Goodluck Jonathan – ‘This Is Our Way Out’

Goodluck Jonathan - Broken Heart from Cannonball PR on Vimeo.

Band names. Tricky buggers. Get it right and it just seems to capture what you’re all about. Fame and fortune follows effortlessly (sometimes). Get it wrong and, well, it’s back to the call centre with you. Trading under the unlikely moniker of Goodluck Jonathan (that’s the name of the current Nigerian Prime Minister right? Whatever next, The David Cameron Experience?) this lot are the latest in a long line of twitchy indie bands with a bit of a crush on Foals, Editors and, more recently, These New Puritans (now that’s a suitably pretentious band name n’est ce pas?). If that sounds dismissive it’s not meant to be. As influences go I’d far rather hear this sort of stuff than lumpy lad rock, sappy pop rap or the latest evacuation from Cowell’s bowels any day.

‘This is Our Way Out’ appears to be the first in a series of three EP’s from the band and it opens encouragingly with ‘Bruises Disappear’ a broodingly intense slab of math rock that really bursts into life in the chorus, setting the template for much of what’s to come. ‘Stranded’ is, musically at least, the lightest track on offer here, with more of an Editors-ish feel to it. Next there’s the undisputed star of the show, ‘Broken Heart’ (you can watch the video above you lucky people). Again there’s plenty of that angsty stuff going on, but when it kicks off...well it really kicks off. I’ve not seen them live yet but I’m guessing this is one of their BIG numbers (you know, the one where all the kids stop just nodding their heads and start leaping about like loons). The pounding drums and quiet/loud/quiet song structure seems to capture Goodluck Jonathan’s strengths the best (NME has called them math rock n’roll...but then again NME is a steaming pile of horse turd these days), giving their singer the chance to well and truly let rip in the chorus. The EP finishes off with ‘Light Burn My Eyes’. By now you know what to expect and it doesn’t disappoint. After a good few listens the EP’s catchier moments have seeped into my brain and if they can sound this powerful in a live show they might not need too much luck after all...

Goodluck Jonathan’s ‘This Is Our Way Out’ EP is out on 13th September 2010 on Something / Nothing

Moseley Folk Festival – Day Three, Sunday 5th September 2010

Day the third. The scrumpy cider’s now burnt a small hole in my intestines but I’m still standing. We arrived at the unholy hour of 11am for one reason and one reason only. Sam Walter. I and others have been knocked sideways by this chap on his previous appearances. I saw him on the first day of the festival sitting in a bush singing to himself as the crowds wandered passed. I didn’t. I couldn’t. I was rooted to the spot. As a gig fanatic you’re always on the lookout for something different. This gets harder and harder the more bands or artists that you encounter. But Sam’s special. His basic USP is that he sings (mainly traditional) songs, unaccompanied. So what I hear you say, there are thousands of singers who do that. True. But Sam’s voice, the passion he injects into every single syllable and his choice of material is nothing short of spine tingling. Take ‘Brave Benbow’ for instance, a striking tale of a sailor who loses his legs. The thing is, it’s not like he’s singing about someone who’s been dead since 1789, it’s like the guy’s still with us...and Sam knows him personally. Shut your eyes and listen and you’re whisked back a couple of hundred years in an instant. I’ve seen thousands of singers over the past twenty years or so and Sam’s ability to take you somewhere else is truly exceptional. Within the same line he can sound like a virginal choirboy and an old sea salt (like a singing Brian Blessed Lady B called him). It was a simply stunning performance and, despite the rain trickling down my back (yep, it was piddling it down), arguably the highlight of the weekend. Intriguingly Sam’s now writing new material that he sings in the same style. Take a listen to ‘What An Age to Be a Young Man’ and you’ll hear what I mean. A true original. The fact that his was the only CD I bought all weekend (and you know how tight I am) speaks volumes.

Sheltering from the downpour for a while (unlike these brave/mad souls) the next few acts passed by pleasantly enough, but it took Martin Simpson to really pull me back in with a fine set of covers old and new, as well as some beautifully crafted self penned tunes. His tribute to his dad, ‘Never Any Good’ wins the award for song most likely to get me blubbing this weekend.

Next up I caught local ladies Little Sister who, in a set that embraced everything from bluegrass to Celtic folk, sang a delightful little ditty about Ashby De La Zouch which sounded like Stereolab go folk. It makes me want to move there just so I could have this track as my theme tune. Altogether now...”Ashby De la Zooooouch...Ashby De La Zooooouch”. Cool.

Barely pausing for breath it was over to the main stage again for yet another legendary performance (seriously, these shows are phenomenal) by The Destroyers. Trying to describe them is a pretty impossible task (‘Russian gypsy folk jazz theatre’ is the closest I ever get). So I’ll take the cowards option. Here’s a video:



Of course that doesn’t really come close to the excitement of one of their live shows. This is one band that MUST be experienced live. CD’s, videos, photos...they’re all just a pale reflection of the real thing. But that’s part of the magic. You can’t capture some things. Like Professor Zurinak (the subject of one of their best songs) this is a band that simply screams “I AM ALIVE!”.

John Renbourn provided the perfect Sunday afternoon soundtrack with some nicely understated finger picking. He’s one of those special folk dudes who just makes it all look soooo easy. Then things went all instrumental, kicking off with Urban Folk Quartet, a new name on me but a virtuoso fusion performance taking inspirations from Spain and the Middle East as well as UK folk traditions. An unexpectedly groovy treat culminating in the ceilidh rave ‘The Super Offbeat Return’. Yep, ceilidh rave...you heard it here first. Continuing the instrumental theme, albeit of the more traditional variety, were Lunasa, fine purveyors of all manner of lively jigs and reels. The band’s leader had that delightful Irish charm, wit and way with words that you just can’t beat, at one point describing a Frenchman who’d had a pint in practically every pub in Ireland in his quest to discover traditional tunes as being ‘as sick as a small hospital’. It tickled me, as did their set which got my right leg twitching like mad. Damn that Riverdance.

Still with me? Good. Up next Rainbow Chasers, fronted by none other than Ashley Hutchings who, amongst his other achievements helped to found Fairport Convention, Steeleye Span and The Albion Band. Not bad eh? Now here he is at the grand young age of 65 with a band of up and coming musicians still driving forward the English folk scene. Pick of the set (and well worth digging out) was ‘Stanley’s Wake’, a simple but emotive tale of the sale of one man’s farm as cheap imports and supermarket cartels destroy what was one of this country’s greatest treasures. Oh...the acapella track they did, ‘The River’was pretty stunning too. Four voices in perfect harmony, Ashley’s rich time worn vocal acting as a moving counterpoint to the other band members’ fresher tones.

I’m sure the last time I saw The Unthanks they did a lot more clog dancing. That’s what I loved about them. You don’t often see much clog dancing these days. Tonight there was only a little bit. More clog dancing, that’s what I say. They did give us a few stompalong classics though, notably ‘When The Tide Comes In’, which gave me my clog fix for another year. Ahhhhh...that’s better.


Right. After securing one of the festival’s legendary £1 pints (they sell off any remaining real ale just before the end for a mere £1 a pint...dangerous) and squeezing near the front it was time for headliners The Ukulele Orchestra of Great Britain. In a ‘doing exactly what it says on the tin’ fashion they’re a band of Uke players who cover all manner of classic pop tracks...tongues firmly in cheeks. Like Ade Edmondson’s Bad Shepherds last year it sounds like a dreadful idea that would get on your tits after a couple of numbers but, and maybe the cider / real ale helped, it was just bloody great fun. Take a look at some of the covers they Uked up, ‘Psycho Killer’, ‘Life On Mars’, ‘Pinball Wizard’, ‘The Theme from Shaft’, ‘Anarchy in the UK’...Teenage Dirtbag (which enjoyed the biggest singalong of the festival for some reason), all delivered with a kind of deadpan reverence. Amazingly they’re celebrating their 25th anniversary this year. Fittingly, on a day that started off with a real original, it ended with a group that’s equally Uke-nique. Oh come on... I had to get a Uke pun in there somewhere.


So there we go. That’s Mo Fo (as a lot of people insist on calling it these days) done for another year and it remains as much as much fun as you can have in park with your clothes on. A hearty pat on the back and well deserved pint of real ale for all concerned.

Moseley Folk Festival – Day Two, Saturday 4th September 2010

Day two and...bugger moi...the sun’s still shining. Genius. Arrived just in time to catch Lisa Knapp’s hauntingly beautiful rendition of Polly On The Shore, delivered acapella. It was one of many anti war songs delivered over the weekend, the majority of which were written hundreds of years ago but which, sadly, are every bit as relevant today (ignoring the stuff about galleons and cannonballs that is). A quick shuffle over to the other stage saw Arborea’s David Lynchian tinged folk (all sparse guitars and floaty vocals) which, at one point, cleverly incorporated a cheeky snatch of Midnight Oil’s Beds Are Burning unless I’m very much mistaken (on ‘Dance, Sing, Fight’ I think it was).

Next up the compere for the day (the lovely Paul Murphy) made a minor gaff, when he introduced Alasdair Roberts as Alastair Campbell...prompting a moment of panic when I imagined Labour’s spin doctor spouting bull crap at us for half an hour. Thankfully it was a different kind of storyteller altogether. Mr Roberts is something of a keeper of traditional folk ballads and I spent a happy half hour or so immersed in a different time. There’s plenty of misery in these tracks but I guess people had a lot more to be miserable about a few hundred years ago when life was more of a case of survival rather than which handbag goes with which outfit. If there’s one thing trad folk does really well it’s make you glad (in some ways at least) that you live in a time and a country where the basics of life are pretty much a given. Even if you do have to put up with spin doctors.


As the sun blazed down on us...yes, I was shocked too...Johnny Flynn, poster boy of the new folk scene (I can see why...he’s a...er...handsome chap) stepped up to the main stage. Like Mumford and Sons he’s got a fine line in jaunty folk numbers and a voice that, in places recalls some of the greats like Martin Carthy and Phil Ochs. If there’s one thing about folk as a genre it tends to embrace the aging process, with artists often going on to produce some of their best work way beyond pension age. It’s too early to tell if Johnny will go on to do likewise but, judging by his passionate performance of ‘Fighter’s Refrain’ I wouldn’t bet against it.

Thanks to a ‘bit of a queue’ (ahem) in the bar I missed part of Malpas’ set but caught enough to be spellbound by their dreamy folk. The fact that their lead singer Ali’s previous band (Envy & Other Sins...one of my favourite Birmingham bands ever) failed to get the success they deserved still gets on my man boobs and if you let it happen again I’ll be very, very cross with you all. So there. Bonus points for the lovely Miss Danielle Perry’s vocals, the perfect accompaniment to Ali’s, on a number of the tracks.

Right, next up a true legend...or leg end as he called himself. Spider John Koerner (not a real spider, but possessing the kind of limbs that would make a daddy long legs feel more than a little stumpy) first toured the UK way back in 1964 and was, by all accounts, a bit of an inspiration for old Bobby Dylan. He’s a regular visitor to these shores, having last toured here in...oh...bugger...1981? At this rate he’ll be back in 2039. But I’d book a ticket if I were you. He’s the real deal. A 100% proof American folk hero. That stuff I was talking about earlier (how some folkies do their best work when they get a little older), well, here’s the proof. ‘Days of ‘49’, which Spider performed just accompanied by a dude on bones and by stomping his foot was as close to American folk gold dust as you’re likely to hear.

We got jokes too! It went something like this. A man visits God and says “God, is it true that a million years to us feels just like a second to you”

“That’s true” replied God.

“And is it true that a $million to us is just like a penny to you?”

“Yes” replied God

“Well then Lord” said the man “could I just have one of those pennies?”

“Sure” replied God “Just give me a second...”

Catch the Spider if you can...or else check him out...on the web...naturally.

Next up The High Llamas. I like the High Llamas. I really do. I went to see them about 400 years ago and their lead singer Sean spent most of the set fussing about the sound. Fast forward to today and, well, he spent most of the set fussing about the sound. Does he always do this? The sound sounded fine to me. Both times. Maybe, like Brian Wilson, he can hear perfection in his head but can’t find it in real life. Shame. Still ‘Nomads’ and set closer ‘Checking In, Checking Out’ still retained that woozy Summer time feeling that makes the world feel a better place.

After a quick nibble it was time for The Low Anthem who started off a little bit slow for my liking (it may have been the time of day...I was ready for a bit of ooomph) but found form on some of their later numbers. They’re one of those bands that all swap instruments, which makes me feel really inferior. I can’t even play the recorder and here are a bunch of people who can play the organ, drums, violin, guitar...hell, the lead singer even played a saw. Take the piss why don’t you. I bet he could probably play a artichoke if you asked him (ignore me, I’m only jealous). Pick of the set included ‘Whiskey, Cigarettes and Wild, Wild Women’ a yeehaw bar room lament that amusingly coincided with a member of the audience (who had clearly had his fair share of the first of these three) attempting to stand up. He failed. Miserably. Perhaps he’s still there?


Right, on to Goodnight Lenin. If you don’t know how highly I rate this band then shame on you. Where’ve you been eh? They’re simply one of the best young bands around for me with an album’s worth of material that should, if there’s any justice in the world, see ‘em headlining festivals like this. It was a relatively short set but they still managed to cram enough fine tunes to make this one of the best performances of the weekend. I was particularly impressed by a new-ish song of theirs that I keep wanting to call Overcoat...but it might not be called that at all. Anyway it’s the one where Liam goes a bit nuts with his guitar half way through. Love it. Part of the appeal of the band for me taps in to the Irish heritage of some of the band members and it’s this fusion together with a new twist on the American folk of Dylan and CSN & Y that really excites in terms of their future development. Anyway, just go and see them. Trust me.


Last set of the day and it’s time for Jamaica’s very own Donovan. He is Jamaican isn’t he? That would explain all the ‘Yeah mons’ that peppered the show. Either that or he smoked way too much weed back in the 60’s. You’ve got to love him though and you can’t argue with the songs. ‘Catch The Wind’, ‘Jennifer Juniper’, ‘There is a Mountain’ (more cod Jamaican accents), ‘Sunshine Superman’, ‘Season of the Witch’, ‘Mellow Yellow’ and, of course, his signature tune ’The Hurdy Gurdy Man’...all of whom were cheerfully delivered to an eager crowd. It was all great fun and it reminded me of just how many great songs this crazy cat wrote.


Far out mon.

Moseley Folk Festival – Day One, Friday 3rd September 2010

Sun + cider + fresh air + good music = festival heaven. Basking in unexpected late summer sunshine this year’s Moseley Folk Festival once again promised a suitably eclectic line up with day one seeing sets from 90’s literary pop gem The Divine Comedy, local boy made good Fyfe Dangerfield and some rising stars of the indie-folk scene. Friday’s my favourite day of the festival in many ways. Kicking off at 2pm it’s a bit quieter at first with most people still finishing off their week’s work (someone has to I guess) so us early birds got to enjoy some nicely chilled sounds in a relatively (cue Barry White style voice) intimate fashion. This afternoon saw a variety of different takes on the folk genre and we arrived just in time to catch most of Ben Calvert’s set, a languid master class in 21st century folk (tales of the modern world given a folk twist)and, given the hazy heat of the afternoon, all the better for it. Dreamy stuff. The Festival’s got two stages right next to each other, so as soon as one act finishes all you need to do is shuffle yer bum a little to one side and – voila – the next one’s there, ready and waiting. If only all festivals were so accommodating eh? Matthew P (all the way from Suffolk he was keen to point out) was up next, to his left a rather ingenious (and slightly Heath Robinson) moving sign with his name on (again all the way from Suffolk...).

The letters of his name rose and fell as he sang. It’s hardly up there with Iron Maiden’s ‘Eddie’, but I liked it. Musically I can see by my notes (yes, I make notes these days...now that I have trouble forgetting my name it’s pretty essential) that I had him pinned down as ‘what The Strokes would sound like if they went a little bit folky’.

Sparrow and the Workshop brought a country edge to their take on folk, with their lead singer (Sparrow I’m guessing) noting she could tell it wasn’t a camping festival “cos everyone looks happy”. Pick of their set was a rollicking giddy up track called ‘Devil’s Song’, punctuated by the drummer beating seven flavours of crap out of a thin strip of sheet metal screwed to the front of his drum kit. It’s folk Jim, but not as we know it. Cider. Oh so much cider. I should know better but Hogan’s fine Scrumpy is dangerously addictive in the Summer sun.

Okay, we’ve had 21st century folk, Strokes folk and Country folk, how about some tropical folk eh? You’re in luck. Vadoinmessico (the name means ‘I am in Mexico’ apparently) kick some Med sand in the face of folk conventions with a sunny soundtrack that could come from some 60’s buddy movie. ‘In Spain’ in particular made me want to steal a camper van and set off on a roadtrip across Europe on the run from ‘the man’. But the Hogan’s cider kept me firmly glued to the floor. Oh well, next time Vadoinmessico...next time.


Still with me? Good, ‘cos up popped Erland and the Canival and they’re well worth catching. Erland, wearing his Pete Docherty fancy dress costume, has nailed that melodramatic 60’s pop sound quite brilliantly. Shades of The Doors in places, especially on stuff like their (I presume) theme tune ‘My Name is Carnival’.

A quick shuffle to the left and we caught Hannah Peel with Table...not a table...just Table. Possessing a voice as pure as natural spring water she’s got a slightly ethereal quality about her, like she’s not of this world (Kate Bush has a similar feel about her...maybe that’s just me though). Talking of ethereal she covered the Cocteau Twins ‘Sugar Hiccup’ using a musicbox and a long (reeaaaaaaaallllly long) strip of paper upon which she had – BY HAND – hole punched all of the notes. Wow. That’s more than a day’s working I’m guessing. Music box covers aside she had some fine self penned stuff including Almond Tree (out soon on uber cool label Static Caravan) which, in its live guise had a Love Cat’s (The Cure) sort of groove to it. Most a-peel-ing.

Local boy (he grew up in Moseley) Fyfe Dangerfield was arguably the biggest hit of the day. In between songs he chatted cheerfully to the audience, as comfortable as he’d be if he was in his own back garden...which I guess he was. Covering everything from the birdlife in the pool behind the stage (revealing an impressive knowledge of UK birds) to the correct way to say Bowie (Bowie or Bowee – you decide) he delivered most of the Guillemots hits, some of his solo stuff and – of course – “that song off the telly”, Billy Joel’s ‘She’s Always a Woman to Me’. I’ve seen Fyfe a few times before and this was, without doubt, the best I’ve seen him. With a new album due out soon I’m pretty sure he’s yet to hit the heights he’s capable of. Which, given the strength of some of the stuff he’s already put out, is pretty bloody impressive. Moseley’s Billy Joel? Hmmmm...could be.

Turin Brakes were next. I’d kind of stashed this lot in my 'good but slightly dull pile' but as a live act they really worked, kicking out a kind of classic 70’s west coast feel that seemed to have a lot more meat on it than their records. ‘Underdog (Save Me)’ – which is a good enough track in its recorded form – had an urgency that bought the song to life a lot more, for me at least. One enthusiastic – or maybe that should be Pimmed out of her box–fan loved every second of the set and danced around at the front even when they weren’t playing anything, but that's the joy of festivals innit?

The next couple of hours passed in a haze of chats with old friends and catching the odd snatches of sets but the last act I saw in full was the small but perfectly formed Neil Hannon and his Divine Comedy (actually just Neil Hannon...but as he is The Divine Comedy...sort of...his solo status didn’t really matter).


Oh how I grooved along to ‘Something for the Weekend’ back in 1996. The perfect tune for a Friday night. That’s probably why he didn’t play it. Oh well. What he did play, perched on his piano stool sipping from a glass of red, was a fine selection from his 20 year back catalogue, kicking off with an apt track for a festival crowd ‘Horizontal Life’. After a few years of relative obscurity Neil seems to be hitting his stride again so the new songs like ‘The Complete Banker’ (genius) stood up really well to old favourites like ‘National Express’ (which got the biggest sing along of the day). Not even a tickly cough could throw him tonight (poor fellow sounded like he was about to pass away at one point) and, thanks to an emergency throat sweet he was able to finish the set in fine style. All in all a divine ending to a pretty divine day.

Stereolab ‘ Not Music’

Cool. You’ve either got it or you ain’t. Will Young? Not cool. Neil Young? Cool. Dizzee Rascal? Sorry, not cool. Dizzy Gillespie, ice cold. Stereophonics? Well, have a guess. Stereolab? Oh yes, they’re cool alright. From their sound (a mix of 60’s French pop, spy movie soundtracks, motorik beats and lounge music) to their song titles (‘Lo Boob Oscillator’ anyone?), hell, even their sleeve artwork gives you frostbite.

Following the tragic death of one of their number, Mary Hansen (killed by a truck whilst cycling through London in 2002...not cool) the band’s output has slowed a little and ominously the gap between releases has got a little longer. Their last album, ‘Chemical Chords’, came out in 2008 and the following year their manager pretty much signalled the end of the band with the news that they were taking an indefinite ‘hiatus’. So this new release (which appears to have been recorded at the same time as the last album) could well be their last will and testament. If that’s the case it would be a real shame as ‘Not Music’ generally sees the group on fine form. Opening with an archetypal ‘lab track ‘Everybody’s Weird Except Me’ (female harmonies, vintage keyboards, slightly spaced out percussion) it’s clearly business as unusual. Perhaps that’s the problem though? Maybe after 19 years of creating ultra cool soundtracks to films that don’t exist the band feels its work is done? Certainly there’s an incredibly distinctive Stereolab sound which, if you were feeling critical, you could point out was a little samey after a while. Laititia Sadier’s vocal too, with that sub zero French accent that could make The Birdy Song sound cool, is the very model of understatement. But there are still more than enough musical diversions on this album to keep you engaged. Supah Jaianto for example (see what I mean about those song titles?) features a funky mid song break with pounding drums and tight stabs of brass. Elsewhere the epic Silver Sounds (Emperor Machine Mix)...all 10 minutes 21 seconds of it...sets off on a Krautrock highway to heaven using what could well be synths won from the Human League in a late night game of canasta. Here too there are changes of pace/gear though, with little flourishes (it almost goes Latin at one point) that make you sit up and take notice. Retro yet futuristic it’s the sound of a band that still knows how to have fun, albeit with an arched eyebrow.

Fittingly the album ends with Neon Beanbag (Atlas Sound Mix) a driving dreamy drone featuring fractured female vocals punctuated with some wild oscillating background noise...wheeeohhhhahhhheeee. It’s wilfully obtuse. As leftfield as that field to the left of the field on the far left. And, if it really is the last thing that ever comes out of the ‘lab, I can think of no finer epitaph. Cool.

‘Not Music’ will be released into the ether by Drag City on 16th November 2010.

My kind of folk...

Next weekend (that’ll be the 3rd, 4th and 5th September then) it’s the Moseley Folk Festival , a truly unique three day bash held in the lovely grounds of Moseley park. Over the years this has become a bit of a favourite of mine thanks to some inspired programming and the kind of feel good vibe that larger festivals have well and truly lost. Amongst the many highlights there’s The Divine Comedy (who’ll no doubt bring ‘Something For The Weekend’) on Friday evening, Goodnight Lenin, High Llamas (in an all too rare outing these days) and Donovan on Saturday and The Destroyers, Samuel Walter and The Ukulele Orchestra of Great Britain (who are just as much fun as they sound...if you don't believe me take a look at the vid below).



At the time of writing I believe there are still a few tickets left but if you want to go I'd recommend getting yours now. I was in Swordfish yesterday and they were going like the proverbial hot cakes...

Peek A Boo-some good

There are many reasons to watch lovely ladies covort around in their underwear and I, for one, am all in favour of the rebirth of burlesque. This week the Hare and Hounds plays host to a new burlesque night that also aims to raise some much needed dosh for a very worthy cause - the new heart unit at Birmingham's Childrens Hospital. Having spent more than a night or two when I was a lad (mainly for head injuries...that explains a lot eh?) I can't praise 'em enough. I'll be Moseley Folk-ing in on the 3rd but if you're not get yourself along. Nipple tassles are a must. Especially if you're a bloke.

I Blame Coco / The Traps @ The Hare & Hounds, Thursday 26th August 2010

Okay. So, there’s an elephant in the room here tonight. Not a real one obviously, how the hell would it get up the stairs eh? I’m going all metaphorical on you. It’s a huge great elephant with a patch of dyed blonde hair and a penchant for making lurve for several weeks at a time. More of that in a moment though. First up it’s The Traps. I like The Traps. Aside from the music, a jolly blend of new wave and rock, they’re one of those bands that have really got off their arses and done something. In their case they’ve set up a record label ‘Speech Fewapy’. Birmingham needs more of this. More labels, more bands, more bloggers...more of everything really...except 99p shops...got far too many of those (What? Are we made of money? 49p shops. Now that's what we need now) Tonight was a polished performance (as you’d expect from a bunch of dudes who run a record label) with plenty of head nodders (tracks that you just can’t resist nodding along to...in my case that makes me look like I’m having a mild stroke, but I’ve got one of those heads). Anyway I urge you to check them and their label out. Aside from releasing their own fine stuff (have a listen to Honey Drip) they’re also releasing tunes by Greg Bird and Flamingo Flame (80’s pop in a bit of a Scritti Politti style) and the deliciously nuts Tom Peel.

Right, on to tonight’s headliner and, first of all let’s send that elephant packing. It can’t be easy trying to make it in the same business that your old fella ruled for a while. Coco’s dad, or Mr Sting as the rest of the world know him, was / is part of one of the most successful bands of all time (their last tour in 2007 took a piggy bank busting $358 million, making it the third highest grossing in history...that’s a nerdy pub quiz fact). But, like many other siblings of HUGE stars (Presley, Lennon, Dylan...er...Stardust), Coco’s taken the plunge anyway. In my book that takes balls. Huge, spiky blonde haired tantric balls. She certainly seems to have put in the work. Her debut album ‘The Constant’ has been half a decade in the making (jeez...that’s a quarter of her life) and she’s been gigging like crazy in all sorts of low rent dives for the past few years to hone her performing chops so you can dismiss any of that cynical nepotism talk. Bye bye Mr Elephant.

Tonight, wearing a pair of shorts that seemed at least two sizes too big for her (and in danger of falling down at any moment) and eyeing the audience slightly apprehensively at first, she became a different animal when the music kicked off. Pacing the stage, leaning over her mic, pogoing around and getting up close and personal with the fans (well, as up close and personal as you’d want to get to them) she clearly loves performing. There is, inevitably, a distinctly Sting-ish quality to her vocal (she’s got her dad’s eyes too...no...no jokes about him wanting them back again). And, as you’d expect, with major label backing and high hopes for Coco to go massive, the sound tonight was polished perfection, which perfectly suits the material she’s playing right now. Glossy 80’s pop, dripping with synths, it’s got a lot in common with Swedish pop princess Robyn who duets with Coco on arguably the best track of the night, Caesar (sadly the lovely Robyn wasn’t here tonight...probably out cage fighting). Previous single Self Machine also stuck out as a highlight as did new release Quicker (complete with plinky plonky Euro piano) which saw Coco making the most of her distinctly smoky vocals. It was a shortish set, without an encore, and I’d have liked to have seen Coco do a few more acoustic numbers (looking at You Tube videos this really gives a chance for that voice to do its stuff), but I was impressed. It’s a pretty safe bet that she (and her debut album) will be massive but somehow, deep down, I don’t reckon it’s a true reflection of what she’s capable of...or what she wants to do as she really develops. And, ultimately, that’s the really exciting prospect. For now though this is one Coco that’s well and truly ready to pop.

Ugly Duckling / Kinny / Sm:)eymic / DJ Mylz @ The Hare & Hounds, Wednesday 25th August 2010

First up tonight Sm:)eymic. Yes that’s a :) in his name. Maybe I should just do the review the same way eh? It would save me hours writing this nonsense if I could just stick up a :( or :)? But then you’d have nothing to read at work would you eh? Anyway, Mr Mic is a one man band for the 21st century, but instead of strapping a drum kit to his back and playing a triangle with his schlong he’s a master of that live looping business (you know, where they record themselves singing and playing instruments then loop it all together). It’s a neat trick to watch and listen to and somehow he manages to avoid it all sounding like a dog’s dinner. Impressive. He comes across as really nice guy too and his cover of Grandmaster Flash’s Rapper’s Delight at the end was inspired. So, :)’s all round then...

Next up was Kinny, a new name to me, all the way from Canada (now that’s one hell of a bus journey...wonder if the number 11 goes that far?). She’s worked with Quantic before now which should give you a fair indication of her general vibe. Slightly hampered by singing along to a backing track rather than a live band she nevertheless blew my socks off (holes and all) with her vocal. Damn she’s got soul. Reflecting her Jamaican roots there are some reggae beats in there too (‘Enough Said’ in particular manages to combine the jazz and reggae worlds really well). Track after track of 100% silky vocal lushness gradually attracted the attention of the chatterers in the audience and, by the end of it all she’d won over at least one new fan. Me. Add a real band to the mix and you’ve got a truly special gig.

Finally it’s time for Long Beach hip hop legends Ugly Duckling, now celebrating 17 (17!) years in the bizzle fo schnizzle. So named ‘cos they felt out of place in their local rap scene they still stand out as being different to your average ‘crew’. Joint MCs Andy (tall and skinny) and Dizzy (short and...er...not so skinny) come off like the Laurel and Hardy (ask your grandparents) of rap. That’s a huge part of their charm though, as is their nicely self deprecating performance which neatly busts apart all those tired old clichés about hip hop’s obsession with the unholy trinity of birds, bling and bullets.


You can’t fault the beats...glorious snatches of lush soul and funk vinyl delivered by Young (or maybe that should be middle aged now) Einstein on the wheels of steel. Having seen them a while back tonight's show was pretty similar, but why mess with a winning formula eh? From the mic throwing (Andy and Dizzy literally chuck the mic from one to the other just in time to deliver their line) of ‘Pass It On’ to the lady lovin’ (one of the female audience members is invited onstage so that Dustin and Andy can try on their pick up lines on them) ‘Honey Was Offended By A Pick Up Line’ it was a masterclass in good time hip hop. It’s impossible to avoid getting swept along by it all and pretty soon the audience was bouncing along with their hands in the air. By the time ‘A Little Samba’ rolled around even the lamest fly boys and girls were getting in on the act. As the set drew to a close the defiant ‘I Won’t Let It Die’ whipped the faithful into a mass bounce along. It couldn't be more appropriate. 17 years on and this is far from a dead duck(ling).

Gigs of the week

Okay. It’s Monday. Mondays suck. It’s official...Tuesdays, Wednesdays and Thursdays usually ain’t too hot either. But cheer up. If you’re Birmingham based there are a couple of cracking gigs this week at the Hare and Hounds. Wednesday sees feel good Cali-rap legends Ugly Duckling throw down some good times and, quite possibly, get fresh with a young lady or two on stage. On Thursday you’ve got the electropoptastic ‘fruit of Sting’s loins’ fronted I Blame Coco. I’ve seen the ‘Duckling before and can pretty much guarantee that you’ll be a-waving your ‘hands in the air like you just don’t care’ within 60 seconds. As for Coco, if the vids I’ve seen are anything to go by we’re info for some sassy synth smashingness...try saying that after a pint or two of cider. Enjoy.

Ou Est Le Point?

Just read the news that Charlie Haddon, lead singer with up and coming indie synth combo Ou Est La Swimming pool, committed suicide shortly after playing a set at a Belgian music festival. He was just 22. I was lucky enough to see the band play at The Great Escape in 2009 and was looking forward to seeing them again on their headlining tour this October. I wouldn't like to second guess at the mental anguish that drove someone to plunge to their death from the top of a telcommunications tower but this is the second time recently I've been shocked at the suicide of someone in a band who seemed to have so much going for them. Just a few months ago Sam Maritza from China Red (who I was looking forward to seeing but sadly never got the chance) took her own life at a similar age to Charlie. There is, of course, sadly nothing new about suicide and I'm not suggesting that we're on the verge of an epidemic but it seems to me that the pressure on young people in particular these days is pretty savage. Aside from the prospect of having to live with your mum and dad forever 'cos you can't afford to move out and working until you're 105 because the previous generation has well and truly fucked up the economy you're bombarded 24/7 with meaningless celebrity culture, soulless chart pap pumped out on a production line and a feeling (perpetuated by Twitter, Facebook et al) that everyone else is having a better time than you. Like I say, it's not my place to speculate on what drove Sam and Charlie to such sad endings when their lives had barely begun but my condolences go out to all those they've left behind. RIP.

Top Tracks # 20 - 'Tubular Bells' by The Champ's Boys Orchestra

Ever wondered what Tubular Bells would sound like if you funked it up a bit and added some disco flourishes? Cool. Me too. Well, here you go. This little number came out in 1976 (yep, got my finger on the pulse again) and is pretty much guaranteed to get you doing that silly finger in the air thing that John Travolta did in Saturday Night Fever. Groovy.

Public-ity

I have to admit (oh the shame) that I've still not been to The Public, West Brom's much publicised (but sadly not for all the right reasons) arts centre, but they do seem to be putting on some pretty good stuff. October's looking particularly attractive with Japanese post jazzers Mouse on the Keys (October 2nd), Canadian lap guitarist Erik Mongrain (19th October) and US blues guitarist Catfish Keith (23rd October). Not a bad line up eh? Perhaps it's time to lose my Public cherry and check it out...oh dear...that sounds like I'm going dogging or something. I'm not. Far too cold. Might put my back out too...

Mirrors - 'Ways To An End'

As a new generation discovers the wonders of 80's music the stack of bands influenced by this much maligned decade (especially the classic early years 1980-1984) grows and grows. Here's another one for you, Mirrors. Shades of OMD, Kraftwerk, Thompson Twins and Human League blended together to create the perfect track to play on your vintage Sony Walkman. The band played Birmingham last week but I was away...did you miss me? Awww bless you, I missed you too. Anyway, hopefully they'll be back in this neck of the woods soon. In the meantime I can just watch this video over and over and pretend I'm 13 again...

The Burns Unit - ‘Side Show’

Nope, not a charity project for victims of tanning booths or a fan club for that old dude from the Simpsons, this particular ‘Burns Unit’ refers (I’m guessing) to ‘Rabbie Burns’, the bard ‘imself. After all this is something of a Scottish (and Canadian) 'supergroup', uniting such luminaries as King Creosote, ex-Delgado Emma Pollock, Future Pilot A.K.A. and – undisputed star of the show – MC Soom T in one of those albums that pretty much defies categorisation. It all kicks off in a fairly low key way though, lulling you into a false sense of insecurity with ‘Since We've Fallen Out’ a forlorn end of a relationship tune that slowly builds then quickly falls away again...much like most relationships these days then eh?

Just when you think you can safely file this away in your indie folk pile though up pops ‘Trouble’. With a naggingly insistent cheap electric keyboard dragging you in and multi layered female vocals it’s the kind of upbeat track that The Bird and the Bee would happily put out. It’s a cracking tune but then along comes ‘Send Them Kids to War’. Whoa, where’d this come from? Shimmying its ass off like Shakira on a mission it’s actually Soom T (also known as MC Soom T) on vocal duties. Musically there are some Gyspy influences in there, some Latin American rhythms, some folk backing vocals...it’s an ear’s orgasm of a track.

That’s just the first three numbers ticked off. Elsewhere you’ll find shades of Regina Spektor and Tori Amos (on ‘Blood Ice and Ashes’), a Russian tinged sing along (on ‘You Need Me To Need This’), an Indian / Scottish folk mashup (‘Majesty of Decay’) and...why the hell not...a Latin Gypsy Ska skank (‘What is Life?’). This album brings it all together and, despite the face slappingly obvious differences in styles, it all somehow works really well. Less of a ‘Side Show’ then, more like a big deal.

Side Show is out now on Proper Records.

PS: You can listen to the album for free right here! Bargain!

Richard Thompson - Dream Attic

Now some 40+ years into his career Richard Thompson shows no sign of playing it safe. Far from it. In fact when it came to recording his latest album he rejected the cosy confines of the studio and decided to put it all out there in front of a live audience (at The Great American Music Hall in San Francisco). The resultant release, Dream Attic, is as vibrant a record as you’re likely to hear this year.

Opening track, Money Shuffle, is an open (and, let’s face it, entirely justified) attack on the greedy ‘bankers’ (cockney rhyming slang ahoy) who’ve arguably got us in the biggest financial pickle in history. It’s a rollicking way to start the album, you can almost hear the bile swelling up in Richard’s throat. Taking in jazz, gypsy and Middle Eastern influences the track storms along threatening to overshadow everything in its wake. Happily we’re in expert hands here though and there’s plenty to keep the casual music fan, as well as the more committed Thompson-ites, entertained throughout the album. For the purist folk folk ‘Among the Gorse, Among The Grey’ and ‘Burning Man’ sees Richard on more familiar territory, ‘Haul Me Up’ is a straightforward country classic hoe down, whilst the Celtic flavoured ‘Here Comes Geordie’ (am I right in thinking this is a thinly veiled attack on a certain Gordon Sumner?) raises more than a smile or two. Another highlight, ‘Sidney Wells’, is an everyday tale of a homicidal lorry driver and proof, if proof were needed, that folk can be every bit as relevant in 2010 as it was in 1810. Of course there are plenty of opportunities for Richard to show off his guitar skills (as well as winning an Ivor Novello award for his song writing he’s also the recipient of a Gibson award for being the best Acoustic Guitar player in the world...not too shabby eh?).‘If Love Whispers Your Name’ for example sees a furious guitar solo towards the end of the track, earning impromptu applause that reminds you once again that you’re actually listening to a LIVE recording here.

It’s got to take balls to record a brand new album of brand new songs in front of a live audience and, even bearing in mind Richard’s considerable experience and musical chops it can’t have been a stress free process. The mere fact that he’s still willing to take such risks is impressive. The fact that he’s still pulling great tunes out of the air is something really special. A dream of an album from a true national treasure.

PS: The acoustic version of the album (included in some limited edition copies of the release) strips the material back to its pure folk roots. Richard’s vocals and guitar playing are a joy and, although it’s a studio session, I’m guessing by the freshness of the performance that it was recorded live, in one take, too. ‘Sydney Wells’ and ‘Money Shuffle’ are particularly impressive. Oh to have been a fly on the wall that day.

Dream Attic is out on 30th August on Proper Records. A special limited edition two-disc set containing a second disc of all 13 demos and a double-vinyl edition will also be released.

Goodnight Lenin / Boat To Row / The Young Runaways / Jodi Anne Bickley @ The Hare and Hounds, Friday 6th August 2010

Oooooh a single launch. Double oooooh Goodnight Lenin’s single launch. Cue fireworks, dancing girls, a troupe of performing horses and that bloke off the telly who presents that programme that slams D-list celebrities through a wall. Anton du somebody or other. I can think of quite a few celebrities that I’d like to slam through a wall (real though, not polystyrene), but let’s save that for another day eh?

First up The Young Runaways, tonight reduced to a two piece (I think there’s normally a million of ‘em or something). It had taken them a bum numbing 2 hours and 10 minutes to travel the few miles from Wolverhampton (their hometown) to Birmingham, so I’m not surprised the rest of the band were absent...probably reduced to eating each other on the Wolverhampton Road just to survive. The two that made it though (a fiddle player and singer/guitarist) got the evening off to a fine start. Reminded me a bit of The Wonderstuff in places, a thought confirmed when they covered The Stuffies ‘Here Comes Everyone’. They’ve got some fine tracks of their own though, particularly the catchy fiddle driven indie folk of ‘The Boy and the Beartrap’, which you can happily jig around to on their MySpage page.

One thing which did annoy me tonight - and it never ceases to be a thorn on the side of any who gives a shit about music - was the inane chattering of some of the audience. If you are one of those people for the love of Lady Gaga please just shut up. Think about it. These performers have spent days, weeks, months writing and rehearsing their material...they’ve humped themselves and their equipment to the gig, they’ve eaten half their band on the Wolverhampton Road, they’ve nervously waited around backstage for their moment...and then you spend the entire set polluting the atmosphere with your inane drivel. It’s simple. If you want to talk, go outside or...and I realise this is quite a challenge for some people...just wait until the set has finished. I’m sure you can hold in whatever verbal gem is ready to spring forth for 20 minutes or so. Okay? Thanks.

Anyway, back to someone who thankfully has got something worthwhile to say, is our very own Jodi Anne Bickley. Continuing her quest to big up the burgeoning Birmingham spoken word scene (seriously you should check it out) tonight she gave us a trio of her best rhymes including ‘Hold Tight’ and ‘You Make Me Lose My Cool’. As I’ve said before there’s just something so refreshingly honest about Jodi and her material and, for the third time in as many weeks, I found myself hanging on her every word. A truly special talent and equally importantly in my book, a lovely, genuine person too.

Next up Boat To Row bobbed along with some rather nice lullaby-tastic tunes. There were some scrummily delicious boy/girl harmonies on offer here from Hannah and Michael but they can also kick up a bit of a storm when they want to. Well worth catching live if you get the chance.

Finally, it’s Goodnight Lenin. Liam, Sam, Matt, John and John Joe. It’s their party and they’re clearly here to have a good time tonight. And why the hell not eh? They’ve come a long way in a relatively short time (they formed in late 2009) and tonight’s bar raising set saw them take another step forward with some new tunes, a surprise guest appearance from someone called April (who played flute and added vocals to one of the tracks) and a slightly more serious approach to their performance. There was still plenty of banter though, mainly aimed at people who were clapping out of time (one of the culprits was later identified as John’s sister...oh the shame). For the hardcore fans all the classic Lenin tracks were in place (‘Ragged Schools’, ‘Wenceslas Square’ and, of course, the new single ‘Crook in the Creek’), but newer tracks have started to sound stronger too. ‘Mannequins’, ‘After All’ and ‘Old Cold Hands’ were noticeably more polished than before. I’ll need to hear the even newer stuff a few more times (I think at least one song was still being worked on just before tonight’s show...a measure of the creativity spurting out of them right now), but I’m happy to report that all of the elements that made them so good so fast (the Dylan, Young and Simon influences and those three part harmonies) are still well and truly in place.

If I was being hyper critical (and at this stage in their development I guess that’s increasingly important now) I’d make the harmonies a little tighter in places and perhaps give Matt a few more vocal opportunities (he adds a rich, deep voice to the end of Crook in the Creek). I’d quite like to hear John Joe lead a track too. Musically I loved the introduction of the flute and I’m wondering if the band plays any other instruments that could perhaps add to the richness of the songs (a bit of brass here and there maybe). These though are minor points. What came across again tonight, as the sweat dripped from the walls and the claps (out of time or not) built and built, is that this band’s on fire right now. Once again Goodnight Lenin score top Marx.

PS: The single is out now on Static Caravan records...it's limited to 500 copies so if you want one I reckon you have about half an hour left to grab a copy...starting...now...well...what are you waiting for?

Goodnight Lenin - Crook In The Creek from Prime Objective on Vimeo.

Paul Heaton 'Acid Country'

Following hot on the heels of his old mucker Dave Rotheray’s rather fine new album (The Life of Birds), ex Beautiful South-erner Paul Heaton returns with his latest offering ‘Acid Country’. As well as being blessed with the voice of a slightly world weary angel Paul is, of course, arguably one of the best lyricists this country’s ever produced. From his days as a Housemartin through to the chart eating Beautiful South he’s written some true classics (the Housemartin’s ‘Happy Hour’ and ‘Build’ and The South’s ‘Song for Whoever’, ‘You Keep It All In’ and ‘A Little Time’ all leap to mind...not a bad line up eh?). Acid Country sees him revisit some of his favourite subjects (booze, birds and Britain – the ‘acid country’ of the title I’m guessing) and, it has to be said, hit the kind of lyrical highs that saw him carry on up the charts on more than one occasion.

Take the album’s second track ‘Even a Palm Tree’, a savagely bitter (and pretty darn funny) song about the eternal battle of the sexes. Opening with the line “I can’t find you attractive unless I’ve had drugs” his female co-vocalist then responds with an equally barbed response. Men are from Hull, women are from London eh? Like some of his best stuff the bitterness is all wrapped up in a pretty jaunty tune, with swirly organs lending it a slightly psychedelic feel in places. In strong contrast Paul follows this up with a melancholy rumination on the loneliness of old age on ‘Young Man’s Game’, which probably won’t mean much to anyone under 30 but might well bring older listeners out in a cold sweat. It’s one of the album’s standout tracks and one of the most affecting songs of its kind since Sinatra’s ‘It Was a Very Good Year’. Elsewhere ‘Life of a Cat’ finds Paul wishing for a simpler life for all of us and, judging by his recent decision to cycle round pubs playing to audiences just a fraction of the size that he’s used to, it’s clearly a desire that he takes seriously.

This is simply one of those albums that begs to be listened to over and over again. I’ve given it a good half dozen spins so far and each time I’ve unearthed another lyrical gem. For example, the album ends with ‘Cold One In The Fridge’ (a dead cert for Alcoholics Anonymous’ anthem...should they ever feel the need to have one), with Heaton (who’s battles with the demon drink have been well documented) noting (lamenting?) the various tipples he’ll never again enjoy. “I shall never drink a beer in St Albans" he begins. Ain't that a great opening line? He then goes on to list pretty much every drink (and drinking venue) you can think of...all of which are now similarly out of bounds. Given his history it’s a brave song to write and sing and, I’m guessing, it’s a mark of a man who, whether this album sells a 100 or 100,000 copies, has the fortitude to 'carry on regardless'. If there’s any justice in the world it’ll sell by the shed load though...perhaps he’ll have to put that cat’s life on hold for a while longer eh?

Acid Country is out on 13th September on Proper Records and Mr Heaton hits the road throughout September on his own headlining tour before supporting Madness on their traditional end of the year pension top up in November and December.

Fix it...for Fix Monday

Fix Monday, a local (that's local to me here in Birmingham, if you're reading this in Kuala Lumper you're unlikely to bump into them in the shops) band that's cheered me up no end on more than one occasion with their positive and upbeat live shows are splitting up. Boo! But before they pack it all in they've entered a competition to win a recording session at Abbey Road, fulfilling their lifetime ambition to record an album. And who am I to piss on their chips eh? It's one of those vote for your favorite video jobbies run by a fizzy drinks company that I won't advertise here (unless they send me a lifetime's supply...in which case I'm happy to whore myself to oblivion). Click here and...wait for it...'fix' it for them. Ho ho ho. I think I could get a job on the local news...

The Phenomenal Handclap Band @ The Hare and Hounds, Wednesday 4th August 2010

It was a close call between this gig and the Raghu Dixit Project (happening in the room next door) but TPHB just edged it. I still think my idea for the Phenomenal Raghu Handclap Project had potential though (I was trying to get the promoters to put both bands on together at one point). Maybe next time. It could’ve worked you know, especially as the TPHB have what you might call ‘esoteric’ musical tastes.

No warm up acts tonight but some good tunes on the ‘wheels of steel’ to get us in the mood. Standing right next to the speakers I could feel my tea (fresh pasta and a healthy chunk of ciabatta if you’re interested) gently vibrating in my stomach, always a good sign. Tonight six of the band mounted the stage (I think there’s sometimes eight of ‘em) and before you could say Santana their ‘look’ gave you a fair idea of what you were in for. In fact for large chunks of the set you could’ve been in late 60’s San Francisco watching some great psych rock band, tripping your head off. All we needed were a few topless ladies doing that swirly hand dance and a couple of lava lamps and we’d have been sorted. Actually I’d have been happy with only the topless ladies.

But then, just when you think you’ve got them nailed as one thing they go and perform the deeply soulful ‘Baby’, a track that wouldn’t be too out of place on Marvin Gaye’s seminal ‘What’s Going On’. Then they fast forward to the proto rap stylings of Blondie’s ‘Rapture’ or Tom Tom Club’s ‘Wordy Rappinghood’ with their own funk infused take on the genre(and set highlight) ’15 to 20’. It’s like being in a musical time machine...I was half expecting a little glam rock next. But, whilst TPHB clearly wear their influences on their sleeves, when you’re influenced by the good shit that’s no bad thing right? In fact this is one dose of the ‘Clap’ that’s well worth catching (wow, getting a punning reference about sexual diseases in there...that’s a new low for me).