Music

THE PRISCILLAS, 03/05/12 Core Arts Centre

Stewed in a pot that contains Sixties Girl Groups,  Seventies Swedish Pop and Eighties Hair Rock, The Priscillas are the standard bearers for everything that’s dirty and fun about Rock’n’Roll.

Headlining at a Core Arts Centre opening night may not have been the usual style of the raw-pop four piece but they played their hand with downtown cool and lush-glam style.

Lead vocalist Jenny Drag moving like a disjointed spider on stage, squawked out songs like Lucy’s Gone and Oh Keiko as if Joan Jett had met Tammy Wynette.  Guitarist Guri, dressed as a Punk-Rock cowgirl. increased the rustic feel.

It wasn’t all about image.  While the show was well drilled, the band played some great songs. The woo-hoo laden timing and fan favourite All My Friends Are Zombies were offered with humour and harmonies and All The Way to Holloway brought NYC right to N7.

The crowd may not have been fans of the band at the start, but certainly were at the end.The Priscillas owned their collective soul.

DREAMS DIVIDE, GNA @ The Electrowerkz

Reviewed by Danai Molacha 5/5/12

Sonic Attack

A rainy Saturday was ideal for a marathon electro-industrial night. Four bands alternated black eyeliner with menacing masks and quirky outfits.

Then came the Slimelight after-party.Ghost in the Static opened up theatrically, enhancing their electro-industrial mix with Goth looks inspired by The Crow.

 Solo Null White combined futuristic electronics with keyboards.  Luckily he wasnt deterred by persisting technical problems.

Bad sound got in the way of Global Noise Attacks Goth extrravaganza. But nothing could stop them..

Exhibitionist Brian Stewart then led the band through industrial GNA classics, like Shapeshifter, Memories and Desperate Culture.

The frontman wandered around, physically engaging the crowd in the performance, while the bass and the guitar kept up with the dynamic on-stage attack.

Suddenly, spirited Mexican music took over and a colourful Piñata – a papier-mâché donkey, full of sweets - got smashed over our heads. A spectacular close to the show.

Headliners Dreams Divide had a tough act to follow; and they were definitely less eye-catching. But their uplifting energy and melodic electro beats, like Complex and Faces, filled the dance floor.

WE SPOKE NEW MUSIC at Kings Place

Reviewed by Danai Molocha 16/04/12

Challenging Limits

These performances are not for the lazy. They probably won’t make you dance, but could challenge your critical thinking.

Christian Kesten’s compostiion Zunge Losen,  lacked the suspense it promised. The piece was actually three men sticking their tongues out and making a few sounds, in combination with loud breathing. You had to be there to really get it.

 The show slightly picked up in rhythm with John Lelys piece Distance Learning,which dealt with the performers physical limits. To make their point, they used sticks to create obsessive, indistinct sounds on a self-made installation.

However, Living Room Music, by the pioneer John Cage, fully displayed the musicians capabilities.  Using random objects, such as an espresso maker, plastic bowls and glass vases, they recited, drummed and improvised with an uplifting creative energy.

Serge Vuilles Noisy Interval, full of pre-recorded clapping, was used to counterbalance the shows lengthy silences. The last piece, Jacques Demierres Une Table Pour Trois, translates to A Table For Three.  It was a funny, abstract piece toying with the performers reactions and dynamics. They sat around a table clapping, drumming and, unpredictably, even taking their pants down!

The most refreshing aspect about We Spokes sonic performances is the cleverness with which they interweave sophistication and humour.  Their conceptual choices are sometimes difficult to grasp, but they did warm up and stimulate their audience.

GILAD ATZMON at the Vortex

Jazz East to West

A gig by Gilad Atzmon one of Britains most adventurous saxophonists is always unpredictable.  “We haven’t a clue what we’re playing tonight” he announced before delivering one of his jazziest gigs to date.

Injecting his unpredictable performance with jokes and politically charged comments, the Israeli-born Atzmon sharpened our musical instincts, as well as our minds.  His blend of experimental bop and world rhythms created a freewheeling jazz context for the band to improvise in.

 The sonic landscape, broadened by the presence of guest player Alekos K. Vretos, joined the foursome in covers like the famous Misirlou.  This characteristic Greek tune, used in the opening credits of Pulp Fiction, helped connect tradition with the avant garde.

Whether playing the sax, the clarinet, or just scat singing, Atzmons delivery is chilling. By the end of this “festival of multi-talentless people from all over the world”, nothing was more apparent than his versatility, charisma and unifying music powers.

FIELD MUSIC – Rough Trade East 29/03/12

Reviewed by Steven Ellis..DJ on Reel Rebel Radio (Monday Social)

Field Music have been creating their own little Sunderland scene for a good few years now. Favourites of both NME and UNCUT, their unique brand of college rock seems to please the posers and musos alike.

Celebrating the launch of their new album Plumb, they treat us to an intimate in-store slot at Rough Trade East.  Bandleaders and joint vocalists Peter and David Brewis couldn’t resist switching intermittently from guitar to drums.

Their latest offering, removes the group from the current indie formula and delivers a fresh slice of new wave riffage with smart lyrics. The opening number.. I Keep Thinking About A New Thing...dished upa big sound and crisp falsetto, while.. Lets Write A Book.. doffed a dirty nod to 1980’s Yes or Hot Space-era Queen.

The tunes are pleasing to the ear and often have two or three knownsongs mixed into their structure. By accident or design, it’s to good effect.Choosing Sides, Them That Do were clear highlights of the set and Just Like Everybody Else dispelled the myth that lush harmonies are redundant.

If you don’t know Field Music, they could become your favourite band.

DR. BLUE & THE PRESCRIPTION at Off Broadway 24/3/12

HERMAN DUNE at Rough Trade East

Reviewed by Jack Moody 22/10/11

Great Moosic

Herman Dune hit Rough Trade East record shop for a lunch time gig in support of their latest studio album Strange Moosic.

The core duo of lead singer / guitarist Yaya  and drummer Cosmic Néman were complimented by bassist Ben Pleng for this live show; the French three piece showing confident musicianship,  developed over years of consistent touring.

The set consisted mainly of songs from their latest release – ‘Be a Doll and Take My Heart’, ‘Monument Park’ and ‘Strange Moosic’ drew warm applause in the intimate setting. The biggest reaction from the crowd came when front man Yaya performed a solo ‘My Home Is Nowhere Without You’ from the New Year in Zion album. In between songs, Yaya made repeated reference to the record shop setting and took the inadvertent opportunity to recommend albums by Jeffrey Lewis, Schwervon and Bruce Springsteen.

The band have come a long way from their ‘Antifolk’ roots and the tracks played from Strange Moosic highlighted this more polished and amplified approach.

Herman Dune is a rare pleasure these days, a band truly hitting their stride ten albums in.

AISHA ORAZBAYEVA at The Star of Kings

Reviewed by Danai Molocha 20/10/11

Fiddler in the basement

A typically eclectic musical evening, organized by Nonclassical label, opened with electronic sounds by DJ Richard Lannoy.

Swiss percussionist Serge Vuille soon silenced all chatter with whimsical pieces by Donatoni and Cage, for vibraphone and snare drum respectively.  Ripping off pieces of tape from a drum membrane couldn't help but draw attention; but it was performed with a faultless sense of timing, and fit perfectly into his harmonious puzzle.

Standing alone in front of the Star of Kings basement's bare brick walls, violinist Aisha Orazbayeva impressively mastered pieces by Feldman and Donatoni,  blending idiosyncratic intensity and esoteric beauty. Her debut album Outside, which was being celebrated this night, was movingly represented by a Russian acappella song. And for the grand finale violinist Eloisa Fleur Thom joined her in a Bartok violin duet, rich in sonic colour and melodic tones.

As always with Nonclassical events, the atmosphere was decisively laid back, but full of adventurous, thought-provoking sounds.

PEGGY SUE at Rough Trade East

Hail to the Acrobats

Just a day after the release of their sophomore effort, ‘Acrobats’, Peggy Sue , (a trio), visited Rough Trade for a face to face presentation.

Calmer than usual, befitting the intimate surroundings of the record shop, half the crowd sat cross-legged in front of the stage, attentively listening to Peggy Sue's intriguing Post-Folk stories.  A big part of the band's strength lies in the beautiful double vocals by Rosa and Katy, a rather dark, sensual and emotive blend that makes your spine tinkle. Then joined by Olly, the masterful drummer, a talented string sectionand the occasional bassist.

New songs like 'Shadows' crossed paths with older melodies, ‘Read It In The Paper’, interspersed with spontaneous pans that eliminated the distance between audience and stage. The band's goodbye comprised of a surprise medley, that peaked with an impressive triple drumming.

Peggy Sue’s a name that at first evokes something fragile; but this band definitely knows how to bang that drum – both literally and metaphorically.

LEXI JAMES JR and ANDY SECRETT Lemon Monkey 02/09/'11

Reviewed by Danai Molocha

From Punk to Spank

In a lively Stoke Newington café, a small corner was packed with sonic paraphernalia for the Friday night show.
Andy Secrett came straight from the North with just a guitar and friend on the bongo. An unusual combination, which at first glance prepared us for something Ethnic or Folky; but Andy is a soulful songwriter with a weak spot for Nirvana and Smashing Pumpkins. His cover of the latter's Ava Adore was seamlessly woven with electric guitar dynamics and the underlying melancholy of his own songs. As for the bongo, it magically intensified the rhythm and depth of an otherwise typically alternative rock set.
Ms Lexi James Jr misleadingly declared Shattered at the very start; in truth, she was pure in-your-face energy. Brash and sassy with her punky platinum Mohawk and unabashed lyrics, magnetising most people around her.
However her stage persona was just too strong for this venue. The  rhythms dedicated to her big sister were extra sweetness and funk; something it would be good to hear more of.

BLAKMAGIKSOCIETY and HOTGOTHIC at Ryans Bar13/08/11

Reviewed by Danai Molocha

Hot punk society

A full moon on an August Friday night should get the wild side out; all the more likely at a Ryan’s Bar Punk special.

The basement was still calm when one-man band,  Duck & Weave came out with his guitar. He warmed up the room with a series of riot jokes and Acoustic Punk noise, occasionally reminiscent of Brit troubadour Patrick Fitzgerald.

Then BlakMagiKSociety got on stage and people swarmed 'round.   A trio with guitars, percussion and an i-phone kept up the beat.  Instantly heating up the air with a mix of Soul Punk, Psychedelic Garage tunes and a couple of rather romantic Doo-Wop chants.

Hotgothic, on the other hand, were stripped of all romanticism focusing on upbeat tunes, a sound-defining bass and a lot of bad language. They could've just as easily been found in a Berlin basement opening for Electropunk bands like Lesbians On Ecstasy.

Maybe only a few of us were left there near the end,  but we were all singing along and dancing.

SZJERDENE AND OFFICAL BURNT TOAST at Favela Chic

Reviewed by Danai Molocha 02/08/11

Pop poetics

There's always promise in one of DJ Nick Luscombe's Flomotion events – a name that stands both for his long-running radio show and his successful live and club nights. The music menu for this evening was tastes of Soulful Pop and Alt Hip Hop, with a selection of Jazz spice.

East London singer Szjerdene's voice and presence are imposing from the start. A modern day Pop muse in a long beige dress, balancing maturity and sweet eroticism all in one go.  With influences from her childhood obsession, Mariah Carey, blended with the classic vocals of Sarah Vaughan, it lingers between R & B and contemplative Jazz.

Less people hang around to welcome Official Burnt Toast. MC Adrian Lawrence and his band complemented Szjerdene's sensual chant with spoken word from the streets. Sinister Hip Hop rhythms criss-crossed with poetic narrative, painting the night with a sophisticated underground vibe- admittedly less becoming to a lightheaded Tuesday night audience.

The two bands formed a Pop style yin and yang: Contradictory, but fresh and smart in style.

WOLF GANG at Rough Trade East

Reviewed by Danai Molocha 26/07/11

Heady faults

Max McElligott and his band, Wolf Gang crammed the tiny stage with keys, drums and guitars facing a full Rough Trade store. Their fans had been lining up outside early on, as the all-fresh release of their debut Suego Faults filled the air with anticipation.

The band surprised us. Trading their usual cocktail of upbeat Indie Synth Pop,for some romantic, sophisticated balladry. A wise decision, probably, after an electricity-charged night at Camden's Barfly, that left McElligott admittedly “hungover”.

His charmingly inebriated state made him lose a word or two but this suited the band's melodic sensibility, beautifully. Abandoning their usualsupply of danceable rhythms, Wolf Gang favourites such as The King And All of His Man and Lions In Cages, sounded strong in their low key purity.A special bonus - Singer/songwriter Kyla la Grange lent the boys her deeply felt female vocals to accompany Dancing With The Devil.

It was a mini showcase of Suego Faults valuable pop assets and proof enough that Wolf Gang don't limit themselves to a bunch of radio friendly anthems.

LONDON BABYLON at Mascara Bar

Reviewed by Danai Molocha 22/07/11

Music and other love potions

In the cabaret style ambiance of Mascara Bar there didn't seem to be a place for a nutty rock band. But as heavy red curtains opened at the far end, the first guitar strums could be heard. And two Spanish guys could be seen restlessly cavorting around the miniature stage.

Their accompanying  sound track “weird tunes from all pop eras" dominated. There was definite character in their playlist, though: a sexy '60s Rock'n'Roll feel, that songs like Love Potion Number 9 and Shape of Things to Come eloquently sum it up. The chatty Front Man introduced every tune with cheeky punch lines making the small crowd opposite him part of the London Babylon game.

The band could very well make a retro beat scene from the next sequel of Kill Bill, but they still have a long way to go. There's good music taste and energy in their show, but they're too hyperactive for their own good and at times chaotic; nothing they can't fix with a bit of focus and practice.

UNKNOWN MORTAL ORCHESTRA at Rough Trade East

Mortal Sonic Combat

There’s a buzz around Ruban Nielson's Unknown Mortal Orchestra, thanks to a couple of catchy tunes that streamed online months before their recent eponymous debut. Songs like Ffunny Friends and How Can U Luv Me have an undoubtedly playful retro charm favoured by blog circuits.

Competing with the late afternoon shoppers at Rough Trade East, the band had a hard time getting any attention. Nielson came straight out and invited everybody to come closer, as the Psych Rock mysteries of their '60s-infected debut started to unfold.

People eventually built a warm fan base by the stage but, somehow, the pop hooks that gained this Unknown US orchestra its' cross-Atlantic reputation, weren't that arresting live. It was Nielson's powerful krautrock outburst, near the end, that filled the show with the uplifting energy that made it memorable.

Ruban often evokes rock veterans like Captain Beefheart but maybe the time and place didn't quite inspire the band to fully deploy his sonic techniques. UMO could probably take a few lessons on how to translate their idiosyncratic twists and turns on stage.

DOCTOR BLUE & THE PRESCRIPTION and MEG CAVANAUGH at Ryans Bar 8/7/11

The Blues Musketeers

The weather was whimsical outside, but it was all warm in the Ryans Bar basement.
Meg Cavanaugh and her guitar, with a little help from Doctor Blue's bassist and guitarist, got up on stage to face only a handful of attendees; but she wasn't the one to shy away. Her selection of Roots Rock ballads and a voice alternating from raspy to sweet soon found a bunch of new fans. Reminiscent at times of Sheryl Crow or Norah Jones, the American singer/songwriter warmed up the “cosy basement” (or “sleazy dive”, as a fan teased her!) with babbly introductions and originals from her CD The Musketeers Handbook.
She has become the occasional fourth Musketeer to the Doctor Blue & The Prescription three.   They took over and raised the temperature with a series of electric Rhythm 'n' Blues. Muddy Waters classics, such as “Mannish Boy” and “Got My Mojo Working”, along with a Chicago-Texas mix and tons of the typical Blues harp sound fired the place up.
Maybe it was the band's colourful shirts, or simply the loud, hot music, but whether we were in London or Mississippi, you couldn't really tell!

NEIL COWLEY TRIO & POLAR BEAR at Village Underground

Reviewed by Danai Molocha 21/6/11

Spitalfields Music Crash

Two bands similar in philosophy but different in attitude joined the Village Underground stage, courtesy of the Spitafields Summer Music Festival.

As an extrovert and experimentalist, pianist Neil Cowley showed himself to be a unique entertainer. Meddling catchy extracts from his third album, Radio Silence and tunes that wittily “may be called Spitafields Road Crash”, he gave a sweeping rollercoaster performance. His whimsical piano dynamics met with an equally playful double bass and drums in a show that, much to the audience's delight, remained unpredictable throughout.

Embracing the more esoteric and idiosyncratic aspect of jazz, Polar Bear managed to successfully juggle a plethora of sounds: Two saxophones, drums, guitar, double bass, laptop and the odd... balloon interweaved their unusual noises and melodies, each adding a piece to the band's adventurous music puzzle.

From Cowley's comic flair and unbeatable energy to the Bear's mystical film noir atmospheres, the night covered a sonic palette full of colour – and, above all, exceptional British talent, much to Spitafields Music credits. Be sure to catch them live - wherever you are.

SKA & REGGAE IN STOKE NEWINGTON

Reviewed by Raphaelle Schwarzberg 14/6/11

Photo by David Green

In the 1960s, Ska, Rocksteady and Reggae gushed out of the working-class ghettos of the Jamaican capital, Kingston. Their characteristic and revolutionary off-beat rhythms rippled as far as the Caribbean community in Hackney and Newton’s Dunbar’s infamous FourAces Club.

On the last night of this year’s much loved Stoke Newington Literary Festival, local Reggae and Ska celebs shared the stage for a reminiscent chat.  Noting that “Music had come full circle” Dave Kelly encouraged a polite atmosphere with little cross fire.

An audience in awe, listened at a distance to Newton’s memories of nights with Desmond
Dekker, Prince Buster, Bob Marley, and Bob Dylan (who managed aone-off visit). Some of us turned green with envy.  His club had drawn artists from all backgrounds. “I was white and a girl but they sort of
accepted us and we never had any bother” recalled Slits guitarist,Viv Albertine.

Homegrown Performance Poet and Reggae fanatic Tim Wells injected a sprinkling of humourous poems alluding to either Reggae or Dj’s!.

We heard from second-generation Reggae fan Colin Grant, author of his recent, much acclaimed book about  The Wailers. And Tim Burrows, music journalist who indulged us in a vibrant description of the Phoebe nightclub.

But as the anecdotes accumulated, people wanted to get on theirfeet and swing their hips. Without musical interludes or screening of documentary footage and a scrapped Q&A, the impetus died down.

Ska was hardly given a thought.  As was the larger political and social significance of the music, in voicing the struggles and ideals of the youth then,  in Jamaica and here.

DJ Mistah Brown took to the turntable, most went home and a few lingerers ambled down to The Drop to see Viv play some numbers and dance to a Reggae(Ska?) selection from DJ Tim..

Next year we could have a ball..

But don't miss the screening of Winston  Legacy In the Dust:the Four Aces Storyat Ande De Bridge on 19th June...(see Listing).  And if you want to take up where the Four Aces left off,  Nathan and others are recreating a bit of it at Ande De Bridge..watch the LAYL listing for future gigs.

JUKEBOX FURY at Stoke Newington Town Hall 5/6/11

Reviewed by Danai Molocha

The music that opened minds

Four of Britain's most accomplished and adventurous music writers were invited by Stoke Newington Literary Festival to present their choice of the most inspirational andground breaking songs of past decades

Enigmatically refereed by Stoke Newington Librarian and past life, ex Buzzcocks-manager, Richard Boon on his Desert Island chair,  beckoned his wife to play the grammy from the Gods and cast the deciding vote of HIT or MISS.

Who's My Generation, (Charles Shaar Murray ) was an undoubted HIT! And  despite it's psyched up rhythm,  reminded him of Dylan's Times They Are A-Changing.A rather awkward speaker, Simon Reynolds went for Sex Pistols-Bodies, and spoke of Punk's “evil” and its' infinite vocab of 'bad words.'
Paul Morley felt it had made him "want to go and immediately and cut his hair”!  He then chose - Buzzcocks' Boredom – then voted it a... MISS!  A great example of “how a band's deficiencies can be a fantastic thing”,  (Simon).

Final strike, Lucy's Planet Claire. She loved how the B 52s embraced “the fluorescent side of punk”.

Despite the buzzing guitar riffs, the provocative lyrics and edgy pop attitude, Jukebox Fury failed to connect with its' audience. We wanted to see more witty interaction between the panel and hear more music! And why couldn't we have HIT/MISS cards to choose too??  They did give us food for thought.  Punk opened up minds. But what about the legacy of music press branding?

SPANNER JAZ PUNKS at ROUND MIDNIGHT

Anarcho-Gallic madness

From the moment the septet crammed into Round Midnight's mini stage you could tell something intriguing was going to happen. The band's fashions – Trilby hats, black and white check designs, orange boots, stripy flip-flops – were pretty telling. Especially considering the multiple influences and diverse origins of the music that was about to follow.

A theatrical figure reminiscent of Tiger Lillies' Martyn Jacques and Ian Dury, Dan Spanner led the band in sounds that colourfully blended Jazz, Ska, Balkan beats, Blues and Hip Hop, but also dancing, circus and Vaudeville.Upbeat original rhythms like Sunday Arak (sang in French) and Punk Jazz Spanner met with covers such as Tom Waits' Raindogs. Hollow Man captured attention with a symphony of spooky voices, while instrumentals like Medicine showed off the band's strong horn section.

The septet had a few dedicated followers that formed quirky dances with every new sonic cocktail. To others, though, the changes in rhythm and style were baffling. All things considered, the band's signature eclecticism can add some flair to the show; but it's mostly in the traditional sounds of the horns where their true talent and the best part of their performance lies.

THE FALLEN HEROES at The Kings head 28/5/11

Reviewed by Danai Molocha

Baby, shake it!

When The Fallen Heroes play they mean business. That's music in motion – from the front man Ben Martyn grabbing the most stylish girl in the audience for a dance, to the drummer Emile Martyn (who started the band) doing the rounds rhythmically and  banging his baguettes on any possible surface.

The two brothers brought back their heady Bourbon St spirit when they moved home from New Orleans.  Freshening up their Jazzy-Bluesy-Boogie Woogie Southern sound with new material and giving more of an edge to this modern London band. Playing a great lively mix,  they jazzed up the King's Head and Upper Street passers-by.  Some even popped in to join the crazy dancing crowd.

Covers like Jerry Lee Lewis' Whole Lotta Shakin' Goin' On and The Ronettes' Be My Baby were given a stomping facelift, with the horn and the keys adding a rich colour to their hit mix.  It's all rhythm and romance with The Fallen Heroes –, in the end you gotta shake it!

LES EFFRONTES at The King's Head

Reviewed by Danai Molocha 22/5/11

Jazz a la francaise

The music of Les Effrontes (cheeky ones in French!) is accordingly saucy and romantic, witty and playful, balancing the right amounts of relaxing and entertaining melodies on a breezy Sunday night..

Injecting swinging Jazz rhythms into the classic French Chanson of Edith Piaf and Jacques Brel, the five Effrontes launched on a journey in time, from the centre of Islington straight to the heart of Paris. They had prepared a naughty bunch of tunes for us workers in denial of the pending Monday morning blues.  From Pink Martini's Je Ne Veux Pas Travailler (“I Don't Want To Work”) to Tom Wait's Temptation, via Joe Dassin's Champs Elysees and, naturally, Edith Piaf's Je Ne Regrette Rien.

Compared to the band's joyful rhythmical accompaniment, French/American vocalist Tiffany Schellenberg was a relatively low key presence as front-woman. But her smoky voice fully unravelled at the risky high notes, alternating in the lead role with Ian Bailey's cheery saxophone.

Les Effrontes are out there touring London pubs. Climb on board for their next nostalgic adventure. (watch the listing for more...) Oh la la..

JIMMY C & THE BLUES DRAGONS at Round Midnight

The blues can hardly get more cheerful than when in the hands of Jimmy C;

Slowly warming up the pub with songs from his latest album – a collection of electric, highly energetic blues with a bit of heart felt rock – Jimmy C and his dedicated band started cruising down rock 'n' blues memory lane:  Jimi Hendrix, The Rolling Stones, James Brown, Chuck Berry and John Lee Hooker mingled with Chicago blues in a dynamic set that tuned the crowd into a massive sing-along. Then more of Jimmy's truly dexterous guitar tricks, followed by the solo walk of the saxophonist's amongst the swaying fans.

There's no doubt this band could get many more fans – and much bigger rooms – hot into their “Crossroads Boogie”.  But rocking and swinging in the intimacy of a small Islington pub was clearly unbeatable.

LUCKY STRIKES at Core Arts

Music-go-lucky...Reviewed by Danai Molocha 6/4/11

The party started early on Friday night at Core, with live bands (such as Hackney-bred folkies Troubadour Rose) gradually warming up the spacious room for the evening's headliners, The Lucky Strikes. Their new album Gabriel Forgive My 22 Sins, gave us good enough reason for celebration.

Interweaving traditional folk sounds from their native fish village Leigh-on-Sea and classic Blues/Rock/Americana influences, from Leadbelly to Neil Young, The Lucky Strikes' music switched from the emotive power of a protest song to the pure fun of a local shindig.  The band's heroes were, without a doubt, spiritually and musically present.

Despite the temporary absence of their fifth member (Wild Jim Wilson in the fiddle and the banjo), Mat Boulter's strong timber and Dave Giles passionate guitar, keys and accordion combined with Paul Ambrose's bass and Will Bray's drums, brought their rich, uplifting collection of old and new songs into full effect. A lot of the songs were an early preview of their next album.  

Judging from these songs, The Lucky Strikes have a good few years – and more live parties – lined up ahead of them.

BAND OF HOLY JOY at St. Pancras Old Church 28/4/11

Romantic Punklore - Reviewed by Danai Molocha

The Band of Holy Joy – what a delightful enigma! Now reaching their third decade, they continue to form one of the most intriguing, yet underestimated Indie Folk bands that have ever come out of Britain.

The haunting projections by film maker Inga Tillere welcomed the quintet on stage (or should I say altar?) with their combination of vocals, guitar, bass, drums and electric fiddle (the latter being especially characteristic of the band's sound), against a crowd of long-time initially timid fans, potentially intoxicated mates and jolly toddlers - all of which eventually joined their majestic dance.

The full-on dramatic energy was soon followed by lyrically eloquent ballads, surprisingly reminiscent of the impending darkness that prevails in cult bands like Current 93. 

Frontman Johnny Brown's passionate delivery went hand-in-hand with Chris Brierley's electric violin, bringing to light their new single “Oh What A Thing This Heart Of Man”.  Radically romantic “Punklore”, “I Dreamt That The City Was On Fire”, “Evening World Holiday Show”, “Fredda Cunningham” were also there.

Having resisted both Punk's sarcastic anger and Folk's easily digested poetic Soul, they have coalesced into eclectic musicianship and politically charged lyricism.  Which has left them in a place of their own – and it's as good as it gets.

THE BONFIRE BAND at The Coach and Horses

Reviewed by Brian Moran 14/4/11

The sound of The Bonfire Band is a comforting one if nothing else.   Having heard them at various venues throughout North London over the last few years, it’s a sound that’s both easy to listen to and very welcoming to come back to.

This is a band that can entertain. Shifting between homespun New Orleans blues and country to more upbeat rockabilly with walking bass lines, you can’t help but foot-tap and hum along. Or spontaneously join in on the spoons, as one punter did.

On this night they had a 3 person lineup, a pared back version of the full group, with semi acoustic guitars, harmonica, banjo, double bass, and drums (brushes) and close-knit 2 and 3 part harmonies.  Their songs, carefully crafted and rich in heritage with often beautiful uplifting musicianship that betrays the darker lyrical themes of love lost, suicide and death.

In a London live music scene bulging with bands looking to distinguish themselves and their sounds in increasingly desperate and idiosyncratic ways, describing The Bonfire Band as easy to listen to almost sounds like it’s paying them a disservice. Yet it’s this ease of listening, this understated quality that lures you in, and once you’re hooked can begin to properly understand what sets this band apart.

http://www.thebonfireband.co.uk/