https://clunkmag.com/choses-sauvages-interview/

#42 Published 01/04/25

https://www.asbomagazine.com/2025/03/31/new-release-speak-medieval-erotic-secrets-of-pompeii/

#41 Published 31/03/25

https://clunkmag.com/billie-marten-announces-fifth-album-dog-eared-and-uk-tour/

#40 Published 24/03/25

https://thesongbirdhq.com/2025/03/11/twin-city-i-saw-god-new-music/

#39 Published 11/03/25

https://clunkmag.com/idles-announce-special-guests-for-their-bristol-block-party-weekend/

#38 Published 07/03/25

https://thesongbirdhq.com/2025/02/19/the-355s-always-you-new-music-release/

#37 Published 19/02/25

https://clunkmag.com/clunk-recommends-freak-slug-liquorice/

#36 Published 11/02/25

https://thesongbirdhq.com/2025/01/30/milkshed-just-wanna-give-new-music-review/

#35 Published 30/01/25

https://thesongbirdhq.com/2025/01/14/evan-williams-ride-on-single-review/

#34 Published 14/01/25

https://thesongbirdhq.com/2025/01/07/talking-to-the-songbird-interview-with-quivers/

#33 Published 07/01/25

Host of KEXP’s morning show John Richards, said to Quivers in July, ‘If I’m at like a five and I listen to any of your songs I’m at like an eight or a nine…possibly a ten.’

Since being featured on KEXP’s Song of the Day in 2019, Quivers have grown a reputation for their ability to play a mix of uplifting and emotionally provoking songs driven by jangly guitars and communal vocals. In truth, they were needed at The Lexington on Wednesday night, as were support Moon Balloon. The dimly lit room upstairs with its small bar and stage didn’t inspire much, even with the stale haze created by a smoke machine. However, it was in this small space where Quivers came alive.

It's been a busy time for Quivers of late. Following the release of their latest album, Oyster Cuts in August, via Merge Records, the band have embarked on an extensive tour through North America and were in the thick of their first European tour by the time the London date rolled around, made possible by the band’s quickly expanding audience.

 The Melbourne-based four piece managed to capture a heightened sense of the profound togetherness found on their records, using the tight space to their advantage to soak the crowd in every crisp, reverberated, note. Michael Panton (guitar) was noticeably effective on Never Be Lonely and Pink Smoke, the first and second tracks on Oyster Cuts respectively, letting some notes hang for a fraction of a beat longer, allowing the crowd to bask in the tracks’ swirling warmth for a few more precious seconds. The slower songs carried more poignancy yet somehow did not reduce energy in the room. The crowd responded to having the emotive dial turned up a few notches prompting thoughtful sways to form in front of me, as Holly Thomas (drums) and Bella Quinlan (bass) belted out the chorus to Pink Smoke. ‘I hope, I hope we never get lost in the pink, pink smoke.’

As well as celebrating Oyster Cuts, Quivers were also able to celebrate their previous album Golden Doubt, which they couldn’t tour to same extent a few years ago due to the pandemic. Gutters Of Love, Hold You Back and Videostores all featured. Later in the set, When It Breaks also featured, labelled as ‘cursed’ by Sam Nicholson who broke a guitar string whilst playing. ‘We always break a string for that one.’ ‘What do you mean we?’ retorted Holly.

The celebrations continued at the merch stand after the show, with Sam urging the crowd to share champagne with them, seemingly surprised their request for a bottle was granted by the production team. The last thing I saw were the beaming smiles of the band humbled by the turnout, thousands of miles from home.

 #32 Published 16/12/24

https://thesongbirdhq.com/2024/12/10/choses-sauvages-en-joue-single-review/

#31 Published 10/12/24

“It’s not normally this laddie”, said lead singer, Alex Rice, “Is there a rugby social or something on tonight?” As he perched on the edge of The Trinity Centre’s shallow stage with all manner of song requests and in-jokes being hurled at him, I thought I saw Rice look slightly overwhelmed. Then, in a flash, he sprung up and took on the role of project managing a human pyramid, a project that the crowd had failed to complete several times without his leadership.

In truth, there were two shows going on last Sunday: one on stage and another in the crowd. The “This” of “This carvery is on the house”- from opener, Camel Crew- had barely left Rice’s mouth and a group of lads were already hoisting each other up and capitulating, dramatically, in mid-air. In fact, I urge anyone reading this review to stop for a moment and look at some of the shots on Sports Team’s Instagram of the show. There’s a shot of one of the hoisters that has been timed perfectly so that he looks like a tightrope walker above the crowd. To top it off he’s also wearing mechanic’s overalls; the perfect outfit to celebrate the live performance of Sports Team’s new track, I’m In Love (Subaru).

The frenzy then spilled over on to the stage, then back into the crowd and then back to stage, with a section of the crowd getting on and off stage at will. Rice and rhythm guitarist, Rob Knaggs, enjoyed the chaos whilst Ben Mack, on synths, stayed steel-faced amongst it all. I can’t honestly say whilst writing this when it all began, however, I do know from a short video I took of the band hammering through M5, that there were sixteen people on stage not including the band or people on shoulders. “No, you don’t have to leave”, said Rice, seemingly bewildered by the question from a fan on stage, “you can do whatever you want”. Setlist.FM has informed me that people started to get on stage during new song Bang Bang Bang which will feature on Sports Team’s new album, Boys These Days, to be released 23rd May 2025.

Caught up in the happy lawlessness of the affair, it took the crowd a beat to realise Rice had left the stage, as Knaggs blasted through Lander. “Yeah, we can get you a guitar”, said Rice to a guy who’d popped up on stage. The band seemed keen to further blur the lines between the audience and themselves, something Rice mentioned to me a few weeks ago they enjoy doing. The guy got his shot and was able to play a few chords before a roadie came on stage and hurriedly took the guitar off him.  

This was the first Sports Team tour in two years and they sounded unbelievably tight. Henry Young on lead guitar was particularly scintillating amidst all the other things happening on stage. Rice flitted into the crowd and did various outfit changes using the audience’s clothes. Al Greenwood, on drums. and Oli Dewdney, bass, managed to carry on playing even as the stage became chock-a-block.

After most of the crowd had finished pretending to row (sat down) in celebration of Fishing, Sports Team played another new track titled Maybe When We’re Thirty, which Rice suggested would be a test in maturity for some of the students in the audience.

Speaking to Rice a few weeks ago, in an interview for The Songbird, he said of the new song, ““We’re all basically 30 now and the chorus goes: ‘Maybe when we’re thirty we can all get a dog. Once a year we’ll go out and watch The War On Drugs’. So that one is quite a nice bookend to being able to play Subaru and then come through to this slightly more jaded outlook. But also, one that’s almost got a lot of kind of conceding to the world, I think. It’s a bit quieter as well so it’s nice when you can have those moments where you can just sit on the side of the stage and actually sing one, rather than scream for an hour and a half.” And it was a genuinely emotional moment, particularly with Young moving up and down the fret with a David Gilmour style solo.

Here’s The Thing followed in the encore and the crowd were back to their usual selves. Everyone left the show with Rice’s karaoke version of Angels, by Robbie Williams. I had no idea the band were fans of Robbie and I’m genuinely kicking myself I didn’t ask any Robbie related questions when I had the chance.

Next time!

 #30 Published 04/12/24

https://thesongbirdhq.com/2024/11/26/the-ritz-the-ties-that-bind-ep-review/

#29 Published 26/11/24

https://thesongbirdhq.com/2024/11/26/the-far-field-ep-review/

#28 Published 26/11/24

https://thesongbirdhq.com/2024/11/21/sunwheel-ferris-wheels-and-laser-beams-single-review/

#27 Published 21/11/24

https://thesongbirdhq.com/2024/11/07/sports-team-interview/

#26 Published 07/11/24

About two thirds of the way through Fu Manchu’s set, Scott Hill glanced towards his setlist on the floor. “Alright, what have we got here?”, he said nonchalantly. Fu Manchu were on a mission to cram as many songs as they could into the hour and half they had on stage.

Most of the crowd mistakenly heard Hill’s words as a taunt, as if, somehow, he was calling them out for being a lacklustre audience. Shouting ensued from a group down the front who hurled obscure song requests at the band from their back catalogue.

Just in front of me a man screamed, “You have my heart!” As he screamed, his voice broke and a cluster of the crowd turned and shot steely glances at him. This was neither the time, nor place, to get mushy.

After all, we were watching one of the most hardened and revered stoner rock bands of all time, who were back out on the road again to tour their latest record, ‘The Return of Tomorrow’. The band, who are so synonymous with American skate culture, attacked their fifteen-song set as if dropping into the gnarliest cosmic halfpipe. Each break had the band poised with their heads slung low and was treated like its own nursery ramp drop-in.

In a way, Marble Factory was the perfect home for Fu Manchu that night. Situated in the heart of an industrial estate, with concrete floors and walls and PA systems that struggled to cope with the amount of tuned-down fuzz going through them, the venue only heightened the band’s DIY aesthetic. And with the crowd headbanging and fist pumping through songs such as 1999’s ‘Eatin’ Dust’ and 1997’s ‘Evil Eye’, Marble Factory gave us a glimpse into what it must have been like in those earlier days in Orange County, California.

The band had started with a scintillating jam that eventually led into ‘Eatin’ Dust’. Bob Balch’s fingers danced up and down his fret board as he shredded his lead guitar, in what would be the first of many times that evening. Hill and Brad Davis, on bass, let their guitars drone on to soak the crowd in distortion.

Tracks from the new album came thick and fast. ‘Loch Ness Wrecking Machine’ hit like a slug to the gut, whilst ‘Hands Of The Zodiac’ served as a rallying cry. As Scott Reeder snapped his snare, Hill raised his fist to the sky and the crowd dutifully followed, with heads jutting back and forth in time with Reeder’s beat. The tonality of both these tracks hit differently to other tracks that came before in the setlist and, if anything else, were a reminder that Fu Manchu are as much rooted in metal as they are stoner rock, without ever going too far into the heart of darkness.

Another highlight was the palpitation inducing, ‘California Crossing’ from 2002’s album which shares the same name. Another one was ‘Laserbl’ast!’ from 1997’s ‘The Action Is Go’, which had much more of a grey grunge, Smashing Pumpkins style, tone than on the record. ‘Laserbl’ast!’ was probably the track in the set most reminiscent of the support set from Spaceslug, earlier in evening, who played as if inside a cursed amethyst plucked from The Witch King of Angmar’s crown.

‘Mongoose!’, exclaimed the man in front of me again with the same breaky voice. It was a fair shout, that track is banger. Later, I noticed a few heading toward the exit after a heavy mosh to ‘Saturn III’.

Much like skateboarding, you may leave Fu Manchu’s set with a few scrapes.

 #25 Published 03/11/24

Gary Clark Jr looked suitably regal on the promotional electronic poster leading to the main room of SWX last week. Even from the foot of the stairs, near the entrance, his electronic outline looked just as commanding and enigmatic, partly shrouded in shadow, wearing a suit and sunglasses.  

The Gary Clark Jr who later appeared on stage emerged almost timidly. Some in the crowd were seemingly bewildered by his outfit choice: a thick patterned poncho, that looked heavy, prompting a vocal few to discuss the suitability of his chosen attire under stage lights. Yet, a few minutes later, those concerned few, bobbed and swayed to Maktub- the opening track from GCJ’s latest album ‘JPEG RAW’- seemingly soothed by the track’s velvety repeating lick. Maktub has many of the great qualities possessed by well-known desert blues tracks and it moved with a dynamic groove that seemed more fleshed-out and expensive live, thanks to the quality ensemble on stage, including GCJ’s sisters on vocals.  

As the band moved through the set, they seemed to grow on stage. Against the thick blue and purple hues of the stage lights, GCJ looked majestic, with his poncho taking on different shapes as he moved cooly about the stage. In many ways, it was the perfect representation of GCJ’s polymorphic catalogue. From the anthemic, When My Train Pulls In, with piercing guitars that cut through the audience, to the theatrical, This Is Who We Are, with its backing vocal section that verged on ghoulish, there was a hell of a lot to unpack in terms of musicality and also style.  

The set was packed full of his songs, old and new, and often one song would bleed into another in an effort to cram the set with as many tracks as possible. Apart from the odd ‘Whoop!’, or puffing of cheeks, there was little crowd interaction. GCJ wanted his catalogue to speak for itself. He took a moment to thank support, Magnus Berg, for raising the bar tonight, clearly enjoying the friendly competition between the two. 

Eventually, the poncho came off and there was not a drop of sweat to be seen. Gary Clark Jr made it look easy.

#24 Published 20/10/24  

https://thesongbirdhq.com/2024/10/17/twin-city-simple-melody-single-review/

#23 Published 17/10/24

What do people think of when they think of ‘The Nineties’? Britpop? The Blair government? Mobile phones with those pull-out antennas? It’s a decade that means different things to different people. But the resounding thing that people tend to linger on is the feeling of hope.

And perhaps nothing embodies that feeling of hope better than the dance music of that era. Enter Rhythm of the 90’s, the UK’s number 1 live dance anthems band playing the likes of Darude, The Prodigy, Faithless, Corona and many more in just under a two-hour set.

There’s not much more that can be said about the music, but the band do an incredible job of bringing an infectious energy to their sets and that energy ripples right through the crowd. It takes people back to their youth and makes everyone beam from ear to ear.

Despite the school disco feel of the Portsmouth Guildhall, with its stall selling sweets on the way in and the science block toilets, Rhythm of the 90’s set was had a purity to it that is hard to capture.

Was it a tops off vibe for Insomnia? Of course it was.

#22 Published 12/10/24

I took a journalism course once and, in the materials, it said, ‘never describe something as “nice”’. But how else do you describe Hollow Coves other than ‘nice’? That’s not to say that Hollow Coves are in some way bland; listening to them is just a genuinely nice experience.

I was curious to see how their peaceful style, rooted primarily in folk, would translate to a live show. I was half expecting them to do what Ben Howard has done in the past and stretch the limits of a semi-acoustic guitar, so that it kicks out an almost psychedelic sound. But there was no such tinkering from Matt Cairns and Ryan Henderson.

They took to Thekla’s small stage with broad smiles on their faces and cracked on with Nothing To Lose, the opening track of their latest record by the same name. Just like the record, it was a feel-good jaunt that focussed on the good times ahead and was smartly placed into the setlist to instantly create a communal spirit in the room. That feeling reached all the way to the back of the bar where I was stood, unable to get closer as Thekla was full.

It was no surprise the venue was so packed. Hollow Coves have over 7.2 million monthly listeners on Spotify alone and the demand for tickets was high. My view was reduced to a small rectangle between the heads in front of me and the ceiling. The experience reminded me of watching a film on a portable DVD player, which was fitting given that the setlist traversed themes of childhood, the past and time moving ever onwards. See You Soon struck a particularly unexpected chord, as the duo sang, ‘So I’ll call you up my friend. ‘Cause I miss what we had then. You say you’re doing fine. But you also miss those times…’

There were plenty of moments for reflection during the set. Henderson at one stage spoke to the crowd of being grateful and noticing the small things in life and flipping his mindset to focus on the important things. It was a powerful moment which I know I have not done justice by attempting to paraphrase, but it was an indication as to why so many songs in their catalogue are synonymous with nature and being present.

As delicate and intricate as Hollow Coves were when playing, it was the space in between songs that hit me most. As a song ended, and the applause ebbed away, it was as if someone had turned a dial down. The crowd quietened, almost on cue, as the band swapped guitars or took a moment before going into the next song. The audience were hanging on to their every note.

With the energy in the room so quietly heightened, when the request came through for everyone to jump for the outro to On My Way, the crowd joyfully obliged, and arms began being slung over one another. Bassist, Chris Milnes, led the charge, lost in the crowd’s energy having gotten amongst it with them earlier in the set.

I was wrong to describe Hollow Coves’ music as nice. Delight suits them much better.

#21 Published 03/10/24

https://thesongbirdhq.com/2024/09/26/sura-laynes-let-the-good-times-roll-single-release/

#20 Published 26/09/24

https://thesongbirdhq.com/2024/09/19/max-bianco-sometimes-single-review/

#19 Published 19/09/24

Soft Play- Victorious

For me, a band will always get marks for getting into the crowd. It breaks the barrier between the artist and the audience and makes the set feel more immersive, whether you’re stood at the front or not. However, I don’t think I’ve ever seen an entire band jump into the crowd and play three (maybe, two and a half) songs whilst crowd surfing. Admittedly, Soft Play are a two piece so there are far less logistical headaches than, say, if Pete Tong and The Heritage Orchestra fancied a bit of crowd surfing. But Soft Play did a fierce job of getting a usually reserved West Sussex crowd to head bang. Highlights included John Wick (‘I’m John Wick bitch!’) and both Isaac and Laurie emerging from the crowd a little worse for wear- Isaac having been dropped on his head by security and Laurie taking back to the stage again with a fresh black eye.

The Clockworks- Victorious

The Clockworks are no strangers to Victorious, having featured on previous line-ups in the past. However, this year they were at the Under The Trees stage, just off from the Castle Stage. It’s a relatively small, glade-like, space with hay bales for sitting situated near the stage. It’s a stage often used for more acoustic artists. It was a tad surprising to learn this would be where The Clockworks would be playing. Sadly, they were half an hour late coming on due to sound issues, which meant that the set had to be cut in half. However, they grab a spot on my list for the small group of fans who packed the front of the stage and began a friendly mosh pit, lost in the joy of The Clockworks catalogue. And there is no doubting the power of their songs: Enough Is Never Enough, Bills And Pills and Mayday Mayday. The request to play one more song was obliged, somewhat painfully by the band, clearly struggling with the stage set up. But the cheer from the crowd would have been enough to keep anyone going.

Joy Orbison- Greenman

The mark of any good show is when you don’t notice the time. Joy Orbison played the Far Out stage at Greenman into the early hours of Monday morning, when the festival should have been winding down. People enthusiastically two stepped from the front right the way to the back of the crowd. Lips were positively pursed by all when a new texture or break was brought in. Fight FM and Freedom 2 were particular highlights and songs that I keep coming back to.

bby- Victorious

A young band soaked in contemporary aesthetic and fresh from the release of their album, ‘1’, released in July of this year, bby are building a strong following. They also played the Under The Trees stage a Victorious on the Friday night and lapped up every moment of being on stage. But, as well as oozing cool, they were also incredibly tight when playing together. A few developed broad smiles in the crowd as bby moved through their shoegazey, grungy, set. ‘kinky’ and ‘hotline’ were particular highlights.

Personal Trainer- Greenman

As the sun burned high over the Walled Garden stage on the Friday afternoon of Greenman I felt that everything was going to be ok. This is, in part, because Personal Trainer take so many elements of the best rock bands and fuse them together into easy to remember, feel-good, songs with pleasing hooks and satisfying choruses. Round and The Lazer are perfect adverts for this, as well as feeling uniquely youthful, to the point where it felt like summer would never end. When watching Personal Trainer, it’s hard not to be inspired by the way the band (all seven of them) all wholeheartedly enjoy playing their songs and each other’s company. The scene at the Walled Garden stage, was special. The sun was out and the sheer number of smiles in the crowd were infectious and watching the band flit across the stage, playfully tipping their hats, parading saxophones and screaming in a deranged fashion into their mics was a genuine pleasure.

#18 Published 18/09/24

Let’s rip the plaster off nice and early. I, like so many others, didn’t get Oasis tickets. Am I gutted? Absolutely! I spent most of last weekend clicking refresh on Ticketmaster and See Tickets only to not get through- what a waste of a day!

But whilst waiting I couldn’t shake the feeling of fear. I was genuinely scared. But why? I love Oasis, dearly. They’re the band who managed to bottle a near euphoric feeling of hope in the nineties and unleash it upon the world. Oasis’s musical journey is a tale that has been passed down from one generation to another, as has the long running family soap opera starring brothers Liam and Noel. So, when the band announced that they were going to be touring again for the first time since 2009 in 2025, there was always going to be an inevitable cross-generational frenzy.

But I couldn’t help but feeling that getting tickets would carry a certain amount of risk-other than the risk to my bank account. Thanks, dynamic pricing!

 Yes, there is a chance that the brothers could fall out before or during the tour and very few will know how Liam and Noel really are with each other as of today. But, parking the family drama for a moment, will they still be as good together?

Both Liam and Noel have toured extensively under their own respective banners and have a rhythm with their own bands. Oasis numbers have featured heavily in their sets in recent years. Whether it’s Liam Gallagher’s solo outfit or Noel Gallagher’s High Flying Birds, the Oasis tracks they have played separately have sounded almost as good as Oasis, at a fraction of the cost.

I saw Oasis on July 12th 2009 as a teenager with Reverend And The Makers, The Enemy and Kasabian all in support. The whole evening blew me away and Oasis were scintillating for all the obvious reasons. Following the gig, and the subsequent split in Paris, I realised just how lucky I was to be able to see them. It is one of those gigs that remains in my top ten gigs of all time and, prior to queuing for tickets last weekend, I wasn’t sure I could do it to myself to pay the money and for them to not be as good as I remember.  

Rumours will undoubtedly surface over the coming days and weeks of even more dates being added to the tour. More dates have been added recently at Wembley and tickets will be sold on a staggered, invite only, ballot. I hope I get the email. And I’ll feel the same as I did last weekend.  

But this is Oasis. This is histreh.

#17 Published 07/09/24

https://thesongbirdhq.com/2024/08/29/rapturous-just-another-monday-single-review/

#16 Published 29/08/24

https://thesongbirdhq.com/2024/08/19/tee-tee-an-introduction-and-interview-with/

#15 Published 19/08/24

Seemingly from nowhere we have a new Jack White album. No Name was initially slipped into shopper’s bags at Third Man Records in London, Nashville and Detroit a few weeks ago without context, track names or artwork. The only instruction was for fans to ‘Rip it’.

Now, complete with track names and artwork, following its official release last week, No Name is a pared-back slug to the gut, sitting apart from the expansive weighty wisdom of White’s previous entries. This is a garage rock album from start to finish teeming with an analogue attitude not heard from White, so consistently, in so long.

Of course, comparisons will naturally be drawn between ‘No Name’ and The White Stripes and there are some sections on No Name that take some musical ques from previous Stripes outings. The searing riff on It’s Rough On Rats (If You’re Asking) could easily feature on 2007’s Icky Thump, for example. But unlike The White Stripes there’s no space for the acoustic cuteness of We’re Going to be Friends or You’ve Got Her In Your Pocket.

White is bullish and unapologetic on No Name. As a result, this record has an underdog identity that is easy to relate to and route for. This is something that has perhaps been lacking with some of White’s previous solo albums. He has been fearless in his approach to composition in recent years, with each of his releases reaching into the next sonic space and exploring some surprising, even shocking, textures. This is perhaps best epitomised by 2018’s Boarding House Reach where White pushed ever further into the art of the possible by mixing styles at will.

No Name dials the genre-defying stakes back and focuses on turning up the amps. Opening track Old Scratch Blues with its crackly lead in sets a bluesy back-porch scene where you can imagine White noodling away whilst overlooking the Nashville countryside. For a moment it’s reminiscent of his blues hero Son House until White throws dirt at it and thrashes his way through the rest of the track.

Bless Yourself and the, at times, deranged Archbishop Harold Holmes are punky thrillers that, on first listen, could have been plucked from the unreleased archive of The Upholsterers, White’s band before The White Stripes that formed whilst he was working in a sofa workshop. The rugged, streetwise, nature of these tracks are fierce uppercuts in an album full of pounding jabs and hooks.

#14 Published 10/08/24

https://thesongbirdhq.com/2024/07/18/alex-spencer-theres-gotta-be-more-ep-review/

#13 Published 18/07/24

https://thesongbirdhq.com/2024/07/14/the-dsm-iv-white-wolf-single-review/

#12 Published 14/07/24

https://thesongbirdhq.com/2024/07/10/dead-rat-society-an-introduction-to-and-interview-with/

#11 Published 10/07/24

I had a look at the setlist for Mdou Moctar’s previous shows just before he came on stage at Electric Brixton on Wednesday night and became very excited when I saw the final track listed was Jump by Van Halen. I don’t mind a bit of Van Halen every now and again; it certainly has its place. But I couldn’t imagine how a Tuareg guitarist would begin to attack a Glam Rock song. However, whatever Mdou Moctar plays, you can bet that it will be filled with water-tight rhythms and scorching licks, plenty of hammer-ons and pull-offs and distortion.  

He didn’t play Jump and instead the original Van Halen version rang out over the pa system as people left, but the principle still stands. Mdou Moctar and his band have a winning formula and could make any song sound good.  

Even though I had looked at the setlist beforehand, I couldn’t have told you what songs were played. All the songs pretty much bled into one another with a few pauses in the set for the audience to give their praises. The set became evermore fierce and hypnotic as the show went on. A cluster of people in front who had initially responded to Mdou Moctar’s tracks by swaying reservedly had become loose, stamping their feet and letting their bodies loll in surrender to more of those trademark scorching licks.

Moctar offered very little in the way of crowd work, instead opting for the music to do the talking. In its current iteration, Mdou Moctar is more of a band consisting of guitarist Ahmoudou Madassane and bassist Mikey Coltun. Both were very much the engines of the band, driving each song forward effortlessly. Behind the drums sat Souleymane Ibrahim who was barely visible behind the toms, but still had a strong, and wholly necessary, presence throughout the set. The band’s tightness allowed Moctar to swagger across the stage and gesture to the crowd for more movement.

The band played tracks from their latest album, Funeral For Justice, released in May, which captured the same layered brightness as other, older, entries in the set. Another highlight was 2019’s Tarhatazed, which had a particular power to transcend language. The band all seemed to enjoy teasing the crowd with a particularly long intro and also turning the backend of the track into a mini jam session.

I highly recommend.

#10 Published 07/04/24

Many in the UK and the US will be familiar with the Yondr pouches which have been slowly seeping into venues from 2015 onwards, receiving a mixed reception to say the least.

Where these magnetic lockable pouches are in use at a venue, the gig-goer must put their device in it to be allowed into the performance space and, as such, they have caused much controversy across affected fanbases.

As the pouches gained more publicity, well established artists across music and comedy, such as The Lumineers, Childish Gambino and Dave Chappelle, began entering into agreements with Yondr to use them on their tours.

The aim according to Yondr was, and still is, to alleviate the intrusion of personal technology to create vital, distraction free, experiences that enrich people’s lives.

The pouches now reach over a million audience members a month worldwide. But nearly a decade after inception, there are still question marks over whether the use of these pouches will become the new normal at gigs for several reasons.

Many audience members who go to see a well-known artist or comic will view these outings as life events which must be captured on their phones. So, if they arrive at a venue and discover they must use these pouches, some are likely to feel they have been denied a memory and the sense of occasion may be diluted for them.

Then there are the logistical headaches the pouches still have the capacity to cause. For example, if you lose your friend or significant other in the crowd, you cannot text them to arrange a place to meet. If you are a parent, the pouches can be a cause of anxiety if you need to message the babysitter. All of this furthers the narrative that the pouches are phone prisons, as previously reported by the likes of The Guardian back in 2016.

On the other hand, the pouches give the audience the power to have an authentic experience where their view cannot be obstructed by phones popping up in front for pictures and videos every few seconds. Founder of Yondr, Graham Dugoni, has been clear on the pouch’s purpose, to allow people to see a show live for themselves and decide whether they like it or not.

In addition, there is appetite for the pouches to continue to be provided at gigs with 62% of people saying they would be more likely to attend a gig or concert if they were able to put their phone away for the duration of the show*.

But there is still firm opposition and confusion from gig-goers surrounding the pouches and this may be, in part, because the audience is not Yondr’s primary customer. Instead, it is the artist that is the customer by way of an agreement between them and Yondr.

Whilst some artists have publicly aligned with Yondr in their aim to create distraction free spaces, such as Jack White, others have used Yondr as a mechanism to further protect their revenue. In the past, Graham Dugoni has previously recognised this but still chosen to contract with that artist, nonetheless.

For example, in 2022 Chris Rock partnered with Yondr to stop audience members from posting punchlines to his show, Total Blackout, which was due to air on Netflix later that year.

Whilst artist integrity should be protected, the inconsistency in approach from Yondr makes it seem as though despite having honourable intentions on the surface, there is an apparent corporate angle that will take priority over audience experience.

Yondr pouches are also seemingly only accessible to established artists. The company has not yet chosen to comment on the approximate value of their larger artist contracts or confirm how many venues they reach agreements with directly. However, with pouches being trialled in schools in the UK with the cost to implement around £7,000-£18,000 depending upon size, it is hard to see these costs aren’t passed on to the audience.

Regardless of the artist’s intention behind using the pouches it is also difficult to see how they could be utilised by smaller artists anyway who rely on social media to promote their craft, meaning that pouches could have some way to go before being brought to smaller venues.

* Sample of 32 people asked via Instagram poll.

 #9 Published 30/06/24

If a list was to be created of bands who don’t take themselves too seriously, Chastity Belt would certainly feature somewhere on that page. However, that’s not to say they aren’t serious. They have plenty of intricately crafted tracks that blend elements of nineties rock with profound and, at times, poignant lyrics. But the Seattle based group, formed of Julia Shapiro, Lydia Lund, Annie Truscott and Gretchen Grimm, have always managed to retain a certain sense of levity.

I was reminded of this as I looked to my left and saw projected on to the wall, some brightly coloured whacky armed inflatable tube dancers with each of the band’s equally inflated smiles imposed on to each of the characters.

It was a whimsical scene similar to the cover of Chastity Belt’s latest album, Live Laugh Love, in which a tattered inflatable tube character, with a deranged smile, flails against a blue sky. The album’s title and artwork seem to reference how sometimes life can be overwhelming and that sometimes there is nothing to do but blow in the wind and smile deliriously. We’ve all done it. Live, laugh, love- deranged smile!

“Wait, wait, wait!” Lund shouted just as the rest of the band were about to launch into opening track, Hollow from their latest record. “It’s hot in here and I did not take my jumper off before coming on stage”. This was met with laughter from the rest of the band as Lund finished looping her guitar strap back over herself. In a way this was the perfect set up for Hollow. Despite its dark tone, Hollow, when played live, felt relatively light and unburdened with emotional weight.

Drown, from Chastity Belt’s 2019 self-titled album, provided a heavy dose of poignancy. The band stood almost motionless at times allowing their sombre vocals to do the heavy lifting.

As the four-piece moved through the set, instruments were exchanged between the band. Grimm and Shapiro moved from drumkit to guitar and vice versa, although, this did create short silences between songs which did disrupt the flow of the set. However, it was impossible to watch these exchanges and not feel a sense of community. It added a certain chilled purity to the set, where the band’s obvious togetherness was most apparent. That feeling of togetherness was also established early by the support, Meagre Martin, whose honest harmonies were equally as pure and care-free.

There were a few hiccups in the set. When they took the vocal lead separately for songs deeper into the set, both Truscott and Grimm struggled with mics that didn’t seem to be turned up enough, but dutifully ploughed on.

Any concerns were wiped out briefly as the bass kicked in for Different Now, Chastity Belt’s most popular track. However, as the set ended it was hard not to feel like it had been a long tour for the band, as there seemed to be a slight reluctance to engage with the crowd.

After Chastity Belt had finished their final song, Blue, the crowd expected an encore which did not materialise. The house lights went up and Lund emerged on the own waving her fingers against her neck to signal there would be no more.

You can’t have it all. Live, laugh, love.

Check out more from Chastity Belt below:

Instagram: @chazzybelt

Website: https://www.chastitybeltmusic.com

Charva recommends: Chastity Belt

1. Different Now

2. The Process

3. Hollow

4. Drown

5. Laugh

#8 Published 22/06/24

Sunnbrella are a London based pop-gaze outfit who have been combining breakbeats with ethereal synths and lush textured guitars since 2018. They are led by lead singer and driving force David Zbirka. I first came across Sunnbrella when they were supporting Beach Fossils for their bunny tour in February of this year.

Support acts have a tricky job balancing the building anticipation in the room for the headliner whilst also promoting their own music, which needs to be distinguishable from that of the headliner’s for it to be memorable. Beach Fossils were suitably scintillating but when watching Sunnbrella for the first time, I was struck by how fluidly they were able to mix up-tempo beats with eerie melodies. Whilst this concoction felt gloomy, each song had its own swing that you wanted to move to.

It was perhaps appropriate then that on the opening night of their UK headline tour, earlier on this week, Sunnbrella were scheduled to play The Louisiana. It was an intimate space that had its own gloom and would have been hidden in darkness but for the pub’s logo that glistened in pale greens and blues behind the band.

The band opened with Ivy League, from their debut album Heartworn, an upbeat pop-driven song with a delightful synth that tinkled around Zbirka’s vocals, thrumming bass and glistening layered guitar.

Other highlights included Wrong, released in 2020. It was a majestic playthrough, stuffed with themes of overcoming adversity and most akin to later Slowdive entries, who Sunnbrella have taken influence from. Zbirka let loose a rip-roaring solo in the song’s final moments and willed his guitar to be an extension of self rather than a mere instrument.

Latest single Kiss on Credit was also played with great care and attention to detail, Zbirka came in close to his mic and seemed to enjoy this one. ‘The sound in this venue is incredible.’ he said, almost bewildered, as the final notes of the track slowly ebbed away.

Sunnbrella closed with Fever Dream, their most popular track which has over a million streams on Spotify. Zbirka calls it a song you can cry-dance to. Picture Slowdive meeting Moby on a grassy heath on a grey day.

When I later asked Zbirka to give me two words to sum up the show, he gave me one: ’Special…’

Check out more from Sunnbrella below:

Instagram: @sunnbrella

Website: https://sunnbrella.xyz/

Charva recommends: Sunnbrella

1. Fever Dream

2. Wrong

3. Kiss on Credit

4. It’s Cool

5. Ivy League

#7 Published 14/06/24

https://thesongbirdhq.com/2024/06/06/hollows-history-single-review/

#6 Published 06/06/24

Redwood City are an Alt-Indie band from Caerphilly, Wales, made up of Evan Burridge (Lead Singer), Shay Furgusson (Drummer), Ed Davoile (Guitarist) and Pete Doble (Bassist). The four-piece have been playing shows large and small across Wales since 2022, earning new fans as they go.

Despite their youth, the young band have already released an album last year. The album, Color Slide Club, is rife with crunchy grooves and thumping drums which give most of the tracks a hearty grit. The second track, Cauterised Romance, is particularly dark and foreboding with hoarse vocals, which sound like a hybrid between Julian Casablancas and Frank Cater, thick bass hooks and frenzied guitars.

Color Slide Club also showcases elements of classic rock. Opening track, The Way It Falls, thunders into a rebellious chorus that conjures images of figures in leather jackets and motorcycles, but cleverly timed solos keep the track from ever feeling too riotous or uncontained.

Later tracks, Plutonic Messages and High Out Your Mind, outline an early blueprint for a softer sound that Redwood City have been developing following the album’s release. Latest single, Uptight, is imbued with a cool optimism thanks to Burridge’s cheery vocals and warm guitars. The main hook, ‘Do you feel the way I feel?’, is easy to get behind and feels like it could be sung by a crowd of thousands.

Although only released in April, Uptight has over 6,000 streams on Spotify alone already. It has also received high praise from Adam Walton of BBC Radio Wales who, after playing it on his show, called it a beautifully written anthem.

Redwood City have also recently teased a new single, titled Ashtray, which is currently being recorded. The video features Burridge and Doble playing acoustic guitars somewhere on Caerphilly Mountain and already sounds just as heartfelt as Uptight.

Worth having on your radar for sure…

Charva Recommends

1. Uptight

2. Cauterised Romance

3. The Way It Falls

4. Chasing The Day

5. High Out Your Mind

#5 Published 09/06/24

A cigar box.

Other than holding cigars, it is not likely to have a great deal of other uses. Perhaps later in life it will be used to store an assortment of thimbles on a hard-to-reach shelf, doomed to a dusty existence.

But in pockets across the UK, enthusiasts are getting hold of these boxes and doing something remarkable. In sheds and workshops, they give these objects a second chance at life by gluing a stick to them and stretching some strings across the neck and body.

The result? An instrument described as the musical equivalent of heroin that will take the player to an unexplored musical realm.

The cigar box guitar is born.

With roots planted firmly in middle America from the late 1800s through to the Great Depression in the 1920s & 30s, each construction today is a small tribute to a time where people, if they wanted entertainment, had to make their own music out of cigar boxes, broomsticks and wires. Today, the CBG craftsman brings something quintessentially historic into the modern era.

The guitar’s historic roots, combined with the power of the internet, has allowed a subculture to evolve across the USA over the last two decades. Pioneers such as Shane Speal (dubbed the King of Cigar Box Guitar), Mike Snowden & Del Puckett have all been key contributors to the CBG’s growth.

A player who was described in the Galveston (Texas) Daily News in 1886 as sat on top of a keg outside of a bar playing a cleverly fashioned guitar in perfect delirium of enjoyment, could easily be applied to any one of these present-day players who share their passion online.

It is that dichotomous relationship between the old and new that has also captured the imagination of a number of makers and players in the UK. Since the BBC documentary, Cigar Box Blues- The Makers of a Revolution, aired in 2019, a community which was already thriving has grown significantly.

Today, pickups and humbuckers may be fitted, strings may be strung instead of wires and the maker may have a plethora of woods to carve the neck from. But all these additional frills are seemingly unnecessary in order to gain enjoyment out of playing one of these things.

This is because these instruments promote accessibility. Typically, these guitars will only have three strings and will be tuned to open tuning, such as GDG, also known as the root, the fifth and the octave. Chords can be learned in a matter of minutes and be played with just one finger. Therefore, beginners, no matter of their musical background, really can learn a tune in an afternoon.

Cigar box guitars now feature more frequently at UK guitar shows thanks to traders who actively encourage people to have a go on one. Some have also been running ‘Make and Play’ workshops for several years, such as Chickenbone John.

Additional tools will be required to make the guitars from scratch at home and prices can vary from anywhere between £50-£700 to purchase a ready-made guitar. However, whichever route the user chooses they will have an instrument that is unique to them.

Unlike a standard six string, the level of investment does not necessarily reflect the quality of the instrument or sound. They also all come with their own imperfections which may be enough to dissuade some from purchasing any equipment.

But these imperfections ensure the instrument retains a human element and reminds the player of its humble beginnings. It also makes the guitar far less intimidating than a factory produced standard guitar.

What is more exciting is that making a guitar out of a cigar box is a mere glimpse into what is possible. Plastic boxes, biscuit tins and cans are just some of the materials that have been documented online as suitable to craft a guitar’s body.

Enthusiasts now actively look out for nearly anything of suitable shape that can make something interesting. Combine that with any string type of choice and an entirely new instrument could be created.

There’s a lot you can do with a box, some strings and one finger.

#4 Published 02/06/24

Song: Knows Me Too Well

Artist: Subterrania

Released: May 24

Subterrania are a four-piece indie rock band from South Wales who have just released their third track, Knows Me Too Well. With thumping drums and echoing guitars, Knows Me Too Well is far more expansive and daring compared to the band’s previous entries, Benidorm & Shine, which have also been well received. The blistering chorus is followed by a crisp bluesy break which allows the listener to briefly catch their breath, before heading back into the main hook. The buoyant, Madchester-style, vocals keep the track grounded without ever feeling overused. Subterrania have just announced they will be playing at Isle Wight Festival this summer and this song sounds like it was made to be heard live. For those going to the festival this year, it would be foolish not to check these guys out!

Song: Showtime

Artist: Catfish and the Bottlemen

Released: Feb 2024

Starting with a plucky rhythm section that would not sound out of place in a coming-of-age film and lyrics as relatable as the rest of their back catalogue, you could be tempted into thinking Showtime is another typical Catfish entry. But the foot to the floor choruses have been replaced with vocal overlays and a reverberating floor tom which allow the track and listener to stop, breathe and reflect together. It’s memorable as a result, if a little less dramatic. Importantly, you can still hum the melody!

Song: Cap.4 El Sabbath de las Brujas

Artist: Yo Diablo

Released: Jan 23

Cap.4 was released as part of Yo Diablo’s 2023 album Haxan. The album is an interpretation of what the soundtrack could have been to Danish silent horror film Häxan, released in 1922. The light, yet somehow untrustworthy, palpitating backbeat is enough to set teeth on edge alone and feels intrusively close. The ear clings to the stunted notes played throughout for respite and are hypnotic and séance-like as a result. Danger feels like it’s always lurking as picks scrape against the metallic strings for sparse psychedelic riffs. The piece is industrial and, at times, gothic and I couldn’t help but picture a segment of this track being played in one of Guy Ritchie’s Sherlock Holmes films.

Song: Makes You Fly

Artist: Nice Guys, Dumbo Gets Mad

Released: Jun 19

This track might be the perfect accompaniment to a sunlit Saturday afternoon. It begins by bathing the listener in rich, jazz fuelled, saxophone and gentle percussive textures that are as warm as they are enticing. But this quickly fades and is replaced with cosmic synthesisers that permeate into every corner of the song. Despite its quite dark lyrics, Makes You Fly is a whimsical journey that encourages the listener come along for the ride, without pushing too hard into the realms of what’s psychedelically possible. A degree of safety is further provided by a disco inspired rhythm that feels familiar and will get more apprehensive listeners moving.

#3 Published 26/05/24

“I need more guitar, man!” Louis Ellis, frontman of Twin City, shouted to the sound desk. Twin City were a couple of songs into their headline set at Thekla on Friday and had got off to a decent start. However, I got the sense the band had not had the lift-off moment they were searching for.

Conversations began happening between the band on stage as wires were tinkered with. The short pause in the set gave me a chance to reflect. Had I not stumbled into a bar on a Saturday night a few months ago and obnoxiously asked the barman what kind of music his band played, I may not have come across them at all.

“Britpop.” Louis replied. My interest piqued and I bought a ticket on the spot, intrigued to see how they would capture the raw optimism of the nineties and how it would translate to stage today.

The Bristol based four-piece have been on an upward trajectory since forming in 2021. Their second ever gig was as main support for The Lathums. Since, they have gone on to play many other prestigious support slots including for The Coral, The K’s, The Royston Club and many more.

It was all smiles on stage once the technical hitch had been identified, a loose wire that had been kicked out of place in all the excitement of the opening tracks.

What followed was a sonic blast of guitars before the band launched into their latest single, ‘I Feel Alive’, sung by guitarist Pete Refson. The band enjoyed tapping into the winning Britpop formula of verse, pre-chorus and chorus for this one. The Charlatans-like bass hook, provided by Conor Feeney, kept the track swinging through the verses in anticipation for the rapturous chorus.

I can’t fight it/ You can’t deny it/ I can’t escape it/ You’re not making it easy/ I Feel Alive. There was no new ground broken here lyrically, but set against the thrum of bright, blaring, guitars no one cared. I spotted a group of lads in front, arms around each other, fingers pointed to the ceiling, singing the chorus back to the band.

The lads were not alone. Large pockets of the room were doing the same, connecting with the way the song felt rather than its meaning.

Later, drummer and brother of Louis, Toby Ellis stood up and almost willed his drum kit downstage. Full of attitude, he pointed his sticks to the back of the crowd and playfully sized them up.

He began smashing the hi-hit for the intro to ‘Sold Gold’, arguably Twin City’s most unapologetically anthemic track. It was a playthrough rife with optimism and, from the band’s current catalogue, the one that best captured the cheerful boisterousness of Oasis. If there was any doubt in the room as to the band’s primary influence, it surely had been quashed.

The band attacked it and carried that energy through to ‘Shake the Walls’, perhaps Twin City’s most noughties sounding song. The charged energy filtered through to the crowd. There was an angst as the beginnings of a mosh pit tried to swirl into formation. In front, another lad was trying to get on his mate’s shoulders and fell spectacularly.

I left with my ears ringing and caught the end of a scuffle outside.

Anything felt possible.

Check out more from Twin City below:

Instagram: @followtwincity

Website: https://hotvox.co.uk/artist/twin-city/

Charva Recommends

1. Solid Gold

2. I Don’t Know

3. I Feel Alive

4. Looking Glass

5. Shake The Walls

#2 Published 19/05/24

Dream pop can be loosely classified as a subgenre of alternative rock that creates a chilling or warming atmosphere through plush sonic textures, reverb and a pop melody. It’s not a one size fits all fits all subgenre and there is a great deal that can happen in between. But it was fitting that on an evening where Bristol was savouring its first taste of summer, dream pop duo Still Corners were scheduled to play.

Lead singer, Tessa Murray, stepped back from her keys and let slip a wry smile. This was the third show of the European leg of their Dream Talk Tour. She and Greg Hughes had just guided their audience through their 2022 single, Far Rider, filled with imagery of the sun and baking sand which only added to the stifling heat in the room. It was a whirring swell of over seven minutes, as a past love long forgotten is remembered.

There was a longing in Murray’s vocals as she trod the fine line between blissful and macabre. She took a moment between songs to implore the crowd to will this coming summer to be the best in a decade. Many, like her, were desperate to feel the warmth again and duly obliged with cheers.

It has been a dreary few weeks, but the weather that night combined with the shimmering visuals of sunlit seas and a hazy field projected behind the band, clearly inspired hope.

Hughes began to play the up-tempo intro to ‘The Dream’ from their latest album ‘Dream Talk’. It was an interesting place to take the set given optimism that had built in the room. ‘We’re in a dream’, Murray proclaimed for the chorus.

I watched Hughes’ fingers. There were more staccato notes escaping his guitar for the rhythm section as a moody blue light faded in and Strange Brew’s disco-jungle decor seemed to wash away.

It was performed almost as if under a grey cloud and bled into ‘Heavy Days’ with tinkling keys that sounded like fresh rain. The colour scheme changed for ‘White Sands’ where the storm finally passed. Hughes dug deep into his guitar for ‘Static’ and released a Gilmour-esque (Greg-mour?) solo where he allowed the space between the notes to guide him as much as the notes themselves.

The notes were crisp, stylish and leaked out into every corner of the room. It was a clever baptism that cleansed all before ‘The Trip’. Murray asked all to raise their hands and imagine we were flying over Bristol, and everything was peaceful. To my right, support, Jess Ribeiro was by the merch stand making good on her promise to bask around with us all. A few behind me had their eyes closed.

‘And everything’s alright. Everything’s alright…’ Murray continued.

It might just have been.

Check out more from Still Corners below:

Instagram: @stillcorners

Website: https://www.stillcorners.com/

Charva recommends: Still Corners

1. The Trip

2. Black Lagoon

3. Today is the Day

4. The Dream

5. Lose More Slowly

#1 Published 10/05/24