Do you know those gigs where you just stand there blown away, along with your ear drums and you just have that overwhelming feeling that you are witnessing something truly special? If you do, the chances are you’ve already seen INHEAVEN then, but if you haven’t, do yourself a favour.

The Deaf Institute stage the London four-piece took to strangely resembled that of a wake. A large American flag draped over monitors and decorated in red roses looked like coffin, almost like a visual representation of the America INHEAVEN cleverly reference in their excellent self-titled debut album. Though, that is as far as the funeral vibes go, the four entered to stage with swagger, bassist Chloe Little beaming like a Cheshire Cat. The Mancunian crowd were certainly glad to see them. What followed was one of the most relentless, brilliant displays I have certainly seen in a very long time.

They open with “Bitter Town,” James Taylor, on guitar and vocals immediately cuts a commanding figure front and centre, reaching into his hyper-extended microphone and the customary INHEAVEN ‘boom’ fires around the venue like a cannonball, hitting you in the chest with a thud. “Stupid Things” follows, quite E Street-esque in its grandeur, Taylor and Little combine on vocals for a beautifully melodic display.

It’s a ferocious start. The crowd are lively and loving every minute and a small pit has formed with some willing participants. Then, as Little’s bass runs into “Baby’s Alright” everything cranks up a notch or five and suddenly the floor boards are physically shaking in a manner that I have never experienced at Deaf Institute. It was a nightmare for photographers like myself, struggling to keep the camera in focus, such was the force of energy rolling around the room, but breath-taking to witness.

And that’s how it continued for the majority of the show. “Vultures” and “World on Fire”, both massive songs with big, gnarly riffs send beer flying onto the stage, people hit the deck and are quickly helped up and back into the madness (they do look after their own the Mancs) and result in a few concerned faces amongst those caught up in it all near the front as a wave of people coming crashing towards the stage, shaking the microphone stands.

“This is the best night of the tour!” proclaims Taylor, he’s certainly sincere and it’s hard standing at the side of stage, taking it all in to imagine anything bettering this for now. The atmosphere really is electric. The band go into “Do You Dream”, a song that momentarily quells the mayhem of the first couple of numbers and probably allows some much needed respite for the majority of the sweat drenched, battered and bruised audience. It’s a lovely change of pace and something that INHEAVEN do really well over the next couple of songs. Debut album closer “Velvet” and latest single “Sweet Dreams Baby” showing again that INHEAVEN aren’t just about relentless, bone-shaking riffs but also have sweeping pop gems in locker with which of course, the Deaf Institute crowd enthusiastically sing back every word.

That serenity doesn’t last long however, as “Treats” ensures that mayhem engulfs the venue once more, but what was so great about watching all this unfold was witnessing how much the band and audience buzz off one another. The energy and sense of togetherness is palpable. Taylor is more than happy to whip the crowd into a frenzy and they in return hang off his every word, with him seemingly able to induce a rhythmical clap at the click of his fingers. The set finishes on “Regeneration”, the song responsible for starting all this when they released it as their debut single way back in 2015. It’s a perfect way to finish, a sea of fists and faces glued towards the heavens, and as the song comes to a close, the final line “Is this my generation?” fades and morphs into rapturous cheers and applause. This IS our generation, and with a band like INHEAVEN at the forefront of some exceptional British guitar acts, it’s certainly an exciting one.

Review by Luke Burrowes

As far as Christmas parties go, The Orielles produced a cracker with a sold-out show at Manchester’s wonderfully ironic Deaf Institute on Friday 8^th December.

With the crowd warmed up nicely by support acts Dreaming, Inland Taipan and Boy Azooga, The Orielles entered the stage seemingly intent on having a good time, throwing smiles between themselves and the eagerly anticipating crowd.

They burst into life from the off! Guitarist Henry Carlyle Wade accompanying his customary jangly riffs with a visual display so free of inhibitions that he can hardly keep his tongue in his mouth as he contorts and kicks the air. In contrast, lead vocalist Esmé Dee Hand-Halford stands serene as she fills the room with those charming, melodic vocals. It is probably testament to the productive and prolific creative nature of the band so far in their short career that they can afford to “retire” a song as they did at Deaf Institute, and if that is in fact the case they certainly gave it a send it off worthy of the affectionate applause it received. I was glad to be there to hear it.

By the time the opening riff of “I Only Bought It for The Bottle” reverberates around the venue, they’re already moving the crowd to their will. A sea of heads nodding in approval at the infectious hooks cast out towards them, it seems all have taken the bait, before the wooden floors start to shake as they explode into the chorus.

 “Jobin” is a clear fan favourite from the bands early EP, with it’s simple chorus enthusiastically chanted back at the three amongst a sea of raised hands. Then things take a change of direction. The band are joined by two others, one of whom enters not so subtly from the balcony overlooking the stage, to a chorus of cheers and applause. For the next couple of songs, they put the jangly, surf-pop to one side slightly in exchange for more soaring, soulful, but equally enjoyable numbers, inducing more of a gentle sway amongst the crowd rather than the floor shaking response seen throughout the gig.

Done with demonstrating their impressive musical versatility, The Orielles storm into their most recent single “Let Your Dog Tooth Grow” and it’s business as usual, the energy once again rising through your feet. The guitar work is impressive in particular as are the bands catchy and melodic harmonies. Then come the only boo’s of the evening as Wade informs the crowd that there’s only time for one more. It’s “Salt Tastes Like Sugar.” Easily the darkest and most experimental track from the band so far, building steadily in a brooding manner, it entices you into a grove and holds you there for over eight minutes as the song twists and turns between shifts in tempo. Where Hand-Halford’s vocals once filled you with a kind of warmth, they feel a lot more eerie when accompanied by the expansive musical backdrop of “Salt Tastes Like Sugar.” It’s an incredible ending to the set and perfectly highlights just how talented The Orielles are.

The Deaf Institute crowd just about have enough breath left to give the band a very grateful send off and confirmation of a gig at the much bigger capacity Manchester venue, Gorilla on the 14^th April 2018 is welcomed with excitement. By then their debut record will have been unleashed on the public. It’s sure to be another sell-out.

Review by Luke Burrowes

New York City’s Sunflower Bean took to Manchester’s O2 Apollo stage on Thursday 9th of November with a hand full of new material which is sure to make 2018’s March and April UK Tour one the most sought after tickets in town.

It’s the first trickle of new material we have heard from the trio since the release of 2016’s excellent trippy, psych-pop gem of a debut “Human Ceremony.” It sounds incredible, the only disappointment being the realisation that we’re going to have to wait a few more months to have that new album in our ears.

The band took to the stage full of life, guitarist and vocalist Nick Kivlen enthusiastically entering the hallowed stage bearing an uncanny resemblance to Bob Dylan in a not too dissimilar iconic Pete Townsend jumpsuit. They all look cool, they always have. And then they play. Their new material instinctively sounds punchier, delving less into the psychedelic but more classic rock than their previous releases, whilst still channelling the distinctive attributes that made Sunflower Bean so interesting on the ear in the first place. Kivlen’s guitar work is as skilful as ever and the band as a whole remain incredibly tight. Bass player and vocalist Julia Cumming confirming that she can just as easily stun with a powerful, jaw-dropping vocal performance as well as her beautifully melodic displays on “Human Ceremony.”

The show feels different from the last time I saw them in the intimate settings of Manchester’s basement venue, Soup Kitchen in February of last year. Less reserved, all three of them seemingly losing themselves to their own music. Kivlen can hardly keep still, enthusiastically bouncing his way around the Apollo stage, whilst Cumming’s regularly throws a rhythmical fist in the air as she committedly displays her vocal prowess.

The Fleetwood Mac-tinged “I Was A Fool”, the band’s most recent release is warmly received, and is certainly an exciting sign of the direction Sunflower Bean seem to be going in with their much anticipated second record. And, despite the evening being mostly used as an opportunity to showcase their impressive new material, fan favourites and standout’s from 2016’s debut, “Easier Said” and “I Was Home” slot in well to a set list which brilliantly displays the diverse song-writing talents that make up Sunflower Bean.

Review by Luke Burrowes

In The Crowd Magazine is a creative space where music lovers can share live reviews and concert photography from the best live acts that they believe everyone should see. We are dedicated to the live aspect of music, providing readers with a sense of “I need to see this!”