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Live Gig Video: Slaves play ‘The Hunter’ at Dalston Victoria

 
By on Wednesday, 10th December 2014 at 4:00 pm
 

Check out this live performance by raucous rock duo Slaves of their new single ‘The Hunter’, out the 12th of January 2015. The video is taken from their gig at Dalston Victoria on the 20th of November.

The band have two already sold out shows in Tunbridge Wells and Liverpool in February 2015, followed by their stint on the 2015 NME Awards Tour in February and March 2015.

[youtube]https://www.youtube.com/watch?v=iHXzb2Y1YSU[/youtube]

 

Live Review: Vance Joy with Jaymes Young at Marquee Theatre, Tempe, AZ – 24th November 2014

 
By on Tuesday, 2nd December 2014 at 2:00 pm
 

I think most live music aficionados would agree that the atmosphere of a venue has an effect on the overall gig experience. Normally, that effect is fairly moderate, either a pleasant surprise or a mild annoyance, but in the most extreme cases, venue staff and policies can truly make or break a show. I found out last Monday night that the Marquee Theatre in Tempe, Arizona, is one of those venues that could potentially go either way, even in the course of a single show. In this case, the gig in question featured Australian hit maker Vance Joy, supported by American blues rocker Jaymes Young. Originally scheduled for the more intimate Crescent Ballroom in Phoenix (where I saw The Antlers back in July), the show was upgraded to the larger Marquee Theatre due to the blossoming popularity of Joy’s recent debut album ‘Dream Your Life Away’.

The Marquee Theatre is located just outside of downtown Tempe, itself a suburb of Phoenix. This just-outside-of-downtown location is somewhat inconvenient, as the venue is nestled into an awkward spot at the intersection of the Salt River, the Tempe Light Rail, the Red Mountain Freeway and main downtown thoroughfare Mill Avenue. The Marquee does offer a limited amount of on-site parking, but because I had to make the two-hour drive from Tucson, I didn’t arrive anywhere near early enough to take advantage of it for this sold-out show. Parking and walking back to the venue took close to half an hour, and I passed no fewer than three ticket scalpers as I traversed the three blocks. Once I arrived, I stood in three different lines before entering the building. The first was for a bag search (my packet of gum was confiscated because the venue has just installed new flooring) and a body pat down (no, that’s not a joke). In the second line, I was asked for ID to confirm my age (which apparently has no bearing on my ability to control chewing gum). I then entered the third line to have my ticket scanned and only to discover that, though the venue offered electronic tickets, the staff were unable to scan the QR code on my smartphone. After the slightly annoying delay of having the code manually entered by the unfailingly polite entrance staff, I walked into the venue just as Jaymes Young strummed the first chords of ‘Habits of My Heart’ on his electric guitar.

[youtube]https://www.youtube.com/watch?v=CDJOP16yNdY[/youtube]

Despite my tardy arrival, I was able to find a spot with a good view, even from the back of the room. One nice thing about the Marquee Theatre is its excellent sight lines and another major plus for the venue is the surprisingly clear quality of the acoustics. I was able to see and hear remarkably well from my place just in front of the sound station. (Unfortunately, my smartphone photos don’t do the sight lines any justice. A new camera is on my holiday wish list!) I can’t speak for what might have gone on nearer to the stage, but in the back of the room, my fellow gig-goers were easygoing and mellow, not at all bothered to push and shove for better position, as there was really no need.

Jaymes Young at Marquee Theatre 24 Nov 2014

The stage and sound set up at the Marquee were definitely favorable for opening act Jaymes Young. He and his two bandmates were able to play a their 7-song set with the benefit of full sound and lighting, which probably kept his r&b-flavoured alt-rock from becoming mere background music for the multitudes of Vance Joy fans. Judging from the occasional squeals and shouts from the crowd, Young had a fair few dedicated fans at the Marquee, and his cover of John Mayer’s ‘I Don’t Trust Myself (With Loving You)’ was a particular favourite. Young and his mates were adept and personable on stage, but their original songs didn’t strike me as particularly special, especially after my recent exposure to English singer/songwriter James Bay. Bay and Young occupy similar niches in the blues rock troubadour market, but Young’s lyrics and vocals pale slightly in the comparison, as does his grey fedora alongside Bay’s trademark floppy headwear. Nevertheless, a quick post-concert listen on Spotify revealed that there might be more to Young’s songwriting than meets the eye (or ear?), and he is now officially on my radar.

Jaymes Young at Marquee Theatre 24 Nov 14

After the brief stage break, Vance Joy’s entrance was surprisingly understated if not actually anti-climactic. He met the enthusiastic applause of the audience with a rather shy smile as he launched into ‘Emmylou’ from his 2013 EP ‘God Loves You When You’re Dancing’. It was an interesting opening choice, as the track doesn’t appear on his hugely successful current LP, but Joy seemed intent on teasing his audience, making us wait to the very end for the songs we already knew and loved.

Vance Joy on the big screen at Marquee Theatre

For the meantime, Joy created a seamless if predictable set list, including 9 of the 13 tracks on ‘Dream Your Life Away’. I was especially pleased to hear ‘Georgia’, which is my personal favorite from the album, while older track ‘Snaggletooth’ garnered nostalgic applause from the members of the audience who were more familiar with Joy’s back catalogue. Joy and his bandmates played a tight, well-rehearsed set, which is to be expected as they near the end of their North American tour, but while the songs themselves were exquisitely performed, they did suffer from a slight lack of spontaneity. Joy himself was reserved on stage, keeping the between-songs conversation to a minimum and for the most part seeming content to stand behind the mic stand and sing. Aside from his guitar and ukulele playing, Joy’s stage movement consisted mostly of marching in place to the more upbeat numbers on the set list. For my money, Joy might do well to let this rather endearing quirk grow into a more natural stage presence to match the relaxed momentum of his music.

Vance Joy with ukulele at Marquee Theatre

Joy did noticeably relax when he started the intro to ‘Riptide’, which received an enormous wave of applause. The energy of the well-known radio hit might have benefited Joy earlier on in the show, as the subdued audience suddenly burst into lively dancing and singing along, and I finally shook off my crankiness about the evening’s earlier events. Joy received a similarly enthusiastic response to current American radio single ‘Mess is Mine’, which closed the set proper. I wondered at that point if Joy would be able to pull off an encore, but there he proved that he had at least one surprise up his sleeve. After an appropriate interval off stage, he and his bandmates reappeared to perform a charming extended version of Ben E. King’s ‘Stand By Me’, with an energetic reprise of ‘Riptide’ in the instrumental bridge.

[youtube]http://youtu.be/uJ_1HMAGb4k[/youtube]

Vance Joy will have plenty of opportunity to polish his onstage manner in the coming months. He will be on tour in America through mid-December before making a run of Australian dates early next year, and he has recently announced a summer 2015 tour of North America in support of Taylor Swift. A complete list of live dates can be found on Joy’s official Web site.

After the cut: Jaymes Young and Vance Joy’s set lists.
Continue reading Live Review: Vance Joy with Jaymes Young at Marquee Theatre, Tempe, AZ – 24th November 2014

 

Live Gig Video: Los Campesinos! play ‘Avocado, Baby’ at Birmingham Flapper on Dr. Martens’ #STANDFORSOMETHING Tour

 
By on Friday, 28th November 2014 at 4:00 pm
 

Last Saturday, off-kilter Cardiff-based indie pop band Los Campesinos! stopped in at the Flapper in Birmingham as part of the second to last date on the current Dr. Martens #STANDFORSOMETHING tour. Here they are performing ‘Avocado, Baby’, off their 2013 album ‘No Blues’. Thankfully, the Haim sisters were nowhere near the place, allowing frontman Gareth to concentrate on the performance at hand. Watch below.

The last date on the #STANDFORSOMETHING tour – starring Sydney group Tonight Alive – takes place tomorrow, the 29th of November, at Newcastle Cluny 2. To read further coverage of the band on TGTF, head this way.

[youtube]https://www.youtube.com/watch?v=fWE-VfdbxbQ[/youtube]

 

Live Review: The Wytches at DC9, Washington DC – 20th November 2014

 
By on Monday, 24th November 2014 at 2:00 pm
 

“Hypnotic. Arabian funeral. Depression in the desert. Sepia rainbows.

“This is the psychedelic nightmare spun by The Wytches, who are spreading their subversive message across the UK in the dark guide of SOS surf riffs, desert riffs, melancholic shuffles and a kaleidoscopic stage performance that will put you under.”

This was the description on the DC9 Web site of Thursday evening’s headliner the Wytches. Quite accurate, I reckon: there is a dark and dangerous undercurrent of subversion to the music of the Brighton-based trio, which initially sounded strange to me, given that they live by the beautiful southern coastline of England. However, I learned on the night that two of their band members are originally from Peterborough; I’ll have to ask our John what the deal is with that place and if it informs the pervading doom and gloom of their sound. But that is neither here nor there: what is far more important to note is that despite my initial impression of the tracks of theirs I heard online and thinking, “is that all?”, the live performance of the Wytches is an interesting, beguiling mixture of swirly guitar and powerful bass and drum beats, delivered with animalistic, raw vocals, and money spent on a ticket to see this band will be worth every last penny.

Further, anyone who has listened to their music before knows of the muscle and raucousness of the group’s sound, but what you will find when experiencing them live is the nuances of brilliant songwriting that might not be immediately apparent to the untrained ear. That is, there is method to this madness. They can write and play a good song, as well as give good show. Isn’t it a truly sad development of popular music that these three things are all too often mutually exclusive these days?

I found myself easily and entirely willingly drawn into the Eastern-tinged melodies of the band, most always delivered alongside a punishing rhythm section. There were moments where I could not help but smile to myself, thinking about my younger years when I thought Led Zeppelin’s ‘Kashmir’ was a pretty cool tune. I’m happy to say that the kind of vibe managed by Led Zeppelin on ‘Physical Graffiti’ has not only been inspirational to a younger generation of musicians, the vibe is been continued. And stretched, modified and improved on.

Past singles ‘Wire Frame Mattress’ and ‘Burn Out the Bruise’ are noteworthy for the anguished screams of guitarist/frontman Kristian Bell and its entirely headbanging-inducing thunder well appreciated by the crowd assembled in Washington. The seductive rhythm of ‘Robe for Juda’, probably better known to most readers of TGTF for its extremely low-budget video, doesn’t fail to bring rapture to tonight’s audience, is a standout at this show too, along with debut single ‘Digsaw’. All the while, you can only be mesmerised by what is enfolding in front of your very eyes: three young men, clearly skilled with their weapon of choice, giving their all and ostensibly, if you pay close attention to the lyrics, giving life what for when it comes to the suffering of relationship-based angst.

‘Weights and Ties’ provides a superb counterpoint, showing the band’s more surf pop, softer side. See, they can play their instruments without pummeling them to death. ‘Wide at Midnight’, characterised by a slower tempo than most of the Wytches’ debut album ‘Annabel Dream Reader’, is another indicator that there is far more here than just loud guitars, loud drumming and wailing. Both tell me that there is still plenty of mileage in the ethos this trio are peddling. More, please.

You might be in luck to catch the band live next week after they return from the States; all the details of their last dates in 2014 are this way.

 

Sinkane / November and December 2014 English/Irish Tour

 
By on Wednesday, 19th November 2014 at 8:00 am
 

Soulful solo artist Sinkane has just begun a brief winter tour of England and Ireland, which will include a show at London’s Oslo on the 1st of December. His current album ‘Mean Love’ is out now on City Slang, and its London launch party saw queues out the door back in September. If you’re quick, you can still catch one of the following live dates; tickets are available now.

Tuesday 18th November 2014 – Bristol Start the Bus
Wednesday 19th November 2014 – Manchester Deaf Institute
Thursday 20th November 2014 – Coventry Tin Angel
Monday 1st December 2014 – London Oslo
Tuesday 2nd December 2014 – Leeds Belgrave Music Hall
Wednesday 3rd December 2014 – Dublin Opium Rooms

 

Live Gig Video: Paul Noonan and wife Amy perform Printer Clips’ charity single ‘Hole in Her Heart’ on The Late Late Show

 
By on Tuesday, 18th November 2014 at 4:00 pm
 

Bell X1‘s Paul Noonan, who has been recording with his musician friends under the solo project title Printer Clips, has released a brand new duet with his with Amy Van Den Broek. This time though, it’s for a very worthy cause and comes directly as a result from their own experience. The couple’s daughter Aislinn was hospitalised at Our Lady’s Children’s Hospital, Crumlin, Ireland’s largest paediatric hospital, when she was only a few days old. Noonan says these words about the experience:

“When our little girl Aislinn was 9 days old we took her to Crumlin hospital as she had been in pain and in distress for long enough, and we didn’t know what else to do. Turns out she had a bad intestinal infection, and there she stayed for 3 weeks, in the aptly named Nazareth ward.

One of the tests at the time showed that she has a hole in her heart – I remember staring at the screen, watching the tiny hole open and close with her heartbeat, winking at me…

We were really taken aback by the love and tender care she received in Crumlin, and would like to do something for them in return.

So, I’ve written a song called ‘Hole in Her Heart’, and recorded it with Aislinn’s mama Amy.

We’d like to put it out there to raise some money and possibly more importantly awareness of the fact that Crumlin still needs our help in taking care of our kids when they get sick”.

All the proceeds of the single will go directly to Our Lady’s Children’s Hospital Crumlin. It can be purchased from iTunes or as a special Christmas card here. Noonan and Van Den Broek performed a moving rendition of the song last Friday on RTE’s The Late Late Show, and you can watch it below.

[youtube]https://www.youtube.com/watch?v=mZlUMvdjslI[/youtube]

 
 
 

About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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