Category: Live Reports (Page 21 of 37)

SECTION 25 Live in London

3 May 2016 /

SECTION 25 first came to wider attention with the Martin Hannett produced album ‘Always Now’ on Factory Records in 1981. That album recently ‘Hit’ the news when rapper Kanye West sampled that very song for his track ‘FML’.

It was belated but welcome recognition for the combo that originated from Blackpool. Founded by the Cassidy brothers Larry and Vin, SECTION 25 later became best known for the cult electro favourite ‘Looking from a Hilltop’ in 1984. Co-produced by NEW ORDER’s Bernard Sumner, it featured Larry’s wife Jenny on lead vocals.

Sadly Jenny passed away in 2004 and Larry in 2010. In an appropriate and respectful move, Vin recruited his niece Beth, daughter of the departed SECTION 25 couple to front the band. She had already featured on several SECTION 25 tracks previously and possessed a vocal style that was eerily reminiscent of her mother.

At the time of Larry Cassidy’s passing, work was almost finished on ‘Retrofit’, a collection of classic SECTION 25 tracks reconfigured for the 21st Century with father and daughter sharing leading vocals. Its eventual release was a fitting tribute. The band continued touring and recording, with their most recent album ‘Dark Light’ released on Factory Benelux in 2013.

SECTION 25 live-Simon Helm01

Now featuring guitarist Steve Stringer and Beth’s cousin Jo Cassidy on keyboards, percussion and backing vocals, The Islington was the venue for the London leg of SECTION 25’s short series of dates to promote their new live album ‘Alfresco’. Dubbed “The best old / new band in Britain” by The Guardian in 2013, it was an evening of songs from all periods of SECTION 25’s history.

Opening number ‘Beating Heart’ was one of the first songs back in the day to herald SECTION 25’s then new electronic direction, but unfortunately this aspect got lost in the live mix with the synthesized bottom end unable to be heard. Undeterred, the quartet soldiered on into the second song ‘Colour Movement Sex & Violence’, the danceable synth led ditty that was the first to emerge from the Beth fronted SECTION 25 in 2011. But again, the programmed elements were barely audible and on its conclusion, Beth politely asked the soundman for “some more backing track”.

Less reliant on sequencers, things improved with the serene atmospheres of ‘The Process’ and the more conventionally driven ‘Memento’. Meanwhile, the beautiful ’Desert’, originally part of 1984’s ‘From The Hip’ album but tonight played in its electronically driven ‘Retrofit’ guise, was the evening’s first stand-out. The sun-kissed ambience provided some relief for the end of a viciously cold April, while Beth provided an angelic vocal performance to suit.

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Crossing supreme pop with a post-punk sensibility, ‘My Outrage’ was the possibly the highlight of ‘Dark Light’ but tonight, Beth introduced a slower, stripped down rendition. It was a shame that the brilliant synth laden album version wasn’t aired, but it worked, thanks to the experience of the senior Cassidy and Stringer, while the down-to-earth charm and enthusiasm of the two Cassidy girls was a joy to witness.

Their fun-filled presence made itself even more apparent on the euphoric samba party of ‘Garageland’ and a feisty take on ‘Wretch’ where Jo particularly came into her element. With the sound fully fixed, the show was now truly gaining momentum.

And when the magnificent pulsing sonics of ‘Looking From A Hilltop’ emerged, spiced with frenetic guitar lines and syncopated percussion, it all fell into place. Beth’s embracement of her mother’s signature song was pure exuberance, aided by her spirited gyrations and a suitably wispy vocal. There was much dad dancing amongst the crowd and it brought smiles of approval from the Cassidy girls. Quite why this song still isn’t more widely known is one of life’s great mysteries. But perhaps that will now change? To finish, there was the ‘Always Now’ favourite ‘Dirty Disco’, a vintage 1981 composition updated with a delicious machine groove.

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Now, while SECTION 25 are obviously a different entity to the one that first made its name on Factory Records, its line of succession provides an authenticity that other rebooted acts, who feature only one original member, can’t claim.

Utilising live and computerised instrumentation coupled to a vibrant freshness from new blood, the spirit of SECTION 25 has evolved while literally retaining its core DNA. It has transformed itself into something almost as glossy and accessible as sister acts MARNIE and MARSHEAUX. Their defiant sense of optimism in the face of loss and sadness is an example to all.

SECTION 25 AlfrescoSECTION 25’s live album ‘Alfresco’ is available as an 8 track vinyl LP + 11 track CD set from Factory Benelux at
http://www.factorybenelux.com/alfresco_fbn124.html

http://www.section25.com

https://www.facebook.com/section25

https://twitter.com/section25

Text by Chi Ming Lai
Photos by Simon Helm and Chi Ming Lai
3rd May 2016

CHVRCHES Live at the Royal Albert Hall

2 April 2016 /

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The success of CHVRCHES is proof that there is still an international market for synthpop.

Successfully overcoming the second album syndrome that afflicted LITTLE BOOTS, LA ROUX, LADYHAWKE and HURTS, ‘Every Open Eye’ showcased a refined CHVRCHES and their knack for great songwriting. Now elevated to arena status, the gigs at the SSE Hydro in their hometown of Glasgow and tonight at London’s Royal Albert Hall are evidence of how far CHVRCHES have come.

It’s been an upward trajectory for Lauren Mayberry, Martin Doherty and Iain Cook since their debut album ‘The Bones Of What You Believe’ in 2013. As well as selling half a million copies worldwide, Taylor Swift notably borrowed their sound for her song ‘Out Of The Woods’. However, the success had taken its toll on the group’s frontwoman, with online misogynistic attacks and criticisms of her static stage presence.

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This has been tough on her psyche but thinking positively, a change in approach has successfully allowed her to differentiate between her public and private personas. This attitude is reflected in Mayberry’s new found confidence on stage, while she still retains her charming, down-to-earth banter with the audience in the manner of a student who still can’t quite believe she has the best job in the world. Appropriately, the opening ‘Never Ending Circles’ is her fight back manifesto.

Known for practically standing still at CHVRCHES earlier shows, tonight she is back and forth, punching the air with aplomb, as the following ‘We Sink’ from ‘The Bones Of What You Believe’ reinforces the mood. Aided by three screens displaying everything from pixelated images themed around the ‘Every Open Eye’ artwork, to the bars and triangles last seen on Gary Numan’s ‘The Touring Principle’ shows, CHVRCHES have indeed developed as a live act.

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The presence of frantic new numbers like ‘Keep You On My Side’, ‘Make Them Gold’ and ‘Empty Threat’ reflect the influence of their American success. With an air of controlled aggression, Mayberry therapeutically pounds an electronic percussion set on the latter and Cook even ventures out with his bass. These are more new wavey tracks that could have made the soundtrack of a classic Brat Pack movie from back in the day

Riding on the natural momentum of those songs, Mayberry and Doherty swap positions for the live debut of ‘High Enough To Carry You Over’. A big improvement on ‘Under The Tide’ and ‘You Caught The Light’ from their debut, it’s a credit to Doherty for taking singing lessons and delivering a fine slice of Trans-Atlantic pop.

The punchy ‘Playing Dead’ keeps things lively before the brilliantly hypnotic power of ‘Science/Visions’, complimented by a mad display of lighting. A sprightly ‘Gun’ continues the first album innocence until Mayberry drops to the floor. Remaining there for the first verse of ‘Bury It’, this is a slice of feisty machine pop that will become a girl anthem of the future.

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Doherty makes his return to the mic for the polarising ‘Under The Tide’; the CHVRCHES faithful lap it up, but the casuals sitting further back in the huge confines of the Royal Albert Hall take the opportunity for a comfort break. With his one-legged kick dancing, what can’t be denied though is The Dok’s enthusiasm and sense of fun. The sweet but solemn ‘Recover’ acts as a breather, before the momentum of the home stretch is raised with ‘Leave A Trace’.

A magnificent ‘Clearest Blue’ closes the main set, wonderfully held in a state of tension before the potent lift in the final third which sends the Royal Albert Hall crowd into a total frenzy. For the encore, ‘Afterglow’ with its angelic ambience sees Mayberry exposed and practically acapella; it is a beautiful moment which adds a new string to CHVRCHES’ bow. Finishing with ‘The Mother We Share’, this song of such quality that it really could be covered by Taylor Swift and sell millions!

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Tonight, CHVRCHES are at the height of their powers and even feel able to leave out their calling card ‘Lies’. Two albums on and several world tours later, CHVRCHES have proved themselves as the saviours of synthpop.

What this Glaswegian trio have managed to do is get youngsters listening to electronic music outside of the brainless EDM complex. As far as synthpop is concerned, this can only be a good thing for the future of the genre.

‘Every Open Eye’ is released by Virgin Records as a CD, deluxe CD with three bonus tracks, vinyl LP and download

http://chvrch.es/

https://www.facebook.com/CHVRCHES

Text by Chi Ming Lai
Photos from Brighton Dome concert by Richard Price
2nd April 2016

A-HA Live at London O2 Arena

30 March 2016 /

When it was announced in March 2015 that A-HA would be returning with their tenth studio album ‘Cast In Steel’, it was somewhat unexpected.

The Norwegian trio had made a high-profile statement that they were disbanding and played their farewell concert at the Oslo Spektrum in December 2010. It was a fitting end, following the artistic high of their 2009 long player ‘Foot Of The Mountain’.

But like many of their peers such as ULTRAVOX, DURAN DURAN and SPANDAU BALLET, the sum proved to be greater than the individual parts. So with no contractual pressures or touring commitments, Morten Harket, Paul Waaktaar-Savoy and Magne Furuholmen quietly reunited and recorded new material.

A-HA’s collective strength over the years has been to produce great melancholic pop in that classic Nordic tradition, but also add a contrasting glorious optimism for that vital all-embracing lift.

Although often tagged as a teenybopper band in the UK, A-HA always had a darker edge compared with DURAN DURAN and even their only British No1 ‘The Sun Always Shines On TV’ was shaded in gloom. This demeanour was reflected in the opening numbers at the O2 Arena, ‘I’ve Been Losing You’ and ‘Cry Wolf’, the latter’s pop angst amusingly accompanied by an animation of a bopping wolf! The beautiful ‘Stay On The Roads’ got the evening’s first mobiles-in-the-air moment.

Meanwhile the first of only three songs from the new album came in the shape of the wonderful ‘Cast In Steel’ title track. The duet of ‘Crying In The Rain’ with backing singer Anneli Drecker provided another sensitive focal point, but the rhythmical DEPECHE MODE pulse of ‘Mother Nature Goes To Heaven’ and Waaktaar-Savoy’s rock out on ‘Sycamore Leaves’ provided some artistic diversity.

Morten Harket himself provided an interesting case study as a front man. Still blessed with great cheek bones and a fine voice, something had to be missing and it was his interaction (or rather the lack of it) with the audience. Indeed, it was Furuholmen who acted as Master of Ceremonies from behind his keyboards while Harket appeared to be like a lost teenager at Specsavers, unable to decide on his choice of eyewear, swapping between shades, standard specs and nothing at all!

And while Harket’s crying falsetto was present and correct, the muted sustain on some numbers was an indication that age was beginning to take its toll on his voice. As if to substantiate the point, after ‘We’re Looking For The Whales’, Harket walked off stage to leave Paul Waaktaar-Savoy to take the lead on ‘Velvet’; now while his vocal was good, Magne Furuholmen’s star turn on ‘Lifelines’ was less impressive, the keyboardist even coming clean on his capabilities during his introduction.

It was an interesting diversion and they might have gotten away with it on 2005’s ‘Analogue’ tour. But on a final tour with not much change from a hundred pounds for a ticket, this was an odd decision. To prompt even more head scratching, Anneli Drecker then took the lead vocal for a surprise rendition of ‘Here I Stand & Face the Rain’ from the ‘Hunting High & Low’ album. And while she gave a worthwhile performance, there was a feeling among those present that it was Morten Harket who they really wanted to sing it.

Harket did return and from the new album, he went straight into ‘She’s Humming A Tune’ which dropped hints of ‘Scoundrel Days’ in a lower key with bursts of bottle neck guitar from Waaktaar-Savoy. ‘Scoundrel Days’ itself appeared as a magnificent climax to the main section of the show following excellent, emotive performances of ‘Foot Of The Mountain’ and ‘Hunting High & Low’,

Beginning the encore with the marvellous U2 influencing ‘The Sun Always Shines On TV’, the creepy projection of violin playing mannequins added to the atmosphere before disappointingly, ‘Under The Makeup’ made its appearance, stripped of the Bond Theme elements that made the recorded version so enjoyable. But a powerful rendition of ‘The Living Daylights’ made up for it, before a rousing ‘Take On Me’ completed an enjoyable evening.

The performance affirmed why A-HA have been able continue their career into the 21st Century. But with cracks beginning to show, the time is maybe now right to finally call it a day. They have nothing more to prove and even now, they have more great songs on ‘Cast In Steel’ than many bands manage in an entire career.

‘Time & Again: The Ultimate A-HA’ is released by Universal Music Catalogue

http://a-ha.com/

https://www.facebook.com/officialaha

https://twitter.com/aha_com

Text and Photos by Chi Ming Lai
30th March 2016

NIGHT CLUB + VILE ELECTRODES Live at Dublin Castle

28 November 2015 /

A fine line-up of electronic acts was assembled at Camden’s Dublin Castle for a Trans-Atlantic showcase of the best in modern synthpop.

And when the line-up is right, the luminaries come along and join in the fun.

With key figures such as Rusty Egan and Sarah Blackwood in the audience, this was a very well-attended event for a mid-Autumn school night.

Fresh from playing a prestigious slot at Düsseldorf’s ELECTRI_CITY Conference on Halloween and getting to visit the original Klingklang as their just reward, VILE ELECTRODES previewed a lot of new material from their long awaited and now titled second album ‘In The Shadows Of Monuments’.

Some might consider the album title pretentious, but it is this avant pop approach reminiscent of early OMD that sets VILE ELECTRODES apart from the competition and makes them so captivating. One immediate stand-out was the dark, throbbing arpeggio laden ‘As We Turn To Rust’ which appeared to take its lead from DEPECHE MODE’s ‘Oh Well’.

There was also ‘The Vanished Past’, a potent successor to ‘Deep Red’, complete with a mighty drum cacophony à la OMD’s ‘Navigation’. It was a continuing indicator that Anais Neon and Martin Swan are still on the inventive but accessible path that has already led them to two Schallwelle Awards in Germany. VILE ELECTRODES really would be the ideal opening act for OMD’s upcoming ’Dazzle Ships’ / ‘Architecture & Morality’ boutique showcase at the Royal Albert Hall in May 2016.

NIGHT CLUB are unashamedly fans of Britney Spears, hence their marvellous Britney Gone Emo sound. With the visual demeanour of a rock band, Mark Brooks came over mean and moody as he stood behind his workstation, while singer Emily Kavanaugh was a bundle of feisty energy.

Starting with the bass driven attack of ‘She Wants To Play With Fire’ from 2014’s ‘Black Leather Heart’ EP, this was a determined performance despite some persistent laptop glitches between songs.

There was the welcome inclusion of NIGHT CLUB’s calling card ‘Poisonous’ from ‘Love Casualty’, the EURYTHMICS influenced template displaying the seedy edge that has always permeated within NIGHT CLUB’s poptastic tendencies; it’s a hybrid format which Kavanagh has previously described as what would happen “If Depeche Mode f*cked Britney Spears and had a baby who hung out in dark corners of seedy clubs…”

NIGHT CLUB showed their versatility with the ballad ‘Not In Love’, a song that easily could have merited inclusion in a Brat Pack movie back in the day. But it was all back to dancing with the octave propelled ‘Strobe Light’ which was dedicated to Rusty Egan, while THE WHITE STRIPES ‘Seven Nation Army’ gone electro of ‘Give Yourself Up’ hypnotised an enthusiastic crowd as Kavanaugh threw herself into the audience and friskily teased those present.

The couple’s cover of INXS’ ‘Need You Tonight’ got a warm reception, providing yet another excellent example of why electronic acts should generally only tackle reinterpretations outside of genre to guarantee a unique selling point. The best was saved until last with the magnificent Electroclash pulse of ‘Cruel Devotion’; complete with a dedication to ELECTRICITYCLUB.CO.UK, it concluded a fabulously sweaty evening of quality electronic music.

The rising trajectory NIGHT CLUB find themselves in, thanks to the ‘Black Leather Heart’ EP and the ‘Moonbeam City’ soundtrack, means expectations will be high for their next release, whatever form it eventually takes, be it EP or album.

But with their positive attitude and ability to a procure a real performance, this should be no problem at all for them 🙂

NIGHT CLUB’s ‘Moonbeam City (Original Series Soundtrack)’ is released by Milan Records and available digitally and on CD. The duo’s three EPs are available at
http://nightclubband.com/

VILE ELECTRODES ‘Stark White’ EP is available as a CD via their online shop at
http://www.vileelectrodes.com/

Text by Chi Ming Lai
Photos by Richard Price and Chi Ming Lai
28th November 2015

IAMX Live at Koko

15 November 2015 /

Remember, remember the 9th of November….

Anyone, who descended onto Camden’s prime gig heaven, Koko on that very night, will. Koko, a historical venue, having been a theatre, cinema, The Music Machine, Camden Palace and refurbished in the noughties to house many an artist, suited the atmosphere of the night perfectly.

‘Metanoia’ is Chris Corner’s sixth studio album as IAMX, was his hardest to turn out. Afraid of being “burnt out” and briefly considering leaving music altogether, following a streak of depression, the artist left his seven-year base of Berlin for sunny LA. The realisation that he could create something special by addressing his emotional problems pushed IAMX to give birth to his best work to date. Far more synthy than its predecessors, his “public therapy” has continued with a full on tour of ‘Metanoia’, seeing North America and Europe bowing in front of the frail frame in awe.

Having just done a gig in Paris on the previous night and crossed the English Channel on a morning ferry, Corner and co were ready to rock Koko with extraordinary power. A far cry from his beginnings in SNEAKER PIMPS, now a fully reincarnated X, he knows how to make the audience go into a frenzy. The limited stage space, crammed with his two girl keyboard players Janine Gezang and Sammi Doll, Jon Siren’s drum set and Corner ‘s central spot was a setting for something amazing.

The opening ‘I Come With Knives’, which also kicked off his 2013 ‘The Unified Field’ album, dazzled from the beginning with the strong female backing vocal, promising an exhilarating experience from the onset. ‘The Alternative’ followed, with strong, inspired beats, bursting with added energy from the vibrant keyboards and mesmerising the desirous audience. The familiar melody of the exquisite ‘Happiness’ from his latest production invited the crowd to shout out the “liars” line eagerly, while one had a feeling of being shown around an art gallery, but with music.

The natural, genuine and hardly pushed frail frame of a man and his side-kick Janine, with their mad vocal set pieces continued with ‘Mercy’, ‘No Maker Made Me’, ‘Volatile Times’, ‘Tear Garden’ and ‘Oh Cruel Darkness Embrace Me’. Then came his iconic and ultimate hit ‘Spit It Out’, a subject of many covers; this hysteric track has been given a modest makeover for ‘Metanoia’ tour, and appeared more mellow and subdued than its original version. Nevertheless, it created a stir in the audience, who by then, were ready to give Corner anything in exchange for another beautifully executed track.

IAMX 2015 09-Keith
The crowd asked for and the crowd got ‘Bernadette’; less cabaret in style compared with the ‘Volatile Times’ album version, with no guitars and just a minimal bass, it was hardly recognisable yet far better than the original. ‘Surrender’ and ‘After Every Party I Die’ came next, seeing the natural talent bare his pain in an atmosphere of systemic noise, telling the audience: “You f*ckers make this project alive” and creating an aura without the need to Elvis twerk or take his top off to impress.

‘Aphrodisiac’ followed with the weirdest video featuring eye ball licking activities (yes, DEPECHE MODE on ‘Tour Of The Universe’, that’s beaten your ‘Strangelove’ toe sucking visual!), before finishing off with ‘Your Joy Is My Low’.

The petite hooded creature of the darkness emerged one more time for the encore with the additional three mega tracks, ‘Bring Me Back A Dog’, the immense ‘Kiss + Swallow’ and ‘I Am Terrified’ before gently gliding back into the night. The audience, bewilderedly mesmerised and thrown into a dreamy mood floated out of the venue to the beats of ‘Warm Leatherette’ by THE NORMAL.

Corner sure puts on a show; even if it is on a tiny stage, he and his IAMX posse bring youth, vitality and energy onto the table, sounding vocally immaculate and musically just out of this world. Many a weathered song writer, including those of major electronic bands, could take a leaf from his book, if only they were more honest with themselves.

It’s got to be said that the sound in Koko can be hit and miss; however on this night it was superb. Corner’s voice appeared impeccable as ever, with his range oh-so amazing, and sung to multiple microphones for the additional effect. The drumming was adequately positioned to give canvas to the rest of the performance, but never overpowered, never took over and gently accented the electronic beats.

The scattered visuals with the weirdest of images at times, brought the production together into a hysteria. The feeling of watching a beautifully executed ballet or opera springs to mind; a theatrical experience with the little body diving into the audience at one point.

One thing is certain: Chris Corner creates a legitimate atmosphere that never turns into a limelight for him to step into. All is conceived and created, not contrived. HE IS THE X… HE’S BECOME THE ULTIMATE X NOW!

‘Metanoia’ is released by Caroline International in CD, vinyl LP and download formats

https://iamxmusic.com/

http://www.facebook.com/IAMXOFFICIAL

https://twitter.com/IAMX

https://www.instagram.com/iamx/

Text by Monika Izabela Goss
Photos by Keith Trigwell
15th November 2015

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