My Favorites
My Home Page
Forgot your Password?
Change Background
You are here ->
Live
/
Past Gigs
Friday, 16 May, 2008
PLANETNOTION TELEVISION!
INFO
You are browsing the gig reviews. Check out what was good and make sure you go next time.
RSS FEEDS
Subscribe Feeds
What is RSS?
Babyshambles @ Manchester Academy
27/03/2007
BABYSHAMBLES MANCHESTER ACADEMY 12TH DECEMBER ‘O6 The applause has barely reached its peak for the support act as Pete Doherty playfully strides into view with his trio of underrated musical troubadours. He cheekily peers out into the sea of satisfied faces, thrilled to bits at his mere presence, something that is always in doubt. The chugging baseline of Drew McConnell toes along Pete's hint of intoxicated, dingy and dragging vocals for 'Blinding', from the recent 'The Blinding EP'. The theme for the evening and Doherty's life in general is summed up in the mournful sojourn of 'Back From The Dead'. This allows the boisterous pit to have a much needed breather and actually gives you time to assess Babyshambles’ range. Equal parts are played by all four members, and a defiant compactness akin to an early Stone Roses is displayed. This number is the key to the future of Da Shambles, along with the flirtation with conventional pop of new song 'Delivery.' This tune exchanges grit for groove creation in both the vocals and the instrumental element. A cleaner Pete Doherty, in more ways than one, appears to be a future trend. A nostalgic and momentum building return to The Libertines' territory of 'Time For Heroes' highlights the influence of Mick Jones on Pete’s career, and the fun pop pearl of 'What Katy Did' loses none of its zap. However, it is one of their own songs, 'Down In Albion,' that receives the biggest participation and shows Doherty at his lyrical loosest. 'Fuck Forever' is a natural finale and it is needed after a lengthy wait for the encore, but this merely stirs up more enthusiasm. If the guys can bottle up the freshness and adventure shown tonight, then the cynics' feeding frenzy will be as short-lived as the English cricketers’ revival of Ashes past. DAVE ADAIR
tags:
| babyshambles |
more...
Albert Hammond Jr @ Manchester Academy 3
25/11/2006
The excitement at seeing a member of The Strokes in such a compact and sound-enhancing venue, means that the reception given to Albert Hammond Jr as he cheerfully strides into view, must have made him think that he is flanked by Casablancas and co and not his own tight knit troupe. Harnessing the surroundings to full effect and impact, he plays his most powerful guitar part of the set and most emotive, note perfect vocal performance for the harmony propelled 70s country rock tinged 'In Transit'. This sets a vibrant mood early on and repetitive chants of his name give him added momentum to take into the achingly built up power pop sojourn of 'Bright Young Thing', this suits the main man’s plaintive narrative style. Previous single '101', possesses the qualities of The Strokes in the gritty instrumentals and dingy cries, meaning that you can't help thinking that the band's fourth album could recapture the power and pull of old and, this artist's contribution will, as always, not be a small one. As the set builds Hammond Jnr's inability to pull off some of the vocal higher notes, like those in the slower 'Holiday' just gives off a few doubts regarding how far this solo project can actually go? However, a spirited and journeying indie/folk new number shows that the creative well is not down to its last cup, yet. After 45 minutes of an at times powerful and at other moments, wistful set that sees the normally fixated on his performance muso engaging in frivolous crowd banter, the evening ends in an unceremonious departure. Surely, he will not leave Manchester without playing the potent power ballad of previous single 'Everyone Gets A Star', will he? After a minute of expectation the house lights come on to signal an affirmative answer to that question. Still, the aim seems to have been achieved in this seed planting set. Albert Hammond Jr will be warmly welcomed back all the same, you sense. Text: Dave Adair Live Image: Louise Brock
tags:
| albert |
more...
Assembly Now @ Camden Barfly, London
23/11/2006
Funny place, the Barfly; one night, you might get the triumphant, radio-buggering heavyweights such as Razorlight and the Kooks, on another, the best (or worst) band you’ve never heard of. Either way, it is actually written in the indie rule book that every relevant band MUST play here at some point in their career, and tonight it is Assembly Now’s turn. Kicking off with anthemic statement of intent, ‘It’s Magnetic’, the foursome’s enthusiasm is evident within seconds. It quickly becomes apparent why every music tipper worth their salt, including Steve Lamacq who is busy bobbing his head in the back, has been raving about them over the last year. It may only be their second gig in four months, but the ease with which they slip back into live mode suggests that they’ve never been away. As they launch into ‘Caucasian Nights’, you begin to realise exactly what it is about Assembly Now that makes them so riveting live. When singer Gavin Dwight lifts his hands to the mic stand, or Lush raises his drum sticks over his head before crashing into a ‘rawk’ drum outro, somehow it doesn’t seem clichéd. It’s rare to see a band with so much raw passion these days, and even the most cynical hairs on the backs of the most sceptical necks must be cautiously rising. The frenetic angular guitars and thumping rhythm section, together with the New Cross connections, may evoke certain comparisons. Make no mistake though; these four are not riding the well-travelled, tedious art-rock train out of SE14. Onstage, every note is vying for your attention, the two guitars duelling and blending in equal measure, the rhythm section pounding their respective instruments within an inch of their lives, and vocals that force you to take notice. It’s loud, it’s fast, it’s exciting, and it’s frequently brilliant. Without letting the last notes from ‘Out on 24s’ fade, the band launch straight into forthcoming single ‘Leigh-on-Sea’, surely the best song ever written about Essex coastal towns. Danceable and lyrically catchy, it deserves thrust the band out of the niche and into the mainstream consciousness, “all the kids are in the bars/they don’t look up at the stars,” sings Dwight. Assembly Now are certainly looking towards the stars and beyond, don’t bet against them reaching them. Text: Marcus Foley Image: Louise Cattell
tags:
| assembly now |
more...
The Brian Jonestown Massacre @The Independent, San Francisco
19/11/2006
THE BRIAN JONESTOWN MASSACRE @ THE INDEPENDENT, SAN FRANCISCO If you’ve heard about the BJM, chances are it’s from the recent independent film ‘DiG!’ – an entertaining documentary following the fortunes of the Brian Jonestown Massacre and the Dandy Warhols starting from the same point but rapidly heading in different directions. Whilst the BJM’s recent UK gigs were often largely filled with curious musical tourists – keen to see lead singer Anton lose control and verbally abuse a band-mate, or kick some unfortunate punter in the head, in their home town of San Francisco it was pleasing to see the band put paid to their negative reputation for a night and play a storming gig to a hugely appreciative and knowledgeable crowd. From the catchy guitar riffs of ‘Servo’ to the beautifully melancholies of ‘Anemone’, the BJM played crowd favourites from beginning to end – from time to time veering off into a knowingly self-indulgent jam session. Though many of the main protagonists may have left – Matt Hollywood, Jeff Davies - it’s clear that Anton could make quality music whoever he worked with. For many people ‘DiG!’ will always be a comic account of what happens when a hugely talented but troubled musician, who cares more about the music than the money, takes far too many drugs for his own good. Get past all that however, and you will find a hugely talented band with a stunning consistently high quality production rate. There’s certainly a lot more to the Brian Jonestown Massacre than meets the eye. Words by TOM WILKINS
tags:
|
more...
Spanky Wilson and the Quantic Soul Orchestra
16/11/2006
Since the release of prolific producer Will 'Quantic' Holland's third solo album 'Mishaps Happening' in 2004, his 'Don't Joke with a Hungry Man' collaboration with acclaimed soul singer Spanky Wilson has become something of a modern funk classic. With this in mind, when a full-length album featuring Wilson recorded under Holland's live guise of the Quantic Soul Orchestra surfaced this year, it hardly came as a surprise. But news of a tour did. Keen to see whether the aging Philadelphian songstress could cut it live, fans packed each and every one of the four London Jazz Café dates for what could certainly have been a once-in-a-lifetime show. The first notable point is that the band members have changed since the last tour. Gone is Limp Twins collaborator, charismatic compere and former frontman-of-sorts Russell Porter. And most obviously, silky-voiced singer Alice Russell, who has since enjoyed solo success, is also absent. But taking their places as the most prevalent personalities on stage is an enigmatic and perhaps overly-enthusiastic character on keys and, of course, Wilson herself, both of whom are worthy of stealing the limelight. Holland stands further back, directing the band with his guitar worn high, beside the drummer, bassist and percussionist, and the horn section who deliver brassy stabs and solos from the far right. The incredible thing about the live incarnation of Quantic Soul Orchestra is the balance between musicianship and, well, fun. When they perform 'You Can't Judge a Book by it's Cover,' the crowd is jumping frantically to a super-quick tempo and Wilson is busy belting out the vocals. The band, too, are bouncing - but their expert musical aptitude is never compromised. Downtempo tracks are just as well received by the Jazz Café masses and when Wilson puts her all into 'That's How it Was,' a woe-filled tune about 2005's deadly Hurricane Katrina, I notice I’m not the only one with a trembling bottom lip, blinking away a teary eye. Picking the pace right back up is a rousing rendition of 'Don't Joke with a Hungry Man' as the encore. The audience is singing loudly and Wilson gives an appreciative smile. It seems fitting that the track which catapulted her back into the hearts and lugholes of the public sphere is the one which ends the show. As the band members leave the stage, the fans scramble for the merchandise stall. An unforgettably impressive evening. Text: Sarah Chapman
tags:
| will | quantic |
more...
Datarock/Shitdisco/Klaxons @ Koko, Camden
13/11/2006
DATAROCK/SHITDISCO/ THE KLAXONS @ KOKO OCTOBER 13TH 2006 Three leaders of the nu-rave movement in one building at the same time. If someone wanted to end the sale of day-glo caps and glowsticks in one easy move then tonight is their chance - the sea of synthetic nylon luminous clothing would make ignition extremely swift but let’s not dwell on the potential terrorist risk at Koko on a Friday night, the music was pretty incendiary too. Norway’s Datarock shuffle on and they look like they could be a band who play anything from death metal to scum punk but the opening chords of a manic 30-minute set prove otherwise; their music sits firmly in retro dance (the theme of the evening) which is something that Datarock are very good at indeed. Cue much glowstick waving, arms in the air and dancing that takes up room for two. Shitdisco, the second band of the evening, started life putting on free parties in a Glasgow tenement so the rather gaudy surroundings of the Camden Palace are a world away from their roots, similarly Camden has probably never seen such a collection of retina-busting outfits. Their new single ‘Reactor Party’ has been one of 2006’s catchiest dance songs of and it draws one of the biggest choruses of whistles and horns of the evening but the rest of their set possibly lacks a few more killer tunes. However, this is balanced by their energy and persistent wave of indie-mixed-with-old-school sound which is fantastically addictive; it almost defies you not to smile. With the regular drummer suffering from a recent arm injury, lucky his sling matches the all-white clothes of the band, a stand-in was employed whilst the regular drummer had to make do with a cowbell and drum stick which was actually quite in keeping with the band’s DIY attitude to having a good time. Other makeshift instruments included the ubiquitous dance party loudhailer and some clue as to how the drummer’s injury was sustained was given when one band member launched himself into an ambitious crowd surf which ended in him being dumped rather painfully. Although its doubtful many of the crowd were out of nappies when the ‘The Bouncer’ was being played in warehouses and fields around the UK they’ve certainly embraced The Klaxons’ version as their own. Along with a cover of the classic ‘Not Over Yet’, these were two highlights of the evening and judging by the presence of The Arctic Monkeys and Mystery Jets at the gig, they may just be onto something bigger than a party in a disused warehouse. Words: BEN H. MURRAY Photos by: MIKE BURNELL
tags:
| datarock |
more...
Amy Winehouse @ Liverpool Carling Academy 2
10/11/2006
"I hate Amy Winehouse." The £12 a throw t-shirts bearing the above slogan, provides as good an introduction to the mindset of the hardy and veracious soul-rider, as the slow climbing jazz/lounge backdrop coupled with life-bearing vocals of opener, 'Know You Now'. This gives Amy the perfect chance to sternly stroke the crowd into submission, with her earthy soul projection and defence mechanism exposing lyrics: "You're just a little boy underneath that hat, You need your nerve to hide your ego - don't come with that You think everything is handed to you free But it’s not that easy." It is already apparent that the promoters have made a faux pas in fitting so many people into a venue with a small viewing area. Too many members of the crowd are staring at a brick wall (probably thinking they are at a Meatloaf gig) or someone's head. Others make full use of the relaxingly rugged sound, turning it into background bar music. The subtle chord changes and tempo waves are largely lost, struggling to make an impact passed the large slabs of wall that separates too many from the main act. The beaming horns and vocal cruise picks up to drown out the sound problems and the pub style banter of Winehouse, makes everyone feel at home. Cries for the rebelliously defiant 'Rehab' punctuate the evening. This number from Amy's rough edged, soul/jazz with rock n' roll attitude offering 'Back To Black', has raised her profile to Jonathan Ross levels. 'I'm No Good' boldly makes no excuses for the much reported behaviour and attitude of the feisty songstress, making for a laidback but feisty mood, stirring an intrigued crowd into some subtle body swaying. The battle against the venue is slowly being turned around in the young Londoner’s favour. A powerful pop jaunt by way of 'Me and Mr Jones', emphasises the departure from the jazzed up sound contained in the powerful 'Frank' album of a few years ago. 'Rehab' provides for a potent r&b, funk/soul ending, to the mood switching and groove styling main set. Irony seekers head over to the merchandise stall, in order to make a bold statement of their own, to the unsuspecting Friday night revellers of Liverpool. Text: Dave Adair
tags:
| amy winehouse |
more...
Gym Class Heroes/Barfly/Camden/September 7th
10/11/2006
GYM CLASS HEROES @ BARFLY, CAMDEN SEPTEMBER 7 TH Voluminous hairstyles and tight jeans. Yes, the broccoli look is well and truly in force tonight. It’s almost like being an 80s throwback, what with classic AOR songs, such as ‘More Than a Feeling’ and ‘Here Comes Your Man’ providing the pre-show backdrop to this sold-out gig. That is, until you realise that Gym Class Heroes sound nothing like classic US AOR. Granted, singer Travis’ commands to raise a pinkie finger…and dance your ass off to the (next) song reveals more than a hint of US-schlock. As does his constant checks to make sure everyone is having a good time. But it’s all done with good humour and the band certainly has a rapport with the (mainly teenage) fans, who’re more than happy to be “down with it”. GCH are here to promote their new album ‘As Cruel As School Children’. While not a radical departure, it is still a feel-good mix of rap-rock and more like a continuation of the previous ‘Papercut Chronicles’. “I have a problem with a certain website, Travis declares. “I call it an addiction…I need help…” Any doubts as to what site Travis is referring to, are dispelled by the MySpace logo displayed on guitarist Disashi’s t-shirt. But all the die-hard fans already knew that – hell, half of them are probably already on the band’s friend list anyway. Other “addictions” injected into the show include “Pill-matic” (“for the kids with tha chemicals”) while “tha sexy ladies” get not one, but two treats in the form of ‘Make Out Club’ and ‘Cupid’s Chokehold’. Returning to the chants of “GCH!” ensures an airing of ‘Snakes On a Plane (Bring It)’, the band’s collaborative foray into motion picture soundtracks. Before too long the night ends on a rather tame note – a far cry from the excited riot at their summer gig. A sign of maturity? Not a chance. Words: Tracey Chin
tags:
| gym class heroes |
more...
The Pipettes/@ Koko/September 29th
10/11/2006
THE PIPETTES @ KOKO, LONDON SEPTEMBER 29 TH Koko was packed to the rafters on this hot and sweaty Friday night, with a mix of old and young and a multitude of polka dot dresses about. The Pipettes had landed and the crowd was raring to go! First up to kick-start proceedings however were the fantastic Hot Puppies, whose frontwoman Becki looked positively gorgeous and confident taking to the stage and belting out tracks from their fantastic debut. The crowd were also treated to a new track from the Puppies, called ‘Somewhere’. The song was a move away from the traditional style of the group and showcased Becki’s amazing vocal range. Soon enough though, the Puppies made way for the Pipttes whose entrance came with drum beats leading in to the familiar sound of ‘Sex’ from their debut. By song two, the girls were well and truly in Pipette mode, with dance routines and boy dissing in full flow. The girls introduced the next track, ‘Really That Bad’ – a song I was unfamiliar with, but followed the girls’ style. The girls admitted that they know a lot of bad bad boys, but from the way these girls come across, I’m sure they can deal with some bad boys. Next up the girls performed the stomping ‘Your Kisses Are Wasted on Me’ assuring those in the packed Koko not to worry about dancing space as all they would need was their fingers... it still didn’t stop those in attendance from jumping about and crashing in to each other. ‘Because it’s not Love’ slowed the pace of the night down, but certainly didn’t stop the girls dancing. ‘I Love You’, my personal favourite despite being just over two minutes long, was performed fantastically with Rose taking to the keyboard to accompany the band. Some new tracks made an appearance during the evening including ‘Baby Don’t Leave Me’ as well as the fantastically titled ‘Who Ran Off With the Milkman’. ‘Burning Ambition’ was another new track, showing evidence of the girls moving forward with their sound and experimenting further with their harmonies. The girls were on form at Koko, evident in the continual dancing and singing along from the sweaty crowd (why is that always the case at Koko?). Despite not being the strongest vocal performance ever, the main thing about seeing the Pipettes live is that you get caught up in them and what they are all about. The girls make fun pop music, and perform it in a most appealing way that you cannot help but dance and sing along. Words: MATTHEW WHITE Photos: DANNY FONTAINE
tags:
| the pipettes |
more...
««
«
1
2
3
4
5
6
»
»»
NEWSLETTER!
Click here and sign up to our weekly newsletter, to get the latest Notion goodness.
Contact Us
Support Us
Music HQ Ltd / Notion
Site Map
Advertise with Us
Website designed and developed by PS Europe Ltd.
