DONCOPOLITAN MUSIC & GIG GUIDE
Bang Bang Romeo Diamond Live Lounge - 18th July Let’s follow “the Hall” to the 1960s, where
the electric, distorted blues sounds of Fredric Lincoln Wray created a lead guitar style which defined the era, and the time beyond. It seems that BBR have come back with us, as they possess a definite manifestation of Link’s 60s sound. At a time when the charts are dominated by a 90s pop and dance music revival, BBR are a much-needed injection of power chords from the past, and all-round epicness that defies chronology. OK, now fast-forward. Shift time to Friday 18th July. Press play. Let’s see what went down that night... BBR strode out with lead guitarist Ross Cameron’s instantly recognizable Wrayinspired intro to ‘Carnival’, the song that flung BBR onto the national scene and earned them Radio 1 airplay. Featuring the commanding presence and powerful vocals of frontwoman Anastasia Walker, ‘Carnival’ was followed by the darkly possessive ‘You Know You’re Mine’, glimmering with memories of Janis Joplin. Joel Phillips powered the bassline to ‘Johanesburg’, a song with that early James Bond soundtrack quality. The polished drum sounds of Richard Gartland, and yet more of Anastasia’s stunning vocals, in catchy, hook-laden choruses, framed these tracks perfectly. By this time, the audience had crowded to the front, dancing to ‘The Manes’, ‘Bones’ and “Rebellion”. Then came another power surge, with ‘Reach Out’ and its 60s Mamas and Papas influences. BBR finished on ‘Chemical’, all layered, anthemic vocals and more of that soaring Wray-inspired lead guitar. We can’t really stop time, so don’t waste any. BBR are incredible live. Don’t hesitate. Just be at their next show. Their new single, ‘Revolver’, is out now on Google Play and iTunes, sounding just as good post-gig. Buy it and support some local stars. Ian Walker (The Last Politician)
20
Orchestra RUFFANTI
Fluidity
Album Review
Q: How exactly do you launch the new single of an up-and-coming local band?
As a radio presenter I get inundated with new music. It’s a double edged sword. I’ll often sit listening to some cacophony wondering who in their right mind thought this noise was in any way listenable. Thankfully I also receive some gems. Allegro Vanden Plas is just such a gem. And then some. To quote the band, ‘A selection of original songs, lost treasures and re-imagined folk-pop hits’. Orchestra Ruffanti are a group of 14 musicians as diverse as they are talented. With a host of original songs plus covers ranging from Gloria Jones to The Blockheads to Brigitte Bardot to T-Rex to Edith Piaf, Allegro Vanden Plas is an amazing soundtrack to the summer. And don’t let the word “covers” put you off. Any band that can stamp their own mark on a cover are always worth a listen. Take opening track ‘Tainted Love’. Originally performed by Gloria Jones, it is now synonymous with Soft Cell, but Ruffanti have reinvented it as a smoky backroom latin-jazz classic. In an ideal world the afternoon would be spent in a garden, eating and drinking, with the sun shining, accompanied by Orchestre Ruffanti. Not with a barbecue and a six pack but in the garden of a stately home, eating triangular shaped sandwiches and drinking Pimms. The night would end with the group playing in an exclusive back-street bar with a 1950s dress code, a liberal attitude to smoking and compulsory dancing. I can’t recommend this album highly enough. Every song is priceless. Simon Sayner
Hallcross - 19th July
A: By throwing a party at a brand new venue in town, The Hallcross, and having yet more fresh local acts as support (Dom Major and Ginger Tom)! The band in question, Fluidity, are a native group that have been gigging extensively over the past year, racking up 100+ gigs in their first twelve months of existence alone. The launch party was in aid of their new song, ‘Take Me Home’ - and what a way to go. Having used the single to kick off playing to a packed room of their close friends and fans, they stormed through a solid and battle-worn set perfected after a year’s graft. The crowd, warmed and lubricated by the opening acts (and a hefty amount of alcohol), took Fluidity to their hearts, even singing along to songs they were hearing for the first time. When the band tried to exit the stage, there were demands for more. Fluidity obliged, smashing through the sweaty encore and ending in a delirious fuzz of feedback and exhaustion. Catch them at the next gig. This band are something special indeed. Kane Mark