Patrick Wolf @ The Junction, 10/03/09

With no glitter upon my face or hair, I felt somewhat underdressed for seeing Patrick Wolf. Never have I been to a gig where the crowd has been so female-dominated: this wouldn’t bother me if it wasn’t for the fact that most of them were clearly in the sub-18 bracket, so I was feeling decidedly old. The support-act Micachu and The Shapes didn’t help matters: the threesome looked like they had only just reached puberty. In fact, I remarked to my friend that the singer looked like a 15 year-old Bob Dylan: at which point my friend told me that the singer was a she. I spent the next half hour debating this, whilst listening to some pretty bizarre noise rock, which consisted of a battered acoustic guitar with a piece of string for a strap, percussion comprising paint pots, wine bottles and lots (LOTS) of cowbells, some bass-heavy synths and an overdriven electric guitar. Every song seemed to have its own nuance which kept the set interesting, but Mica’s flat, expressionless voice did mar things somewhat. Hey Dylan was never a tip-top singer, but you could never call his vocals dull: learn a lesson Mica!

And then came the main man himself. Initially sporting a wide-shouldered black cloak, this was quickly shed to reveal Wolf dressed up as some kind of human porcupine. He even shed his hair: a ponytail which had on first glance appeared o be quite real was torn off and thrown into the crowd, taken by a guy who seemed a little too grateful.

As he pomped his way through the opening four songs (which included Tristan and three new songs) I found myself thinking of Wolf as the new Adam Ant. But of course, he can’t be pigeonholed nearly so easily. The mid-set wisely lowered the tempo (just as well as I’d been pushed back about six rows by overexcited teenagers) whilst turning up the intensity. Of the numerous new songs put out on trial, Blackdown was the most impressive: an emotional piano ballad which transformed halfway through into a rousing instrumental stomp.

The latter end of the set threw in some old faves: Accident & Emergency was stopped halfway through so that the song could be made “more CBGBs”: out went the drum machines and synths, and in came the electric guitars. It worked much better than you might imagine, however staged it may have been. The main set closed with another newbie and forthcoming single Hard Times: with an almost Iron Maiden-like gallop, it’s possibly the ballsiest-sounding thing Wolf has come up with yet, and another feather to his cap (or whatever else he wants to add to his hair).

The inevitable encore ensued and, after a lengthy costume change, Wolf returned as what could only be described as a metrosexual vulture. Another new song (aptly entitled Vulture) followed, before the night was finished on a crowd-assisted Bloodbeat. It had been a pretty dazzling performance which, along the way, had also incorporated a lectern and a goat skull mask. One of my friends was less enamoured by the performance, feeling that it had catered too much to the teen-boppers in front of him. It was true enough that Wolf had been more showy than when I had seen him two years ago, even by his highly eccentric standards, and perhaps one or two of the new songs (Battle being the main culprit) were a little heavy on fist-pumping and a little low on substance. Nonetheless, much of the new material had impressed, and to use an old footballing cliché, you can only play what’s in front of you. There’s little denying that with his neo-classical electro-pop in combination with his sheer stage presence, Patrick Wolf is in a field of one.

Fleet Foxes @ The Junction 11/11/08

Fleet Foxes played to a sell-out crowd at the Junction on Tuesday night. Their self-titled LP needs little introduction, but any fear that it might translate into anything less than an entrancing live experience was utterly quashed on a night where the band gave about as generous and memorable live set as a band with such a slim discography could possibly give.

It’s unfortunate that I can’t really say the same for the support act J Tillman, who is in fact the Fleet Foxes drummer. The guy’s not short of charisma or humour, but it’s a shame that he couldn’t purvey that in his music: just one man playing fairly sparse acoustic guitar to the same plodding tempo over and over. At least he may have a future career in comedy. Oh yeah, and possibly in Fleet Foxes too.

Fleet Foxes were a marvel. Opening seamlessly with the intro of Sun Giant bleeding into Sun It Rises and a rollicking Ragged Wood, the band instantly portrayed a great understanding of how to provide their songs with enough instrumental, vocal and percussive flourishes to distinguish them from their album counterparts. The sound balance between Robin Pecknold’s acoustic pickings and Skye Skjelset’s sinewy guitar lines was perfect throughout. And then of course there was those vocal harmonies, those wonderful vocal harmonies.

Not that Robin Pecknold is incapable of holding things up by himself. Halfway through the set, the rest of the band left the stage, allowing Pecknold to shine with the stunning Oliver James. Its intricate pickings followed by the way those final vocals seem to hang there forever were a reminder after J Tillman’s deathly dull ramblings of what one man and an acoustic guitar can achieve. A similar sense of awe was achieved during the encore with Tiger Mountain Peasant Song.

When the band rejoined the stage for the main set, Skye Skjelset awkwardly announced a marriage proposal for one lucky(?) member of the audience. It was a night of considerable interaction with the crowd, not all of it good, owing to certain members of the crowd insisting on making idiots of themselves. The band handled it all admirably, however, and not without a fair share of humour. As they closed out the night with a personal fave Blue Ridge Mountains, I took heart from knowing this was just one of many sold-out nights they had played on this tour. That a band that plays music this blissful and distinctive can attract the commercial attention to match the critical acclaim gives me some faith in the human race in general. It’s just a shame that lewd, heckling comments such as “did you f*ck him?” go some way towards erasing that good vibe.

Time to grow up: Black Kids@ the Junction 28/10/08

Before anything else, apologies go to Ladyhawke. Due to other commitments, I ended up stumbling into the gig as Black Kids opened their set, and missed the entire support set. I gathered though from the general murmur of the crowd, that Ladyhawke were pretty good. Possibly better than Black Kids.

Not that Black Kids were especially bad, but just that in spite of all their polish and sheen on record, Black Kids are decidedly rough around the edges live, and not in a good way. The energy was there, right from early highlight Hit The Heartbreaks, but the execution was a little lacking. The biggest culprit was Reggie Youngblood, his tone-deaf yelping at times painful, and even threatening to derail I've Underestimated My Charm before its inspired coda came to the rescue.

The real issue though, is that a band which initially showed so much potential seem to already have hit a wall. Towards the end of last year, the band released the quite fabulous (not to mention free) 4-song EP The Wizard Of Ahhhs, which sounded like the Cure at their happy-clappiest mixed with boy-girl vocals and doo-wop melodies. One successful album later and there's no sense that the band have moved on: tellingly, all four songs were included on Partie Traumatic, as though the band were admitting they were playing their strongest hand right from the off. Over four songs, the formula works a treat, but over the course of an album, or indeed a live set, their glitzy, technicolour indie-pop runs pretty thin pretty quickly. They introduce one song as a ballad, but after about 8 bars, the song reverts to type, pinching the plinky-plonk keyboard from the Cure's Close To Me whilst it's at it. A new song and (supposedly) a Magnetic Fields cover whizz by without making any lasting impression.

The set wasn't without its highpoints: even a lowly one-song encore was sweetened considerably by the bitter-sweet drama of Hurricane Jane, and was probably the best performance of the night, and what the band deliver remains a cut above the exasperatingly dull and generic pap which seems to spawn from our shores. The crowd certainly got into parts of the set, with crowd-surfing aplenty from very early on, but when the band left the stage after Hurricane Jane, there was a general feeling of disillusionment. The band need to find more dimensions, and quickly, if they want to avoid being (an admittedly very colourful) flash in the pan.

Wherever you go Hugo: Urusen @ The Boathouse 01/08

Friday night saw the upcoming Urusen play at the Boathouse. Hotly tipped by the musical press, and shortlisted as one of the twenty bands vying for a Glastonbury '09 slot via the Rockstar '08 competition, they very much warrant the "one to watch" tag. But the night wasn't their's alone, as they were supported by a crop of local acoustic talent.

First off, my apologies to Lonnie Story, who I arrived too late to see. I was, however, fortunate enough to catch Cambridge-based Tallis Anne. If her quiet, fast-spoken words between songs and the occasional bum note suggested a hint of stage nerves then her incredibly powerful, emotive singing voice suggested otherwise, and I hope to see her become a regular on the Cambridge music scene, and maybe beyond. Next up was Peterborough-based Alex Hel and his mischievous guitar Timothy, which caused him no end of grief, as it went in and out of tune at the drop of a hat under his hard, fast playing. To his credit though, the charismatic Alex kept the crowd entertained at all times, and rallied well towards the end to play The Forester's Lament, which was denied from him earlier in the set by Timothy's erratic behaviour.

Finally it was the turn of the headliners. The only full band lineup of the night (although even they were a man down, missing double-bassist Jay Darwish), their rich, full sound captivated throughout. Urusen certainly boast an interesting and unique setup: the twin vocals and acoustic guitars of Ben and Peter interlink effortlessly, Nick adding another layer of sound with his cello, and Kieran providing drums and, later, keyboard. It was impressive to see the host of additional instruments which embellish Urusen's sound, most notably the Charango (imagine a twelve-string guitar in lute form). Each song seemed to have its own interesting background: Hugo ponders what it would be like to travel around with Venezualan president Hugo Chavez, whereas a long introduction to Impossibly revealed it to be the story of an embarrassing two-year teenage crush. The band was rapturously received, and returned for a one-song encore.

A good night of acoustic music at the Boathouse then, and there are plenty more ahead: check out here and http://www.myspace.com/acousticstage for the latest acoustic delights at The Boathouse and other local venues.

The People!!! The People!!! The Music@The Junction 26/06/08

Term-time may be over in Cambridge, but that doesn’t mean the music scene grinds to a halt, and whilst not playing to a packed-out Junction, there was, as the night progressed, a healthy turn-up for The Music. First up though were support act Exit Calm. Heavy on guitar delay and reverb effects, they proved functional, but ultimately felt detached from the audience, never achieving the big, atmospheric sound they were clearly striving for. Lacking any kind of stage presence, the singer uncomfortably mumbled “this is a brilliant song that nobody knows about”, only for the subsequent song to be largely indistinguishable from those preceding it. Sure enough after three or four songs, I was thinking less Exit Calm, and more Exit Stage Left.

Thankfully, the main act were very soon to follow. Although entering the stage in trousers baggy enough to make Madness look twice, with his now shaven head, Robert Harvey from The Music looked less like the Madchester castaway of old, but in many ways, in spite of their Leeds roots, that’s what The Music's sound still resembles: crunching riffs from Second Coming-era Stone Roses, with the shuffling beats and dance influences of the Happy Mondays. Live, however, there’s no denying that their songs, the singles in particular, pack a real clout. They wasted no time, opening with Take The Long Road And Walk It, much to the delight of an enthusiastic crowd, and whilst Exit Calm were devoid of stage presence, Rob had it in bucketloads, deftly dancing with precision timing to the music.

Showcasing material from their new album Strength In Numbers, it was clear that whilst The Music haven’t digressed very far from their initial trajectory, they’ve added a couple of strings to their bow. The fluid bass work of both Drugs and Idle both hinted at a more new-wave direction, the former reminiscent of Blondie’s Heart Of Glass, the latter, along with Human off their first album, showing a subtler but slinkier side of the band which sorely needs to be fleshed out. Other more muscular songs from Strength In Numbers, such as the title track and The Spike were business as usual.

Still, if The Music become stuck in a rut musically, it will all have been worthwhile to have written a song as good as Getaway, saved as the penultimate song of the set, and sending the crowd into a frenzy (one diminutively-sized guy next to us making a particular idiot of himself). Finishing off the night with a wondrous version of Bleed From Within, complemented with an array of additional percussion, the band left the stage in triumph, whilst we were left to trudge into the night rain, smelling, thanks to an over-zealous crowd of Strongbow cider.

The Subways - Live at The Junction June 8th

“I wanna see you go f***ing crazy, Cambridge!” screams topless frontman and guitarist Billy. He strikes a chord and eyes the audience slightly manically. It’s clear he’s pleased to be back on the road.

And The Subways are back, touring in support of their forthcoming album “All or “Nothing.” With several setbacks, including an operation on Billy’s vocal chords, it really seems an all or nothing effort. The title track itself is full of the energy which is so characteristic of The Subways: upbeat, bold rock – simple, in-your-face and above all, fun. It’s a fantastic formula – it’s reflected in the diversity of the age ranges here tonight. Sure the fourteen-year olds are bopping around but the forty-year old men are also giving it their all.

The accessibility of The Subways’ music means that the atmosphere here tonight never falters, despite many not having heard the new material. Current single “Alright” receives a few nods but by the end of new track “I Won’t Let You Down,” the chorus is on everyone’s lips. “Shake! Shake!” is so catchy that it’s frustratingly familiar from the opening bass line to the chorus during which Charlotte lends her vocals, as she does far more regularly on the new record.

It’s been three years since The Subways’ first effort “Young For Eternity”, a fact of which they’re evidently very conscious. “I don’t know if any of you remember it” says Billy. But there’s no need as the crowd goes wild. “I Want To Hear What You’ve Got To Say” invokes a mass crowd sing-along. The hyper kids at the front even attempt to mosh to “Mary,” which is jaunty enough to dance to, but with a chorus that consists of the lyrics “I’m so lonely,” it doesn’t seem to quite warrant full-scale headbanging.

It seems a short while before it’s encore time. With just a guitar, Billy walks onto stage and strums out the beginning of new track “Strawberry Blonde”, before Charlotte and drummer Josh join him for the chorus. Next up, “Girls and Boys”, a rock track with a riff to demolish buildings to, followed by the immensely popular “Rock and Roll Queen.” The crowd are left euphorically chanting the words.

The Subways gave us all the energy they could give. And Cambridge did indeed go crazy for them.