SHOW REVIEW: The Shins, Bowery Ballroom, New York City (25.9.11)

'Caring Is Creepy. Love is The Shins.'
Sunday 25th September 2011
Bowery Ballroom, New York City


Anticipation was high in the Bowery Ballroom on Sunday, evident by the large numbers present for opening act Faces On Film. Hailing from Boston the 5 piece certainly proved themselves worthy of the slot by delivering a great set. A sultry blues sound coupled with Bossa Nova drum beats on opening tracks 'Moon's Row' and 'Knot in the Vine' paved the way for a substantial set. The frontman's crooning and intense vocals sound not unlike those of Jim James (My Morning Jacket) but the music is slightly less country orientated, featuring moody guitars, 60's influenced keys and stand out guitar breaks. A fine appetizer for what was to come.

Having been a long time fan of The Shins but never having seen them this show was always going to be special, and oh so special it was. With many original members no longer with the band I was slightly apprehensive to see what musical improvisations and alterations were to be made with the new line up. My worries were quashed within the first few chords.

Opening with the heartfelt 'Caring Is Creepy' and a cracking version of 'Australia' Mercer's signature vocals rang throughout the Bowery like a musical prophet addressing his loyal followers. The wall of sound created by droning guitars and fuzz bass during 'Pam Berry' lead into an astounding rendition of 'Phantom Limb' - definitely the sing-a-long favorite of the night as far as the crowd was concerned. Pure vocal harmonies were beautifully held by new guitarist Jessica Dobson on 'Saint Simon', her true talents and enthusiasm being ever present throughout the show - especially on the amazing 'Kissing the Lipless'. 'New Slang' was played with such passion and delicacy I may have shed a tear, followed by 'So Says I' played with such gusto it snapped the crowd well and truly out of it's previous New Slang love trance.

They also played 2 new tracks which were met with enthusiasm, both having a much rockier element with slight reggae beats and tones. The greatest surprise of the night was the encore which contained 2 covers - the first being David Bowie's 'Ashes to Ashes', and the second Pink Floyd's 'Breathe'. Both are extremely ambitious covers as far as any band is concerned but The Shins hit the mark and served the tracks well, making them their own while staying true to their musical mastery. In closing they left us with 'Sleeping Lessons', playing it so well one of my friends present on the night is now having an excerpt of the lyrics tattooed on her forearm.

Truth be told, I do wish I'd been quick enough in The Shins' heyday to catch the band in it's original form. Their songs are so intricate and personal it would have been a joy to witness those who created them performing them together. But the new band is nothing to sneeze at, featuring Ron Lewis (Grand Archives) on keys, Eric D Johnson (Fruit Bats) on bass and Joe Plummer (Modest Mouse) on drums. With the addition of Jessie Dobson on guitar and the powerful creative force that is James Mercer it's clear the songs are in more than capable hands, and their live shows most definitely do them justice.

SHOW REVIEW: Arctic Monkeys, Brixton Academy, London (26.8.09)

Full Support
Wednesday 26th August 2009
Brixton Academy, London

With Josh Homme having produced their latest album the Arctic Monkeys have improved on what was already an impressive sound. Their short punchy riffs have now been slowed down a notch and nurtured to become dark and brooding, sexy and scorching, and have been made more effective and mesmerising in doing so. I’ll admit I was a little more interested to see if Josh himself would make an appearance, though I do love Arctic Monkeys.

But low and behold who should be supporting them but Them Crooked Vultures – a new collaboration featuring Josh Homme, Dave Grohl and John Paul Jones. There’s nothing quite like the cheer of 5000+ people when they unexpectedly see Dave Grohl walk on stage, let alone with a pair of drum sticks. What followed was a heavy, riff-laden, rock’n’roll wall of sound that could come from no others. Reminiscent of QOTSA the tunes were hard hitting and powerful, matching perfectly with the sultry yet manly tones of Mr Homme. Yet another super group well deserving the ‘super’ title.

Bravely the Arctic Monkey’s then followed and did mighty well. Their new sound is brooding and moody at times but still delivers those catchy riffs and articulate lyrics without losing their edge. They churned out hits of new including Crying Lightening and Pretty Visitors, as well as old trusty’s I Bet You Look Good On The Dance Floor, When The Sun Goes Down, The View From The Afternoon and pleased the crowd no end.

Though it was hard to fathom the amazing line up we’d just seen as a support act The Monkeys held their own and showed they’re not just a few boys from up North banging them out. They’re growing, as is their music, and they’ll be here for many years to come.

VENUE REVIEW: Matter@O2, Greenwich, London

MATTER

O2, Greenwich, London
PH: 0207 549 6686

http://www.matterlondon.com/

Matter is a slightly smaller venture bought to you by the people at Fabric. While not as grand or well marketed as Fabric, Matter can often offer a better night out due to a better lay out and friendlier atmosphere – as long as you can get there.


LOCATION & ACCESSABILITY

Matter is a complete bitch to get to and from mainly as the Jubilee tube line that goes directly to the O2 complex where it’s situated is usually delayed or closed. That means a bus from London Bridge which has taken me up to 2 hours, or a Thames ferry from any stop from Waterloo onwards along the river costing around 4GBP. If you ask me the ferry is the way to go. However getting home there is only one option – cab. Matter usually closes around 6am so the tube is about an hour away, and a bus at that time can often be the same, not to mention freezing!


VENUE LAYOUT & BARS

Matter is very new as far as venues go, opening in September 2008, and you can tell by its user-friendly design and sleek appearance. For those of you who know it, it’s kind of a boxier version of Home in Sydney. However I feel its fine lines and stony appearance would leave a lot to be desired sans lighting effects. With 2 rooms – one main room downstairs and one smaller room upstairs – each with a large bar, there’s not a lot to Matter, but there’s beauty within it’s simplicity. The Main Room is one big dance floor with full circle balconies looking down upon it giving it a Shakespearean Globe feel, complete with tiered steps to dance on either side of the dance floor. The smaller room is quite the non-feature, with a circular bar and not much else.
The smoking area is a fenced off area out front which is not too pretty to look at. The piece de resistance is the caged walkway running along the centre of the rooftop, which gives you a great view of the main room floor but also allows people to pour their drinks on your head from a great height! There’s also ample dance room and comfy couches on the same floor, and a secret hidden toilet should the downstairs loos be rammed.

The loos are always clean and there are ample which usually means no queues but they lose loads of points for making all the taps hot. Fair enough they want us to buy water but what if I simply want a cool splash to the face after an epic dance floor session? There’s also a lift near the secret glass staircase at the rear of the venue that overlooks the O2 complex, but I’ve never had the stomach to get in it.

Surprisingly enough drinks don’t cost the earth, with a double vodka red bull costing 5GBP and water and softies coming in at 2GBP. But be sure to have some cash in your pocket, as minimum on card is 20GBP.
　

HISTORY & SHOWS

Being Fabrics little brother means you’ll never be short of line up’s. As mentioned before, Matter only opened in 2008 and has played host to some impressive shows for one so young: Fatboy Slim, Stanton Warriors, Funkmaster Flash, Justice, Pendulum, Bookashade, plus the regular drum’n’bass nights Ram and Hospitality which I highly recommend.

All in all Matter is a top night out and is fairly reasonable in price as far as clubs go. However this may be to compensate for what you spend in travel costs. We live in hope that the Jubilee line is eventually bought under control, but home is only ever a cab ride away. And at 6am, depending on what state you’re in, a cab may not be a bad idea.

SHOW REVIEW: The Specials, Brixton Academy, London (7/5/09)

Come on in, it's been a while...
Thursday 7th May 2009
Brixton Academy, London

Thanks to my folks I’ve been listening to The Specials from a very young age. ‘A Message To You Rudy’ was a favourite of mine as a little girl and I played it so much even my folks got sick of it. So when, after 30 odd years, the boys from Coventry announced 5 – count ‘em 5! – night’s at Brixton Academy I was first to sign up for bar shifts.

Then came the wait – 3 months of barely containable excitement pushed to boiling point until the afternoon of the first show. I ran throughout my day job shouting ‘Happy Specials Day!’ to everyone, listened to their tunes all day and watched old footage of clubs gig’s I wished I’d been alive for. Then I got the call. 5:15pm Wednesday 6th May 2009. 45 minutes until I was due to work at Brixton. ‘It’s Tina’ said my boss ‘They’ve cancelled due to illness’.

My screams echoed throughout the office and snapped everyone out of their Outlook afternoon haze. This was awful! This was horrible! ‘They haven’t cancelled tomorrow though so be on stand by’. We’d been waiting for 30 years I suppose, what’s one more day?

It’s hard to describe the energy that fills a room when 5000+ people arrive to see a band they’ve been waiting to see for 30 years. To say everyone was ‘excited’ would be an understatement (and my tips for the next 5 nights certainly proved this!). Sitting through supports was almost torture, apart from the Dub Pistols who played the first 2 nights and were excellent. But I’ve gotta say, Ska these days just isn’t the same. I’m not sure if it’s the cultural influence, social conscience or music that’s lacking, but it just ain’t the same.

There was also a DJ and MC playing some top notch old ska and dance hall tunes that provided perfect pre-set sing-a-long conditions. Every night the crowd turned into a grand choir delivering drunken versions of ‘A Town Called Malice’ and ‘The Israelites’ at the will of the MC. And his ever present chant of "Ruuudde Boooyyy’ was always met with an enthusiastic response.

Anticipation was at breaking point when The Specials hit the stage. Opening with ‘Do The Dog’ they set Brixton off – beers were thrown, clothes and bags were cast aside as years of bottled up skanking exploded in 2 hours of beats, jams and lyrics that have been blasted in bedrooms for years. They played the perfect set each time: Monkey Man, Little Rich Girl, Rudy, Rat Race, Ghost Town, my very favourite Night Klub, and the perfect finale Enjoy Yourself.

It was so amazing to see The Specials after 30 years off the circuit, and after some tumultuous times they’re still as relevant as ever. Their performances were spot on and they never missed a beat, nor the chance to convey their regret to the crowd for having taken 30 years to return. I am now stylishly equipped with a Specials bag and T-shirt (never to be worn together lest ye risk looking like a stalker). They later announced shows at both Glastonbury and Hammersmith Apollo (my other place of bar tending) which pleased me no end, as they became like a house band no one ever wanted to see the end of at Brixton. Once they were gone I missed them so. And as I recall these skatastic tales I feel butterflies in my stomach as I remember the excitement and happiness they’re shows produced in people.

Enjoy yourself, it’s later than you think.

SHOW REVIEW: You Am I, The Electric Ballroom, Camden (27/3/09)

Where do I start, Where do I begin
Friday 27th March 2009

Electric Ballroom, Camden

Until now I hadn’t seen any Australian bands play in London. I’ve often thought paying pounds to see bands I can see at home was slightly pointless and I should be immersing myself in British and European culture. But if ever there was a reason to break tradition it be You Am I. Plus I knew a few people from home were going and I hadn’t seen them for an age, and I love Tim Rogers. A lot.

I hadn’t been to Camden for a while and was glad I opted for black jeans and a black cardigan as apparently black is compulsory when walking the streets of this London borough, along with black hair, metal studs, stripes, piercings and a massive chip (burnt until black) on your shoulder. I’m afraid I let the team down on the latter. Once inside the Electric Ballroom however it could have been any capital city in Australia. I did pick a French accent here; a Polish accent there; but most of the audience were Antipodeans. I admit I missed the support act due to a nice glass of white and a vegetarian pho down the road, but if I hadn’t have done my friend Oli and I wouldn’t have scored free tickets from the lovely lady sitting next to us in the restaurant (thanks so much Mel Crawford, I owe you one!). So instead of forking out our hard earned pounds Oli and I took on the guise of Stephen Pritchard +1 and swanned our way through the door. Gracias Mr Pritchard, whoever and wherever you are.

With drinks in hand we watched You Am I take to the stage looking extremely dapper in various vest, neck scarf and trilby hat ensembles – I’m not sure if this was purely for the UK or their normal attire nowadays as I haven’t seen them for nigh on 2 years, but they looked great and their usual fiery spark was ever present. They filled the first ¼ of the set with a good mix of fast and slower paced newbies – apologies for not providing a proper set list but as I mentioned, being out of Oz for almost 2 years has lead me to neglect the Australian music scene somewhat. One thing I can tell you is that Mr Rogers has been practising his dance moves in the mirror, looking somewhat like a cross between Iggy Pop and Steven Tyler he smashed, shimmied and hip-thrusted his way across the stage like a bawdry burlesque dancer, all the while using his axe as a tool of sexual persuasion. And as always has been and forever will be Davey Lane sang to us through those magical finger formations backed by the ever-solid never-swayed rhythm and beats of the mighty Andy Kent and Rusty. You can tell this band has been together forever as their shows are effortless but still full of fire and passion every time.

They made my night complete by playing Cathy’s Clown, Berlin Chair, Purple Sneakers and Mr Milk – cliché I know but they excite me no end! They also threw me for six when in the encore they returned to sing Thank God I’ve Hit The Bottom, as it was the first time I had ever seen them play it and therefore the first time I had ever seen Tim Rogers without a guitar strapped to him - EVER, let alone singing! It wasn’t at all an unpleasant experience but I must admit it unnerved me somewhat. So after a two hour Australian sing-and-dance-a-long You Am I left us to return home with a four-pronged salute and vivacious waves.

Mid-way through their set I accidentally bumped the girl next to me whilst dancing and turned around to apologise, only to find it was a French girl I work with at the Hammersmith Apollo, which was quite random indeed. When I asked how she knew the band she told me she lived with two Australian boys who insisted that she come and see them. She then asked me how well I knew the band which got me to thinking – You Am I were the very first band I went to see at my very first all ages gig, taking place at The Metro Theatre in Sydney. Little did I know then that I’d go on to book both the venue and band throughout various stages of my venue booking career. Funny how it all begins…

VENUE REVIEW: The Metro Theatre, Sydney, Australia

THE METRO THEATRE

624 GEORGE ST. SYDNEY, AUSTRALIA
PH: (00 612) 9550 3666
http://www.metrotheatre.com.au/

I spent the best part of my life working for this venue, so admittedly this review will be bias! I worked as Assistant Venue Booker here from 20-24 years of age so I know the place inside out, and remember almost every amazing show I saw there...?

LOCATION & ACCESSIBILITY

Being smack bang in the centre of George Street in the city (opp. the cinemas) makes this venue very easy to get to. Town Hall train station is just up the road, and every bus you can imagine runs to George Street and Town Hall so you're set. I believe it's curfew is now Midnight, so alas, gone are the heady days of Fuzzy dance parties and Frisky extravaganza's, but it's being owned by the Century Venues group (who also run The Enmore Theatre and The Factory venues in Sydney) means it still pulls good shows.

VENUE LAYOUT & BARS

As for the venue itself, it is my favourite to see gig's at by far. The massive flight of stairs upon entry gives you some much needed exercise before you fill yourself with intoxicants (try climbing those buggers with a hangover!), and the chandelier in the lush, red, theatre-themed foyer (as created by designer Brian Thompson) gives it an air of cabaret; burlesque even (FYI: the chandelier is plastic).

The ill-fated 'Lair' (aka Roma Room) has had more facelift's than Michael Jackson, rendering it hard to get a feel for. But it is now a permanent film set for the MTV Live show of the same name, which is probably for the best, as it's addition to the Metro's main room was akin to sticking a one story fibro house onto the side of Buckingham Palace.

The main room (see photo at top), however, is another story altogether. This room is by far the best place to see live music in Sydney - and I'm not saying that because I always got to stand on the backstage stairs above the dance floor. The stage isn't too big and neither is the dance floor, so if you are standing on the flat you're close and can always see. The remainder of the room is large tiered steps meaning you can always see from wherever you are, providing some vertically-blessed being doesn't stand in front of you. There's even a seated balcony to the left of the room should any of you injured, golden oldies or once-gig-a-year novices need to sit down. There's air conditioning, (usually) clean toilets, space to sit, drink, dance - what more could you ask for?

There are only 2 bars - one at the back of the main room, and a larger in the foyer - but as the venue is not massive in size it's usually quite easy to get liquified. The only thing it doesn't have is food, but it is situated on a fast food freeway, so when stumbling down the stairs post-show I dare you to ignore the neon calls of McDonalds, KFC, Hungry Jacks (aka Burger King), or even Ali Baba's.

TICKETING & SHOWS

All Century venues do their own ticketing, as well as sometimes going through Ticketmaster/Ticketek, so check listings for details. You can always buy tickets from The Metro website (www.metrotheatre.com.au) or over the phone on #9550 3666. But as always, be sure to opt for the 'print tickets at home' or postal option, as the ticket collection queues are always long no matter when you arrive.

As mentioned previously the Metro used to have a 24 hour license which meant all night dance-a-thon's were always on the agenda from the likes of Fuzzy, Jam and Frisky. The license has since been cut (thank you Mr Sartor) which means it's curfew is Midnight. But even before this happened The Metro played host to some of the most amazing acts of our time, especially considering it usually picks up most of the Big Day Out festival side shows. I saw more bands and DJ's at this venue than I could ever begin to remember, but some that spring to mind are:

BILLY BRAGG, COLDPLAY, AT THE DRIVE IN, CRYSTAL METHOD, THE WHITE STRIPES, PERRY FARRELL, FOO FIGHTERS, WILCO, XZIBIT, MIDNIGHT OIL, MUDHONEY, QUEENS OF THE STONEAGE, LOU REED, RONI SIZE, LTJ BUKEM, UGLY DUCKLING, JURASSIC 5, JET, CRAZY PENIS, SHANE McGOWAN, BETH ORTON, THE DONNAS, THE STRANGLERS, and so many more you wouldn't believe..

Needless to say The Metro is not only situated in, but IS the heart of music in the city of Sydney. It has had a rough trot in the past, getting caught up in corporate fumblings, administrators, bad management and clueless contractors. But none of these things will ever change the amazing memories and experiences the people of Sydney have had within it's walls. I guarantee most Sydney-siders have seen a show here, and I guarantee they all had a great time.

I can also guarantee that one day this venue will be taken back by those who truley own it and return it to it's former glory...