REVIEWS

DAVID BREWIS, JUNI HABEL @ THE CUSTOMS HOUSE, SOUTH SHIELDS (06.05.23)

Words: Ben Lowes-Smith

Juni Habel takes to the stage at The Customs House in a way that is endearingly modest, which suits her music perfectly, as we are about to discover. Hailing from Rakkestad, a rural satellite of Oslo, Habel writes beautifully succinct songs evocative of the likes of Judee Sill and Linda Perharcs. Performing songs from her album Carvings accompanied only by an acoustic guitar, her songs are beautiful, direct and unapologetically earnest. Wonderful.

Joined by a string quartet, saxophone, upright bass (and regular collaborators Peter Brewis and Sarah Hayes on drums and piano and flute, respectively) David Brewis has really pulled the stops out to do live justice to his lush and textured new record, The Soft Struggles. Complimenting this approach, the performance represents very egalitarian gestures, defined by warmth and openness. Upcoming songwriter Eve Cole is given a moment centre stage to showcase her wonderful writing talents and beautiful voice, and David’s new material, performed solely on acoustic instruments, was allowed to shine devoid of ego; the song is king, fittingly, as set highlights Start Over and Surface Noise are among some of David’s best ever songs. He’s onto something in this style of arrangement, and tonight we get it in the most generous form.

NEUE GRAFIK ENSEMBLE, VIPERTIME @ COBALT STUDIOS, NEWCASTLE (12.05.23)

Words: Lee Fisher

It’s heartening to rock up at Cobalt from time to time and find crowds really enjoying various flavours of modern jazz. In an era of identikit floaty vocalists and earnest stadium troubadours, seeing people immersing themselves in jazz is a buzz. That said, for every new jazz outfit pushing boundaries, there’s any number of outfits that are just a bit too ‘Gilles Peterson’. You know what I mean!

Thankfully, Vipertime aren’t very Peterson at all. This Leeds quartet are, as people are prone to say about such things, fire! Fronted by absurdly accomplished saxophonist Ben Powling (who’s in more outfits than a fashion week model), they have two drummers – the minimum for any really thrilling band, to be honest – and a bassist that really delivers. They trade in fiery bop, rhythmically powerful post-punk, ecstatic spiritual jazz and all sorts of other blessed flavours, and it just slams. There’s some Acoustic Ladyland in there, and some Pop Group, and the rhythms are taut and infectious. Vipertime are a good time.

Neue Grafik Ensemble weren’t my thing at all: clearly all accomplished players, it was way too Peterson for my tastes. Their pedigree is excellent – Neue Grafik an acclaimed hip-hop producer/DJ, the band has roots in the essential Total Refreshment Centre, the spiritual home of the current wave of new jazz acts – but it’s all a bit tasteful, a bit polite, a bit jazz-fusion. In short, a bit Peterson. You know what I mean.

STEVE MASON, WAX-TREE-CAST @ POP RECS LTD., SUNDERLAND (28.04.23)

Words: Ali Welford

Steve Mason’s recent North East outings have witnessed a gradual drift towards conventional rock set-ups, and with Wax-Tree-Cast as openers it initially seems we’re in for an extension of that trend. This isn’t to denigrate the Halifax power-trio, whose punchy power pop grows in potency the longer they’re onstage – recent single She and soaring closer Argue Like I Love You perhaps the most vivacious showcases of a rising outfit rich with crossover potential.

Ultimately, though, this impression is made to feel like a red herring –and few would argue it’s not a shift for the better. Much like new album Brothers & Sisters, the current tour finds Steve Mason as bold and creatively vibrant as he’s sounded in years – flanked by stirring additional vocalists Jayando Cole and Keshia Smith, together with Darren Morris on keys and Calie Hough handling percussion.

Recalling not only the vim of his early solo records, but also the adventurous spirit of his beloved work with The Beta Band, outstanding single No More epitomises this new lease of life, while anthemic standout The People Say puts a more familiar twist on the same theme, rejecting the politics of division via a vintage, climatic Mason chorus. Beta Band classic Meet Inner Me and King Biscuit Time’s I Walk the Earth are but ecstatic sidenotes, on an evening emblematic of an artist with whole lot left to say.

GOAT @ BOILER SHOP, NEWCASTLE (19.04.23)

Words: Cameron Wright

2012 gave us World Music, the debut album from Goat. Swirling guitars fuzz over hypnotic polyrhythms as shrill vocals yelp over the wave of psychedelic noise. The album was phenomenal, dragging together a surreal mix of international influence into one delicious melting pot, brimming with flavour and style.

Taking to the stage over a decade later, Goat cement their reputation as visionaries who have sustained a legacy of bright, colourful, unearthly hits. Promoting their recent album, Oh Death, the set launches into Soon You Die, which immediately sees the harsh tidal wave of sound pummel the audience into submission. As the night goes on, the tracks are stretched out and played with, as each of the masked musicians are locked in an elated state, bleeding grooves out and toying with each sound. From an audience perspective, each song became free terrain to lose yourself, as the improvised fireworks encouraged complete liberation.

The band radiate colour, freedom and expressionism, and this translated to the crowd perfectly, who fed off their enigmatic energy. As the two unnamed front women pranced across the stage, the performance felt otherworldly; the costumes, sounds and energy were thoroughly transportive, taking the crowd to their own personal nirvana, full of life, love and harmony.

CATHERINE YOUNG @ ALPHABETTI THEATRE, NEWCASTLE (06.05.23)

Words: Damian Robinson

Taking an interesting and unique approach to her stage show, there’s something very original about Catherine Young.

Using Alphabetti Theatre’s space and compactibility to her advantage, Young delivers Joybringer in the way that a punk band might if they played in a club-style venue; relentless, intense, but with the good grace to drop their performance facade from time to time in a knowing wink to the audience.

Focused on the importance of being mindful of your personal relationships, Young’s performance considers topics around the theme of joy; how do we interact with each other, how do those interactions impact us and others, and how can we lift people ‘up’ rather than bring them ‘down’?

Delivered with a welcoming style of friendliness, warmth and positivity, Young’s deepest quality is her ability to connect with an audience instantly and develop a ‘we’re friends having a conversation’ style of performance rather than an audience-and-performer style. Sharp, witty and with a nice edge at key moments, Joybringer is a well-crafted, well-delivered, show which owes as much to its performer as it does to its comedy scripting. Great stuff.

SONGS OF NORTHERN BRITAIN #9 @ THE GEORGIAN THEATRE/GREEN ROOM, STOCKTON (13.05.23)

Words: Tracy Hyman

The Songs of Northern Britain always brings hidden gems of musical talent to Teesside, and this one was no different. Whilst there are far too many great bands to mention, there were a few stand out performances.

Hector Gannet’s set is full of harmonies galore, rhythmic beats and guitar riffs painting the landscape. Drum sticks carefully beat a rhythm on the edge of the drums. Sonically climbing bit by bit, The Haven of St Aiden’s builds to a wall of noise, a crashing of cymbals, guitar riffs overlaying full drums as the might of the sea crashes down.

My biggest discovery of the day was the brilliant Glaswegian seven-piece The Joy Hotel. Their multi-genre rock has such an uplifting presence, full of energy and joy. They seamlessly switch between styles, going from 4/4 time to waltz in one song, and incorporate keyboard effects, sound clips and megaphone.

Across in the Green Room and it’s Ukrainian band Love ‘N’ Joy’s second visit to Teesside and their eagerly awaited third gig, uniting the room in support of Musicians Defend Ukraine. Once again, they bring their funky guitar, bass riffs and infectious psychedelic sound. It’s impossible not to nod and dance along.

Middlesbrough headliner Finn Forster brings his summery guitar pop songs and sing along choruses to The Georgian Theatre to finish the day on a high. A perfect way to end this latest instalment of Northern talent.

KOMPARRISON, ZELA, MOON WAX @ MIDDLESBROUGH TOWN HALL CRYPT (18.05.23)

Words: Steve Spithray

God knows Middlesbrough needs a regular new music night more than ever, so the inaugural BBC Introducing event at the Towns Hall’s oft overlooked Crypt was just the ticket. Hosted by BBC Tees’ Introducing presenter Shakk, and with the new mayor in attendance, Moon Wax opened proceedings with their unique blend of carefully cultured funk-driven indie. By bookending their set with Sleep Real Bad and High Wasted Genes, main support ZELA could be the UK’s best underground band, and there is enough in between from the brat-poppers’ more punky offerings like I Want Attention and next single I Really Like Her, to keep the touch paper lit.

With lead singer Kaitlyn desperately trying (and failing) to check herself out of hospital to make the show, it was left to Komparrison to wrap up the night as a four-piece with Elise doubling down on her vocal duties. However, seemingly undeterred despite feeling “like I’m missing me left tit”, Wake Up Call and Dancing With Demons (along with a few fanatics in the front row valiantly helping out with Kaitlyn’s parts) are given the pop punk treatment, while new single He Doesn’t Get It was another highlight in a shortened set. Nevertheless, the band finish up with a celebratory And Again (this time with more than a little help from a partisan crowd), showcasing Elise as a more than capable frontwoman. From the jaws of defeat, a triumph…

MEMORIALS, NANO KINO @ POP RECS LTD, SUNDERLAND (12.05.23)

Words: Ben Lowes-Smith

There’s a moment during tonight’s performances during which I feel profoundly emotional; perhaps because of the fact we are in Sunderland, once the cradle of modernity, and now the butt of so many jokes, and the defiant nature of what is happening on stage. Pop Recs really must be commended for cultivating one of the best venues in the region, and for attracting artists who may have otherwise skipped the North East altogether.

Nano Kino play a propulsive set of largely new material, Sarah Suri’s presence is captivating and commanding. Though not reinventing the wheel where frames of reference are concerned, it’s refreshing and exhilarating to see shades of shoegaze and C86 interpreted in such a joyous, uncynical way.

Memorials are something quite different altogether, and tonight something of a revelation. Comprised of Electrelane’s Verity Susman and It Hugs Back’s Matthew Simms, songs are packed with influences as diverse as Hailu Mergia, Can and Broadcast. Songs from their new double album Tramps! & Women Against The Bomb are packed with tasteful references to an entire universe’s worth of music, with Simms and Susman swapping between guitar, drums, saxophone and synthesisers to do their enormous musical imaginations justice. I leave with a lump in my throat.

FUTURE PROOF @ KU/THE SOCIAL ROOM, STOCKTON (28.04.23)

Words: Robert Nichols

Future Proof is a new showcase for exciting emerging national acts which also served to show off the revamped KU/Social Room, which bodes well for similar multi-stage events in the future.

Adult DVD kick started the event in absolutely storming fashion, with full-on synth attacks from the Leeds six-piece. Heavy rhythms and dance a la LED Sound System escaped from the (Sadman) Mancave, their latest release. Downstairs and piling on just as much energy but this time through guitars was another Leeds act, Eades; a garage band for the 21st Century, they switch through vocal attacks and there’s no let up in the velocity of their driving guitars. Catchy as hell. We take a step back from the frantic sounds in The Social Room, as Slaney Bay take a more measured psychedelic, alternative route. The crowd hushes for indie popsters Low Girl, who strip it all back to bring the lovely lilting voice of guitarist/bassist Sarah Cosgrove to the fore, resulting in a tender and poignant performance. South Arcade ramp it up again – the Oxford band have great stage presence, with big riffs and bounceability. While Pale Blue Eyes wrap everything up with a set of pure golden atmospheric and psychedelic mellowness; clotted cream dreamland from Devon.

There was a great atmosphere throughout, with the appreciative crowd supplemented by band members eager to watch the other acts on the bill. The future is in safe hands.

THE EARLY PURPLE, IMOGEN, ANNA HUGHES & JESSIE HOWARD @ WYLAM BREWERY, NEWCASTLE (04.05.23)

Words: Amy McGarahan

Northumbrian songwriter Matt Saxon’s project The Early Purple celebrated the release of their debut EP with a busy gig at Wylam Brewery. Ostensibly a solo writing project, Saxon was joined by a collection of talented musicians, making up the seven-person band that treated the audience to a night of indie folk music.

Early support came from folk duo Anna Hughes and Jessie Howard, whose set featured a box accordion, sweet harmonies and a sing-along element which captivated the audience. Pop singer IMOGEN filled the room by flitting effortlessly between delicate and powerful vocals, performing dark ballads backed by dynamic big band sounds. Despite their relative newness – with an acknowledgement that their first release Old Eagle came out almost a year ago to the day – the band played with the consummate skill you’d expect from such a well-regarded set of musicians, and they were clearly having a ball. Their indie folk Americana came across with delightful effect on songs such as Sea of Heavy and the harmonica-splashed The Way of the Sufi, while pastoral elements closer to home on Giant reminded me of a blooming summer’s garden due to its blossoming instrumentation which highlights the influence that Saxon found in the landscapes of Northumberland. Punchy, bold instrumentation stood out in songs such as EP title track Summer Hide, and captivating three-part harmonies featured throughout the night.

CINDY, SAINT DREAD, THE LAST PATH @ THE CUMBERLAND ARMS, NEWCASTLE (30.04.23)

Words: Elodie

A. Roy

Although San Franciscan band Cindy released their debut album in 2018 this is their first UK tour, coinciding with the release of album number four, Why Not Now?, released in April.

On the small stage of The Cumberland Arms they look stylish and strikingly remote, and the quintet’s sound, led by Karina Gill, resembles a languid, ghostly murmur. I like how the short songs – always finished before they’ve even really begun – sedately blend into one another. The band’s strength lies less in their individual compositions than in the atmosphere they create – in the frail promise of something more to come. There is a beautiful hesitancy about everything they do. For the encore, Gill stays alone on stage, singing and playing her slightly out of tune electric guitar – oblivious of the world around her. After the gig somebody tells me they wished the band were less distant. But Cindy, after all, embodies distance itself.

They were supported by local songwriter Saint Dread – whose faded songs remind me a bit of the Red House Painters – and slowcore trio The Last Path (fka Bad Amputee) who played with formidable intensity and were undoubtedly the only real event of the evening. Everything else was a dream.

ALDOUS HARDING, H. HAWKLINE @ SAGE GATESHEAD (22.04.23)

Words: Lee Hammond

Following the release of Warm Chris last year and the critical acclaim that followed it, there’s little wonder that there is a buzz of excitement filling Sage Gateshead this evening. Opening tonight is Harding’s partner and collaborator, H. Hawkline, who has his own inimitable style. Playing to a reel-to-reel backing track, his excitable brand of off-kilter pop goes down particularly well.

However, it’s Aldous Harding’s arrival that everyone is anticipating, as she makes her way out on to the stage and opens with Ennui, her signature glare is instantly evident. She barely says a word to the crowd in the first half of the set, instead staring out at the room as she moves a chair around between tracks. This prompts timorous laughter from the unnerved crowd.

The beauty of her voice well and truly makes up for it though, tracks like Warm Chris, Fixture Picture, Passion Babe and Old Peel all sound exceptional this evening. It’s an impressive set, in spite of the quirky silences between songs. There is a delicacy to this performance, surrounded by her band, Harding’s beautiful harmonies permeate the room. Her songs are captivating, holding you in their grasp. Whilst the oddities of her stage presence dominated initially, as the evening progressed it was Harding’s voice which really came into its own and succeeded in delivering a wonderful performance.