The Cribs, ULU, 28 February 2012

This is The Cribs’ first headline show in London since 2010, and since ex-Smiths guitarist Johnny Marr left the band.

The three Wakefield brothers are back on their own, and by the sound of new track Chi Town, they’re back to making the shouty, distortion-filled indie their fans first fell for. Performing tonight at the University of London’s SU, they’re bringing intimacy back to their gigs.

The effective cafeteria-with-a-stage is packed with groups of lads drinking all the beer they can and chanting their favourite Cribs riffs at the top of their voices. They’ve been waiting for this night for a long time.

Finally, the lights fade and the band emerges sporting a fresh trio of bad haircuts and scruffy T-shirts – their trademark look.

No time is wasted before they launch into Chi Town, and all hell breaks loose in the crowd. They push, shove and scream the words as lead singer Ryan Jarman pushes his voice to the limit. The room is alight with pure energy.

The buzz remains for two more tracks, Cheat On Me and I’m A Realist. Scarcely 10 minutes into the gig and sweat is already hanging in the air.

But then Ryan announces they’re about to play a new one, promising: “It’s better than all that old stuff” in a broad Yorkshire accent. The audience is still, respectful, paying attention. The new sound is loud and ferocious, and gets as good a reaction as can be expected when no one’s heard it before.

Five more minutes of sweaty madness and two beloved old favourites later, the room goes quiet again. A look of concentration sweeps the crowd as people try to figure out what they’re playing. It’s another new one – slower this time, but still noisy. There is a sense of hope in the atmosphere that this will be the last unheard song the fans will have to endure. They want hits. They want nostalgia.

And they get it, up to a point. Classic Cribs tracks Hey Scenesters! and Another Number go down a treat, even if the energy is beginning to wane down the front. They’re brilliant songs – so well-known that the band can let the crowd sing for them.

But there is more new material to come and, good as it probably is with a few more listens, there is a feeling of restlessness amongst the punters.

“We’ve got two more. We still don’t do encores,” announces Ryan, cuing a brilliant rendition of Our Bovine Public which will be responsible for many an aching limb in the morning. By this point ULU has become the world’s most action-packed sauna.

Ryan keeps to his word: there is no encore. Hard to believe as it is, they end it on the relatively slow album track that is The City Of Bugs. There was no Mirror Kissers and no Martell.

Some of the crowd favourites may be falling by the wayside, but The Cribs have proven they can still put on a thundering good show. And by the time they’re back in London in May, a dedicated fanbase like this will no doubt have learned every word to those new tracks.

By Sophie Armour

Hoodlums, The Wilmington Arms, 9 February 2012

Hoodlums are getting big. The snow may be pelting down tonight, but a dedicated crowd has traipsed to this somewhat off the beaten track venue regardless. Outside temperatures are dropping below freezing, but inside things are heating up. The place is rammed.

Kicking off with The Great Outsiders, Hoodlums begin to prove their propensity for grasping the attentions of even the most cramped, restless and rowdy audience. Lead singer Lou Vainglorious is in his element on stage and wastes no time before leaning far beyond the monitors to force his heavily-drinking fans to get involved.

Hoodlums’ songs are of the type that simply doesn’t allow the sad and serious faces so often seen in London’s music venues, as the joyous melody of romcom-worthy Not A Love Song lights up the room, inciting excited bouts of dancing.

The tone is brought down slightly with the lesser-known new single Dark Horses (for which tonight’s show is the launch), but its pounding drums have plenty of feet tapping, from those squashed against the stage, to those doing shots of black sambuca at the bar.

It’s safe to say this band has got a whole lot of hits up its sleeve.

Demand sees Hoodlums prevented from even leaving the stage before performing an encore including stand-out track Forget A Friend. With its warm, upbeat and catchy choruses, anyone would think we were in the middle of summer.

By Sophie Armour

Challenging the New World Order with Magical but Inadequate Weapons, The Old Police Station, 27 January 2012

Challenging the New World Order with Magical but Inadequate Weapons: a tall order for an art exhibition. But in the setting of Deptford’s Old Police Station, a symbol of perhaps faded authority, something magical is indeed happening.

It is the evening of the show’s private view and as early as 8pm engaging and entertaining work is already being unveiled in the form of Squeed. Tonight is the world premiere of the film by Chelsea College of Art and Design students Jake Caleb and Mario D’Agostino, built around the satirical concept of a future where squid, as the only living organism to have survived the selling off of all farmland to supermarkets and the destruction of all other sea creatures with a ‘miracle super bait’, is traded as currency. Featuring unpleasant shots of talking squid, hilarious numbers of squid-based puns and a car bomb, it has everyone who can squeeze into this small and crowded space captivated and in stitches.

Next up the filmmakers perform as Dr Peabody, a three-piece band who sing hysterically witty songs about an alien race of Gold People who exchange gold for cash, banker pubs, and film director Michael Bay. The band grow in confidence as their danceable bass lines, catchy lyrics and quirky observational humour have the crowd grinning with enjoyment.

Performances tonight are non-stop, with a butt naked Josefine Arnell soon taking over one of the art-filled prison cells to cover herself in purple paint and use her body as a human stamp to create somewhat engrossing prints.

In the rest of the cells is the bulk of the exhibition, which runs until 11 February. Much of the work plays on the imprisoned environment as images of holiday destinations adorn benches, colourful streamers rain down through doorways and beautifully intricate drawings of woodland creatures decorate a dirty old sink and hand dryer. Scattered around on windowsills are graphic business cards detailing the username and password for the show’s blog, presenting visitors with a tempting opportunity to either create or destroy after they leave.

The show is packed, and squeezing past fascinated members of the public to navigate the narrow corridors and doorways is all part of the fun.

Later a man in a skeleton costume graces the area demarcated as ‘stage’, singing as part of Little Tiger. The band catch the audience’s attention with an intro of sex noises panted into the microphone, before launching into a technically proficient and well-performed set of melodic pop songs which, in the wake of the hilarity of Dr Peabody, are disappointingly serious.

Little Tiger might be the more professional act, but they feel slightly at odds with such an eclectic and forward-thinking night of largely politically aware art. But that a man in a skeleton costume singing about Tina Turner is the most ordinary element of this show speaks volumes.

Chelsea art collective SALT and friends may have set themselves an ambitious task, but in this little corner of south-east London at least, the New World Order has definitely been Challenged.

By Sophie Armour

Standard London Evening’s Gigs of the Year 2011

Every other website and publication did their ‘best of the year’ lists about a month ago, but my last gig of 2011 was last night, so it only seemed fair to wait until all the cards were on the table before making any decisions.

Here are my top 15 performances of the year (I couldn’t shave it down to just 10). These are the ones I was genuinely blown away by, and which still stand out in my mind as amazing nights. To put them in order was virtually impossible. You can click on those we reviewed to find out my thoughts from the time, and those we didn’t have notes alongside them to give an indication of why they were included.

15. Friendly Fires, Brixton Academy

14. Bombay Bicycle Club, Barfly
(According to my Facebook status, “Very intimate, very sweaty Bombay Bicycle Club gig at the Barfly. Really rather wonderful.”)

13. Foals, Warehouse Project

12. The Chemical Brothers, Glastonbury
(Amazing light show, amazing tunes, and a massive crowd all having the time of their lives. And this picture:)

11. The Cast Of Cheers, Old Blue Last

10. White Denim, Wheelbarrow

9. Spector, Barfly

8. Alt-J, The Victoria

7. Blackout: Anonymous artists play in pitch black, The Apiary
(And this amusing tweet: “This is the weirdest fucking night of my life. Expect a very weird review tomorrow…” Lots of love to our favourite promoters, Eat Your Own Ears.)

6. Money, The Castle Hotel
(A performance which, in one fell swoop, made them my second favourite  new band of 2011. Sort of review here.)

5. Trophy Wife, Wheelbarrow

4. Pulp, Brixton Academy
(Facebook status said: “But then tomorrow morning, ooh do you come down. Thus ends a week of Pulp.” I saw them three times in one week. The last show was the best, but every time they blew everyone away, and every show was uniquely captivating.)

3. Beyonce, Glastonbury
(Absolutely brilliant. She’s a real entertainer. Great dancers, great lights, great fireworks, great voice, great songs, great atmosphere. Everyone was happy.)

2. Spector, Electric Ballroom (I know Spector are in here twice, but there is a reason I saw them six times this year.)

1. The Strokes, Leeds Festival
(This was just one of the most fun experiences of my life. I’ve been in love with The Strokes since I first discovered indie music as a youngster, but until this grey day in August I had never seen them live. They played everything you wanted them to. I jumped up and down like an excited three-year-old throughout the entire set, and shouted every word. I lost my phone that day, but I couldn’t care less. I was on cloud nine.)

Disclaimer: This list is based solely on the gigs our editor, Sophie Armour, went to this year. We’re sure plenty of other fantastic gigs happened, but we weren’t there, so we don’t know. Feel free to enlighten us.

Friendly Fires, Brixton Academy, 25 November 2011

Following the release of what is rightly deemed as one of the albums of the year by virtually everyone who has heard it, high expectations are riding on Friendly Fires’ performance at Brixton Academy tonight.

Support act SBTRKT’s debut album has received similar praise, and a buzz of excitement grasps the room as two masked figures step onto the stage.

Their musicianship is impressive as both Aaron Jerome (SBTRKT) and collaborator Sampha prove themselves as outstanding percussionists, delving into carnival-style rhythms that go down a treat with Friendly Fires’ samba-loving fans. And alongside the beats Sampha’s stunning vocals are delivered with a grippingly soulful passion.

The audience is split: roughly half are singing and dancing along, already familiar with SBTRKT’s standout dub-pop sound, while the rest nod their heads, fast being won over by their infectious tunes.

In this cruelly cut-length preview of a set giant hits like Pharaohs are missed off, leaving new listeners unaware of the true scope of their brilliance, but ending it on Wildfire has no doubt teased many into investigating SBTRKT further.

As this huge room fills and a stunning drum kit donning the famous parrot artwork of Pala is revealed, a sense of giddy excitement is building. The audience is itching to move their feet.

Finally, the giant Pala album cover which served as a backdrop for SBTRKT is lifted, revealing a slow-motion video of the parrot in flight. If it wasn’t obvious already, Friendly Fires’ stunning album artwork is now confirmed as the definite theme of the evening.

Greeted with an enormous cheer, Friendly Fires and their accompanying brass band launch into a set comprised of a perfect balance of old and new tracks which showcases the consistent greatness of their music.

Youngsters at the front donning copycat Hawaiian shirts attempt to imitate frontman Ed Macfarlane’s unrivalled dance moves as the Academy succumbs to a rare bout of hip-shaking, instead of the pushing and shoving that takes over your average indie gig.

But tonight is far from average. Right from the start, this is more than a gig: this is a show.

Towards the end of crowd favourite Jump In The Pool, four dancers dressed as (you guessed it) parrots meander their way to the front of the stage, stopping the young dancing boys dead in their tracks. Everyone stops and stares, hypnotised for the rest of this rhythm-fuelled percussive breakdown by the beautiful, jewelled-bikini-clad women who look like they’ve got lost on their way to the Rio Carnival. It is fantastic – a rare treat for the people on the balcony, who have the space to take in the full spectacle.

As the show goes on not only are audience members treated to passionate renditions of new tracks like Blue Cassette, whose dramatic riffs deafen the room, and old favourites like Skeleton Boy, almost all of which end in percussion-fuelled dance-offs, but the focus on the visuals remains.

By the end, Brixton Academy has witnessed a series of uniquely spectacular light shows, the reappearance of the dancers in hula gear for Hawaiian Air, and thrilling blasts of confetti so vast the street outside is later littered with it.

Still pumped with the adrenalin of a night of non-stop dancing, the fans leave uplifted: everyone appears to be on a high. Friendly Fires took our high expectations and blasted them with confetti. And with an energy like that, this band is unstoppable.

By Sophie Armour

Arctic Monkeys, O2 Arena, 29 October 2011

Five years ago, Arctic Monkeys live at the O2 Arena would have sounded bonkers to these four mates from Sheffield who were working on what is arguably the most important British debut of the last decade. Six years later, Whatever People Say I am, That’s What I’m Not is probably still the best, most-beloved and highest-rated record of their career.

Arctic Monkeys’ two sold out night-stint at the O2 Arena divides opinions. Their audience has grown exponentially and their sound has changed from indie rock to American-influenced rock’n’roll, but on the we can’t forget why these four cheeky Northerners have become who they are now.

Their tongue-in-cheek tales of rejection, arguments with bouncers and shyness on the dance floor made sense in a small venue full of sweaty teenagers, but are they still relevant in such big arenas? It seems Arctic Monkeys have decided to leave their old tunes behind in favour of rock’n’roll stardom.

First on stage were The Vaccines, who clearly enjoyed their half hour slot in front of a happy and energetic crowd. No longer ‘the next big thing’, The Vaccines will soon play Brixton Academy, and have tonight been given a taste of how it feels to play to a massive audience.

From 9pm all eyes were on Alex, Matt, Jamie and Nick who started their show with Don’t Sit Down Cause I’ve Moved Your Chair.

Their massive new sound could even be heard on old tracks like Teddy Picker and View From The Afternoon, as if Arctic Monkeys were naturally born as a British Queens Of The Stone Age, rather than diffident indie rock punksters.

Musically, the rockier their gig was (Alex Turner’s leather jacket and James Dean quiff for instance) the more something else was missing: the cheeky yet timid character of their first two records. Whereas songs like Mardy Bum, When The Sun Goes Down and Fluorescent Adolescent were heroically received, new songs such as The Hellcat Spangled Shalala or Suck It And See, despite their quality, have no real wow factor.

A highlight of this perfectly-played show was Miles Kane’s surprise cameo for one of Arctic Monkeys’ best songs, 505. The fact that Arctic Monkeys are still opting for an oldie to close their show could well signal a slightly nostalgic and emotional attitude to their previous albums.

Arctic Monkeys clearly deserve to play arenas and stadiums. Their career is quite unique in a music business which sees most bands fail to impress after their sophomore albums.

They are not teenagers anymore. They collaborate with Josh Homme and are trying to step beyond their indie roots. However, fans of the first hour who fell in love with their sincerity and clumsiness may find hard to cope with their new image.

Arctic Monkeys’ creativity, masterful lyrics and youthful inexperience made indie rock commercially successful. Now they are proper rockstars with a sound not far from that of stadium rock bands. Their success has cost them the intimacy they once had with their audience.

By Silvia Rucchin

Mona, Shepherds Bush Empire, 28 October 2011

Mona’s career sounds like a fairy tale. Both hailed and mocked as the New Kings Of Leon thanks to their rough and honest rock’n’roll made in Nashville, in less than a year Mona have progressed from being one of MTV’s Brand New for 2011 Acts selling out such important venues as Shepherds Bush Empire.

They are a band whose potential is so immense and whose confidence so ridiculously big that they make this date in West London not only one of the hottest tickets of the season, but a definite ‘I was there’ moment. The gig was perfect, the crowd enthusiastic and the band technically impeccable.

Singer Nick Brown’s voice was so powerful and intense that it could be considered the highlight of the show.

So far Mona have released only a self-titled  debut and a bunch of demos, which is why their performance didn’t start until 9.45pm. However their rock’n’roll show offered a little bit of everything, from brand new songs  to tease the crowd to a proper Johnny Cash tribute and a breathtaking cover of Zombies by The Cranberries.

And in between songs were Nick Brown’s tales of sweat, tears and pride at how he had once passed through this very venue and promised himself he would play here one day.

But ultimately we’ve got the songs: anthems this audience of people who suffer, swear, make mistakes and fight for their right to love and be loved can relate to. The outstanding acoustic version of Trouble on The Way is sung in unison by a hyperactive crowd – just one of a raft of simple rock songs which tonight sound massive. Others like Listen To Your Love and the final Lean Into The Fall are already instant classics.

A review should be objective and as impartial as possible, but it’s hard not to be carried away by these debutants after what is undoubtedly one of the best shows of their career so far.

No matter how intricate and painful your relationship is, or how angry with the whole world you are, next time save some quid to see  Mona. You won’t be happier or relieved, but you will have someone on your side.

By SiIvia Rucchin

Real Fur, Servant Jazz Quarters, 25 October 2011

Tonight Real Fur are having a party. Their second single, The Fool, is released in six days, and they’re itching to get it out.

And they could hardly have picked a more intimate venue. In the basement of Dalston’s Servant Jazz Quarters a particularly well-dressed crowd of fans standing virtually nose-to-nose with the band, who couldn’t seem more relaxed about the situation.

Real Fur power through a short but captivating set that sees the audience gradually loosen up until one particularly enthusiastic group of fans is dancing like this is their all-time favourite band.

But what’s really fascinating here is how they gel. Each member plays something completely different from the next – their own unique and complex rhythm – and yet it comes together as if it’s all part of the same simultaneous thought process. They simply couldn’t be tighter.

The one glitch in the performance comes from the keyboardist who, while he plays magnificently, looks almost bored at being here. However it is soon revealed that this is the first gig he’s played with Real Fur, so we’ll put it down to nerves. Judging by the fluency of his playing so soon after joining the band, behind the cool exterior lies quite a prodigy.

In predictable, but highly desirable, fashion, they end it with The Fool. Surprisingly it doesn’t get the biggest reaction of the night, after a set that was bursting with hits, but they leave an audience who cannot wait for more.

By Sophie Armour

Glasvegas, Koko, 24 October 2011

You know you are part of a Glasvegas live show if you cry all your tears on over-epic rock tunes and if you manage to understand James Allan’s Scottish sense of humour.

More than just a Euphoric/// Heartbreak \\\ tour, the Glaswegian quartet left plenty of space for all those old beloved tunes. But what tunes.

Starting the show by playing the first three tracks taken from their self-titled debut in order, Flowers & Football Tops, Geraldine, It’s My Own Cheating Heart That Makes Me Cry, Glasvegas tease the crowd straight away. Needless to say, the three tracks together create the kind of masterpiece only a truly talented band is capable of.

Offering B-side tracks like Fuck You, It’s Over and Please Come Back Home in the middle of the set, the band make clear their debut is a gem that can’t be forgotten. Yes, their sophomore Euphoric/// Heartbreak\\\ is a more mature, complex and sumptuously arranged record – as testified by tonight’s sing-along to Lots Sometimes – but there’s something in the debut that still creates an outstanding and incomparable atmosphere.

That something might be called inspiration. Rarely have we witnessed such a powerful debut which is both immediate and experienced, but tracks like Go Square Go and the grand finale Daddy’s Gone are at times too intense and emotional for some fans to cope with.

Frontman James Allan’s powerful voice is perfect and his appreciation for his public genuine. He’s not as charismatic as Chris Martin, and behind his trademark shades hides a shy Scotsman, but when he’s in the right mood the show he can offer is spectacular and magical.

He’s the guy who transformed his frustration at being abandoned by his father into a masterpiece such as Daddy’s Gone, but he is also the lead singer who can be absent-minded, lazy and problematic.

But not tonight. Tonight he delivers the performance everyone was hoping for.

Glasvegas used to be the next big thing. Today they are a band still trying to survive the merciless indie rock scene. Presumably their third album will gain them the accolades they deserve. Their crowd is loyal, the tunes are immense.

Indie rock at its best definitely comes from North.

By Silvia Rucchin

Alt-J’s single launch party with Warm Brains & Old Forest, The Victoria, 6 October 2011

This is the trendiest event in town. It has to be. The Victoria in Dalston has been well and truly taken over by almost comical numbers of stupid hair cuts, thick-rimmed glasses, rolled up jeans and loafers. A few determined locals still persevere with their game of pool, but it’s not long before this place (with no one on the door to keep check of the venue’s capacity or the clientele’s IDs) becomes too full for them to manoeuvre around the table. The hype around Alt-J is getting major.

And, unfortunately, that hype spreads down the bill to the significantly less talented Old Forest. They are three teenage boys who look and sound like your little brother’s bedroom band. They appear to be doing all they can to sound as grungy as possible: mumbling vocals, lyrics of middle class teen angst, and distortion galore. And the hipster crowd laps it up. Either 2011’s music scene is so barren that unimaginative grunge is considered exciting, or the audience is afraid that not liking any band deemed worthy of gracing this stage will severely undermine their street cred.

Next up is another hype-inducing band, Warm Brains, fronted by ex-Test Icicles/RAT:ATT:AGG/KASMs man, Rory Attwell. Attwell’s out-of-tune-on-purpose vocals are something of a downfall for the group, but their unorthodox sound is a definite grower. With catchy riffs and guitar hooks, expertly-composed rhythms and a performance that exudes energy, Warm Brains soon prove themselves genuinely worthy of the attention they’ve been drawing.

The moment the last beat of Warm Brains’ set drops, the crowd surges forward. Tonight is about Alt-J.

And no one is left disappointed. This somewhat unlikely group of musicians plays a short but captivating set of surprisingly well-known songs. Their fanbase is loyal, and they already know the words.

With the first guitar plucks and drum smacks of Tessellate comes a huge cheer of recognition and the onset of movement within the tightly-packed crowd.

But this performance proves there is more to Alt-J than a decent first single. Drummer, Thom Green, is an incredible beat keeper who pushes the speakers to the limit with every whack, while lead singer Joe Newman and keyboardist Gus Unger-Hamilton’s acapella-style vocal harmonies are intoxicating to witness.

Every rhythm is deeply syncopated, and every melodic line intertwined. This is musical craftsmanship, and it’s damn catchy to boot.

They end it far too soon with Breezeblocks, which deservingly receives the biggest reaction of the night. If Alt-J know what’s good for them, they’ll make this the next single: even the trendiest hipsters are dancing along to this one.

Forget the hype and forget the scene. With tracks like this, Alt-J don’t need them.

By Sophie Armour