The Blinders bassist shares his experiences of live music

The Blinders are undoubtedly one of the most exciting British guitar bands you’ll find at the moment. Debut album “Columbia” was released last year to much critical acclaim, and for those who haven’t caught them live yet, put it to the top of your list. Their gig at Liverpool’s “Arts Club” last October was both passionate, moving and very very loud. You can read the review below:

LIVE REVIEW: The Blinders @ Arts Club, Liverpool, 29th October 2018 (Support from The K’s and White Room)

So we’re delighted that Charlie McGough was able to spare a few moments to answer some quick questions about his experiences in live music.

What was the first gig you remember going to, what can you recall from it?

U2 at the City of Manchester Stadium (now the Etihad). I was only seven and had to leave school early wearing a wooly hat like the Edge. I’ve still got the t-shirt and it does indeed still fit. I remember them both opening and closing with Vertigo. In hindsight that may not have been necessary, but it was a belter of a first gig.

What was the best gig you’ve been to? What made it so special?

It’s always an impossible question. Not to sit on the fence but every gig does give something different. It’s very difficult to compare seeing Roger Waters perform The Wall to a Nick Cave and the Bad Seeds show. It’s difficult to imagine may better live acts in the world than Arcade Fire but then what’s better than watching the Arctic Monkeys at a festival with a group of friends?

What is it for you that makes live music so special? Both playing gigs and attending as a fan?

There’s something undeniably powerful about watching a band in their raw state with nowhere to hide and them having no wish to do so. Watching a band leave it all on stage can be a draining experience for the crowd as well, indeed it probably should be. It’s nice to see gigs as a communion of like-minded people, in a crowd of however many you know you’re surrounded by friends. There’s nothing more exciting than when the lights go down.

What is your favourite gig you’ve played so far and why?

Again, it’s always a difficult question. The Reading and Leeds sets for BBC Introducing, and indeed the Thursday night at Leeds were undoubted highlights. You also can’t forget our recent headline shows. The Manchester show was the biggest we’ve ever done and as we say the entire tour was pretty unforgettable.

 

Nice one Charlie. The Blinders are on tour in the UK in April. Get your tickets now.

 

The Britanys front man shares his experiences of LIVE MUSIC

As part of a new feature we want to hear from the bands and artists who we have taken a particular interest in over the last 18 months and get more insight into their experiences of live music.

First up is The Britanys frontman, Lucas Long. The New York four-piece have been making a lasting impression, receiving praise from DIY Mag, NME, Interview Mag and Rolling Stone MX. They certainly impressed in October last year with a brilliant headline set at Jimmy’s, Manchester and are definitely a band to catch when they next visit the UK. The link for that live review is below.

LIVE REVIEW: The Britanys @ Jimmy’s, Manchester, 8th October 2018

But for now, let’s hear what Lucas had to say.

What was the first gig you remember going to and what can you recall from it?

The String Cheese Incident on New Years at the Bill Graham Civic Centre. My parents were shooting the show, I was about six and got so high from contact I threw up.

What was the best gig you’ve been to and what made it so special?

Probably seeing Jeff Beck or BB King. When I was learning guitar, seeing them made it real and gave me a connection into a world I had been searching for.

What is it that makes live music so special? Both playing gigs and attending as a fan?

Live music is still the only thing that is real, and now more important than ever. The human connection and gathering around a single form, there’s nothing else like and nothing else that compares. We need to fight to make sure that these experiences don’t fade into extinction.

What is your favourite gig you’ve played so far and why?

Our first house (or apartment) party. I met my girlfriend and our manager on the same night.

 

Nice one Lucas for getting the ball rolling on this feature. Get on these everyone, they’re boss.

 

 

 

Looking forward to the release of Sunflower Bean’s “King of The Dudes” EP, dropping on 25th January. If most recent single “Come For Me” is anything to go by it’s going to be boss!

This slideshow requires JavaScript.

Dream-pop four-piece “Anteros” also release their much anticipated debut album “When We Land” on the 1st March. After a string of impressive singles they’re definitely heading for a big year in 2019.

This slideshow requires JavaScript.

Liverpool is boss at the moment, and anyone who thinks otherwise clearly wasn’t at The Zanzibar to witness The Mysterines’ sold out headline show on Saturday 15^th December. The evening was yet another indication of the exciting times ahead for the city’s music lovers, with three local bands on the bill who are certainly set for an excellent year in 2019.

Kicking off proceedings were four-piece SHARDS, who also opened for Zuzu at her first hometown headline show at Jacaranda Records – Phase One last month (see previous review). They were impressive then, and were even more so at Zanzibar. Though just over a month since I saw them last, they immediately appeared more confident and assured onstage. Guitarist, Paddy Gullidge, couldn’t stand still and frequently traded grins with frontman Alex McKenzie. They all seemed to be enjoying every second. Debut single “Reflections” gets better with every listen and its shimmering guitars and evocative vocals brought the audience to a gentle sway. These are boss, give them a listen.

Five-piece Monks soon followed and showered the growing crowd with their infectious fusion of jazz, pop and psychedelia. Impressive singles “Dreamboat” and “Sundried” were well received, particularly by two fans who erratically bounced around the front of the stage with no real sense of rhythm and absolutely no fucks given. It’s exactly what we like to see. They certainly have an interesting sound. The drums crashed, Tame Impala-esque synth and bass grooves had you hooked and appearance of a trumpet every now and then filled the songs out nicely. Frontman, George Pomford’s vocals on top of all this made for a very enjoyable set. Keep an ear out for their new single which we can expect in January.

The stage was set for The Mysterines, with the crowd warmed up and in good voice courtesy of Oasis, Arctic Monkeys and a rousing rendition of Tom Jones’ “Delilah” over the PA. Taking to the stage to an enthusiastic welcome, the sense of anticipation was almost palpable as they prepared themselves.

Looking back over my notes in my little black book, I’ve found scribbled down six words that summed up The Mysterines perfectly; BIG RIFFS, BIG DRUMS, BIG VOCALS (all underlined… twice). Considering there’s only three of them they don’t half make a racket. It reminded me of the first time I saw Royal Blood and I spent half of the set saying to my mate, “Fuck off, that can’t just be them? Nah, fuck off.”

At times breath-taking, the trio ploughed through a set of exhilarating, relentless Rock ‘n’ Roll. Guitarist and vocalist, Lia Metcalfe honestly has one of the best voices around. Pure power of jaw-dropping quality and charisma to match, it’s evident that she was born for this. The introduction of debut single “Hormone” induced a shriek or two in the crowd before it’s massive chorus demonstrated exactly what The Mysterines are all about.

“Hormone” also saw the start of a mosh-pit which only grew in intensity as the set went on. Metcalfe seeming genuinely taken aback by the reaction as she broke momentarily from vocal duties to let out a laugh. It was boss.

“Gasoline”, with its three chords, a jet-engine rhythm section and a thunderous vocal brought the set to an end. It’s a song which will surely resonate with people when released, especially with the lyric “I’m too young to be caught up in this mess.” How apt?

I know they only have one single out but The Mysterines are already the best band in Liverpool. They’re going to be massive.

They play their final show of the year in Glasgow on the 29^th December supporting The Snuts (whose Shipping Forecast gig is also reviewed on this site for anyone interested). Will be a good night that.

 

Review by Luke Burrowes

Last night, Brighton trio Our Girl played Liverpool’s Sound Basement in support of their brilliant debut album “Stranger Today.” However, before they could blow people away, the sell-out crowd were treated to two excellent support acts, four piece Baywaves from Madrid and Cardiff’s Buzzard Buzzard Buzzard.

Baywaves were first up and produced a hypnotising set full of psych-soaked pop which had many in the audience transfixed. The fusion of melodic vocals and tight-knit musicianship seemed to cast a spell on gig-goers in the bar above as they came streaming into the basement like moths to a psychedelic flame. Bassist, Fran Bassi, particularly mesmerising with skilful and intricate bass groves as he contorted rhythmically centre stage.

Buzzard Buzzard Buzzard followed. Clad in more denim than a Levi’s storefront they injected the evening with a shot of exhilarating rock. Front man Tom Rees oozed charisma and accompanied with a tight, driving rhythm section put on an entertaining display. Their new single “Double Denim Hop” got a spin on Huw Stephens’ BBC Radio 1 show last night as well so check that out.

It had already been a night worthy of the admission fee so what a treat it was that we still had the headliners to look forward to. They opened with the first track off their debut album, “Our Girl” and the packed basement was filled with the blistering fuzz of lead singers Soph Nathan’s guitar. Josh Tyler on bass and drummer Lauren Wilson locked into a thumping rhythm section and the crowd settled into a constant groove which became more vibrant as the song took off with Nathan’s soaring guitar.

“Being Around” followed. It’s such a powerful tune that brilliantly incorporates sweet, heartfelt lyrics and vocals with razor-sharp riffs that blow you away. “I Really Like It”, catchy in all aspects steadily builds around a solid Wilson beat whilst Nathan and Tyler combine to bring the song to an intense, whirling crescendo.

“In My Head” was the highlight in a faultless set. Its brooding instrumentation perfectly accompanied by Nathan’s passionate, menacing delivery with an outro that left both band and crowd fully immersed in the music that filled every corner of the room. Like their album, the set was brought to an end with “Boring.” It was anything but. Over six minutes long they once again demonstrate their knack for being able to draw you into a song before settling you back down with a hypnotic riff. Then, when you think it’s all over they hit you square in the face and you’re once again being swept along, completely at the mercy of Soph Nathan’s glorious guitar.

It was a brilliant set, fully appreciated by the Liverpool crowd who sent them off to a great ovation, certainly the loudest they’d been all night as for the most part they’d just stood there in awed silence.

See these if you can. They’ll blow your mind.

Review by Luke Burrowes

The Blinders continued their first major headline tour on Monday 29th October with a sold out show at Arts Club, Liverpool.

Opening the show were The K’s, a four-piece indie band from Newton-le-Willows. It was a decent set, songs high in tempo with a sold rhythm section, though some long winded exchanges with guitar tech and those in the sound booth did mean momentum flagged a little. Their debut single “Sarajevo” was certainly a stand out. With elements of Oasis and The Wombats in there, it was certainly a favourite amongst fans.

Brighton’s White Room followed. Now they were very impressive. What was instantly striking about the band was Jake Smallwood’s distinctive vocal and charisma onstage. He was complemented brilliantly by bass player, Josie McNamara, who provided both groove and melodic backing vocals. It was a set that saw the band explore a range of musical genres with consummate ease. “Stole The I.V.”, quite early 90’s with swirling guitars and a souring chorus (those melodic harmonies most evident here), then contrast that with the unnervingly creepy “Cannibal Song” with its sinister synths and eerie lyrics. it demonstrated how talented and creative the five-piece are. It was a very enjoyable set.

But, it was The Blinders we’d all come to see. With the loft venue full to capacity, menacing red lights fell upon the crowd and a rumbling oozed out of the speakers, reverberating around the venue. Rumbling, and rumbling, and rumbling… for a good five minutes, as anticipation grew. The calm before the storm. At this point, you’ll be surprised to hear Gene Wilder’s voice softly singing “Pure Imagination” over the rumble which only seemed to add a sense of foreboding to the build-up. It was summed up perfectly by a fella stood in front of me who turned to his mate and simply said, “What the fuck?”

A “John Cooper-Clarke-esque” monologue accompanied the band on stage and they soon burst into album opener “Gotta Get Through.” Its pounding drums and heavy bass bounced around the room as lead singer, Tom Haywood’s, guitar wailed over his howling vocals. “L’Etat C’est Moi” followed, Charlie McCough’s bass growling along to another thunderous beat. It was some start, and a small pocket of those towards the front more than matched the band in energy as they jumped around in unison. It only escalated with the opening riff of “Brave New World” and by the time the song exploded into the chorus the room was just a sea of heads rhythmically banging along.

Whilst observing those in attendance, what’s clear to see is just how much these songs mean to people. Not just the younger generation, melting away in the sweaty pit they’ve created, but also the older ones in the crowd, of which there are many. It’s evidently a very cathartic experience for both band and audience and you just get the overwhelming sense that The Blinders are going to be a very important band for years to come.

The uplifting “Rat In A Cage” was a wonderful moment, the crowd embodying the message of unity and togetherness in its rousing chorus as they sang every word with their fists raised in the air. The set concluded with “Orbit (Salmon of Alaska). On record, a piano led anthem, however, instead it saw Haywood standing alone, with only his guitar as he brought a thunderous, electrifying set to a very tender, melodic and emotional end.

Review by Luke Burrowes

Scottish indie-rock band “The Snuts” continued their headline tour at Liverpool’s “The Shipping Forecast” last night. The four-piece have rapidly been building an impressive reputation North of the border, and armed with a handful of anthemic tunes and bottles of Buckfast went about proving why.

The jangling guitars of “The Matador” opened the set. The song gradually rose to soring heights, seeing all four band members work in tight unison to create an energy that reverberated around the basement venue, instigating a sea of bobbing heads.

New single “Manhattan Project” followed. Very “Catfish and The Bottlemen”in feeling, its dramatic drums and big riffs merely elevated the crowd’s enthusiasm as they sang back every word.

It only got more impressive from there. With its demo already receiving well over half a million streams on Spotify, “Glasgow”, again building from melodic, jangling guitars, erupted into a passionate ode to the city that lead singer Jack Cochrane sincerely described as “the best city in the world.” Debut single “Seasons” was by far the highlight of the night. It was the band at their very best. A massive tune with a thumping rhythm section and scintillating guitars, Cochrane’s vocals were particularly impressive on their most anthemic of chorus’.

The Snuts seem to have a formula of song-writing that they don’t appear to stray from. Each song that follows, “Mixer”, “Summertime”, “What’s Going On?” And “Proper” all built on the foundation of big, heavy back beats and riffs followed by explosive chorus’. Sounding “too similar” may be something they find people pick at, but to be honest, when it’s done this well… who gives a fuck?

“Sing for Your Supper” closed the show. That tried and tested formula was again put to good use, which resulted in an emotional display from both band and audience who sent the West Lothians off with a rapturous and heart-felt applause.

Their tour continues throughout October and November. Get on them.

Three bands were on support duty for the evening. First up was “The Shunt”who with a small but devoted following played a good set with thunderous riffs, pounding drums and thunder-finger bass lines. “Beautiful” particularly went down well. Wirral band “Bushes” were ok. Guilty of sounding a bit “too similar” without the required quality of songs to get away with it. And finally, “The Higherside” who impressed with plenty of charisma and energy on stage. Their song “The Outcast” certainly a stand out.

Review by Luke Burrowes

Brooklyn four-piece “The Britanys” produced an almightily loud and pulsating set at Manchester’s “Jimmy’s” last night, giving the hand full of people in attendance a glimpse as to why they are one of New York’s most talked about bands.

By all accounts, it hadn’t been a great day for the band up to that point, frontman Lucas Long crashing their rental car on the way to Manchester. “It’s gonna cost me a lot of money.” He explained with a shake of his head, much to the amusement to his 3 band-mates.

The set opened with “I Don’t Know How to Be Alone.” Building through a catchy bass-line the song exploded into the chorus, Long’s vocals layered with passion and angst. “In Yer Time”, an undeniably splendid concoction of The Strokes/Libertines influenced rock, and accompanied by the bands energy on stage resulted in both a sonically and visually exciting display. “Yer out of Control” was the highlight of the evening. With thumping bass and drums that hit you square in the chest, souring guitars and piercing vocals this is certainly a tune to induce sweaty riots in much bigger crowds in the future.

Credit to the band, they performed an electrifying set, full of passion and attitude to a pretty small, observant audience. Long’s showmanship could not be dissuaded, as he took the mic-stand into crowd before lying down on his back in the centre of the stage to spit out his vocals with venom.

It was a performance worthy of the hype that justifiably surrounds them and one that certainly marks them as a band not to be missed next time round.

Review by Luke Burrowes

Without trivialising the serious issues that have engulfed America over the last couple of years, there is at least one thing that we can be excited about; they’re producing some fucking good bands! Greta Van Fleet, Sunflower Bean, Public Access TV and QTY have all made a noisy, lasting impression, and now, another band has thrown their hat into the ring.

North Carolina’s The Nude Party continued their maiden tour across the UK at Manchester’s The Castle Hotel on Sunday 19th August. Loud, vibrant and sweaty, the band produced a blistering set which left fans pleading for more.

Support on the evening came from Manchester’s Fruit Tones who got the night off to swinging start. With only ten people present at the start of the set (the band being three of them) their catchy rock ‘n’ roll and sweet harmonies soon enticed a steady trickle of people through the door. You couldn’t help but tap your toes and enthusiastic “woo’s” and “yeah’s” confirmed the audience were nicely warmed up. It was time for The Nude Party.

It proved to be a tight fit for the six-piece, hardly an inch left unoccupied on The Castle Hotel’s small stage. Opening with the pulsating “Feel’s Alright” they set their stall out early for what to expect for the show ahead. Moving like a band of bobble-head figures on a bumpy road, their energy was echoed by the crowd from the offset.

An unwanted interruption soon brought a halt to proceedings however, when a technical fault plunged the room into darkness. The crowd helpfully provided lights from camera phones and requests were made for ghost stories to fill the moments of silence. The incident was laughed off with no sense of panic and they were soon rocking again without an ounce of momentum lost. It was as if band, audience and lights were merely turned back on with a flick of a switch.

The band continued to rattle through their set at unrelenting pace, hardly a breath taken between songs. Lead singer Patton Magee cut a commanding figure front of stage and with his Jagger-ish vocals on “War is Coming’, oozed control and confidence. The psych-tinged “Water on Mars” was a perfect example of how tight a unit the band are, something they maintain throughout the set. Their songs have that infectious vibrancy to them, with well-crafted grooves that never fail to reel you in.

By the time The Nude Party rolled into intended show-closer “Chevrolet Van” the room was a sweaty mess. Country-soaked with elements of The Stones and Velvet Underground in there, its rousing tongue-in-cheek chorus took the prize for highlight of the gig. The band naively offered their farewells, but the crowd insisted on one more. They had little choice really, with the exit at the far end of the room, I doubt the crowd would have budged until they got their encore. “Poor Boys Walking Blues” from 2016’s Hot Tub EP seemed to hit the spot and as the song came to an end sparked the crowd into deserving applause once again. It was performance of a well oiled Rock ‘n” Roll machine who are certainly destined for bigger stages in the future.

Review by Luke Burrowes