing power, the party spirit and variety to life at gigs that nobody would want to part with a ticket for your show. Granted, this option isn’t open to a great deal of bands, but for Kosheen it is a tactic that has been ingeniously deployed, keeping eBayers at bay for this performance. Through the sauntering vibe of new offering 'Damage', some early buzz is created. A swirling beat/bassline mix is just enough to create a bit of life, but the lyrics also make you intrigued enough to want to have several listens to it, when the album that it’s on is finally released over here, that is. 'Overkill', with its rumbling pop beats and the lingering vocals of the lively spirited Sian Evans, sprinkles some soaring heart and soul over proceedings, showing that freshness and Kosheen are still happy bedfellows. Despite proudly looking forward a nostalgic drum n bass interlude sends hands aloft as though they are waving a heroine goodbye. Evans and co. coaxes the crowd into sharing their renewed enthusiasm as the commanding welsh vocalist is keenly accompanied for the buoyant run through of 'Catch You'. This has extra spice and catchy bite in such close knit surroundings, with this impact also being epitomised by 'Hide U'. The latter parade hovering oomph, represents Evans' most commanding and emotively potent vocal display of the evening. 'Guilty' provides a vibrant pop strut and sets out with friendly energy what true pop music is all about. Despite retuning in ruptures after being locked out of their dressing room before the encore, Evans gives the boom funk of 'Wish', extra projection, it seems. Dancing as nimbly as a ballerina at times, completing an electrifying hour of inhibition releasing. www.myspace.com/tvbs http://www.kosheen.com/ Words: Dave Adair
tags: | kosheen | more...
Bloc Party @ London Astoria
Bloc Party @ London Astoria
27/04/2007
WEDNESDAY 31 JANUARY: Admittedly, years of gig going can make you somewhat cynical. Tickets to see the first of three sold out nights at the Astoria by Bloc Party can be met with an apathy that the musical Gods on Mount Olympus will no doubt punish me for at a later date. Still, they’d probably forgive me if they were going to the gig with the same person as me. She keeps yelping and jumping spontaneously on our journey to the venue which is never a healthy thing to see in a grown woman. How can a band this serious inspire such face-splitting grinning on her part? There’s no accounting for taste I suppose. Still, such boundless enthusiasm can be a bit wearing, so when she suggests heading downstairs and getting involved, I decline and head to the balcony to watch the show. I leave Grandpa on the balcony with a pint to frown into so that I can throw myself about with the heads upfront. Even Kele himself is beaming tonight, meekly thanking us for making it down and sealing every line he sings with a grin. A soaring rendition of 'This Modern Love' slows the mosh for a minute or four; the frenetic guitar work of 'Helicopter,' gives us groundlings the sweating, stamping action we're craving. Bassist Gordon steps up to showcase his drumming skills on a kit alongside Matt Tong's, and fresh track 'Waiting For The 7.18' has jungle tinged rhythms that the band pull off with flair. The new LP isn't out yet but several fans recite Kele's most recent lyrics in earnest - the love is all around. OK, I admit it, she was right. From the primordial pounding bedlam of 'The Prayer' to the mocking urban despair of 'Song For Clay,' this is a band who are laying claim to 2007 and will take it by whatever means necessary. The Astoria hasn't seen chaos on this scale for a long time, and it should mark the beginning of Bloc Party's rise to dominance. TEXT: KARL O'KEEFFE & LUCY WILSON
tags: | bloc party | more...
Unkle Bob @ Water Rats, London
Unkle Bob @ Water Rats, London
12/04/2007
'One by one / You suffer me badly,' was probably the most ironic lyric Unkle Bob could have conjured up halfway though playing to a packed Water Rats in Kings Cross, London. Four songs into their set and it was obvious that nobody was suffering as the gentle charms of 'One By One' filled the smoky room following three compelling opening tracks - 'Swans,' 'Hold It Down' and 'Vagabond.' Unkle Bob are a tricky band to describe. They sound a bit like a lot of pleasant guitar bands you might have listened to over the past decade but they've managed to carve a clever little niche for themselves with a nice line in wry lyrics and gorgeous melodies that dominate every bar. They sit some way ahead of Embrace in terms of instant likeability and impassioned song writing, and maybe to the slightly calmer left of some of heavier chart-friendly rock and indie bands. However you define them, Unkle Bob's mix of grand, heartfelt and melodious indie is extremely hard to dislike. Shortly after 'One By One,' the band also showcased a brand new song, with Rich Webster (vocals and guitar) and Geoff Widdowson (keyboard) swapping instruments and launching into a delicate keyboard based number called 'These Words.' Although typical of many of the band's songs, in that it may need a few listens to get under the skin of it, first impressions were excellent and along with 'Better Off,' 'What Do I Know,' 'Hit Parade' and their latest single, 'Put A Record On,' it added to an extremely impressive half hour of polished performance and subtle song writing. The best aspect of Uncle Bob's performance was that the music clearly means a great deal to every member of the band. Rick Webster's heartfelt and frequently personal lyrics are sung with a meaning and depth of tone that is quite special. The rest of the band, from Geoff Widdowson's impassioned keyboard playing to Stuart Cartwright's intricate and warm guitar and banjo accompaniment, all added to the feeling that a gig means much more to them than churning out some songs in a dingy backroom bar. Although the band's set was far too short, covering only eight songs from their critically lauded album 'Sugar And Spite,' the one new track plus a quirky instrumental encore, the idea that 'less is more' was most appropriate as everyone would probably have watched the whole set again without any complaints - it was that good. We suffered them gladly, not badly. WORDS: BEN H MURRAY
tags: | unkle bob | more...
Skinnyman & Foreign Beggars @ LSE
Skinnyman & Foreign Beggars @ LSE
05/04/2007
25TH JANUARY: The London School of Economics was given a wake-up call to underground UK hip-hop culture with some classically sublime street poetry from the Foreign Beggars outfit. What started out as a fresh winter’s evening with a couple of tinnies turned into a beer throwing, mosh-pitted, bop fest. A crowd some hundred strong made it out, and were grooving to the opening DJs before the first MC even appeared. Once Skinnyman landed on stage the room rumbled and heads started nodding to the beats and rhymes laid down by the man himself and DJ Blakey. The performance was good, but short of electrifying; neither Skinny nor the night had hit their best. Yet. The night only truly began when Stig of the Dump and Dr. Syntax hit the stage... I say hit, I mean he somehow made it up there whilst defying all known laws of physics. Stig is larger than life; in fact, I think you’d say more like meta-human! But the duo cooked the place like some sort of greasy fry-up: words and lines flowing out like it was meant to be. Self-donned ‘Speccy and Fatty,’ they spilled their guts as a two man team for all to absorb...And grind to! Lurking to the side of the stage was Lady Isa, who jumped right in to broadcast melodic dimensions to the boys’ tunes. The crowd went wild for this girl, probably as their release after the anticipation of spying her stageside all evening. As her voice glided around the room, the Foreign Beggars (MCs Orifice Vulgatron and Metropolis) pounced and made their entrance. A few flawless a cappellas and blindingly quick verses later, the crowd was pumped and more than satisfied. The show ended with the lot of them invading the platform and rocking out to a rendition of 'Killing In The Name Of' by Rage Against The Machine that blew me away: a fitting ending for some of the best spitting I’ve heard in a while... TEXT/PHOTOGRAPHY: GEORGE WETZ
tags: | skinnyman | more...
Kill All Hippies @ Islington Academy
Kill All Hippies @ Islington Academy
27/03/2007
KILL ALL HIPPIES ISLINGTON ACADEMY 8TH DECEMBER The wearing of capes suggests the possession of super-powers or at the very least some extraordinary talent on the part of the cape owner. Imagine therefore the disappointment felt by the more discerning music fans in attendance at Kill All Hippies' Christmas bash to discover that not only did headliners Robots In Disguise not have any super-powers but barely enough talent to justify inclusion in a sixth form talent contest. When will people learn that fancy costumes this elaborate are usually employed as a means of distraction from an innate crappiness? Also, any band encouraging whoop-whooping amongst the crowd a la early nineties rave should be met with extreme suspicion. Obviously the young tykes tearing it up in front could be forgiven for their enthusiasm, being distracted as they were by the flashing lights and glittery costumes. However, the girls in Robots In Disguise are clearly old enough to know better and should have appreciated their musical shortcomings by now. Confiscate their capes and hand them to support slot Mr Hudson and The Library instead, as this is a band with an extraordinary talent to light up a room. Their funked up infusions of hip hop, jazz and pop lent wings to all in the crowd. The hippy killing crew have been uncovering unusual musical gems with great consistency for some time now, and with Mr Hudson and his literary cohorts they gave the crowd at the Islington Academy another diamond in the rough which will receive a great deal of critical polishing over the next twelve months. Kill All Hippies is undoubtedly a venerable evening of rock mayhem, but let the hippies live so that we may remove the batteries from toytown timewasters like Robots In Disguise and their second rate electro racket. KARL O'KEEFFE
tags: | kill all hippies | more...
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