Saturday 31 May 2014

Dead At Last, No More Air Review - The Warren 30th May 2014


Having been forewarned by the producer that I might want to read the script and the foreward to the play before attending the performance, I had an inkling that it was going to be a bit out there: unsurprisingly I was right!

Werner  Schwab’s last play before his early death, Dead At Last, No More Air is described as a theatre-extinction comedy. Whilst I struggled to see the comedy in this piece of postdramatic theatre, I do think that if all modern theatre works were created in this vein, then the theatre for the common man would indeed be Dead At Last.

Call me old fashioned, but I like a good story. After reading the synopsis of the show I thought that there would be one, however I found that the playwright’s vile and vulgar verbose vocabulary (ironically a sentence which could have fitted well into the script) was far too self-indulgent to give any real chance to the story to take some of the foreground.

With the actors shacked by a terribly pretentious script, it is no wonder that the show left the audience somewhat speechless at the end. As it was, they didn’t do a bad job at all, with only a few very minor slips ups being more than understandable with such a barrage of literary confusion thrust upon them in the script. The removal and immediate reapplication of wigs in the middle of the dialogue seemed a little bit pointless and happened quite a few times.

The staging was quite resourceful, if a little sparse, but the creative use of the props should be commended.


Overall, I would say that this play is only for a very select few who don’t mind swearing, crude sexual references, long nonalogues (monologues without any real sense of purpose) and are genuinely curious about the philosophical aspects of theatre, what it is and what it means. For all other viewers, I feel that this might not quite be the taste of the fringe that you are looking for

Friday 30 May 2014

Tom Hickox Interview - 29th May 2014




After catching the end of a very soothing soundcheck at The Hope in Brighton, I met up with Tom Hickox in a pub around the corner to talk his music, merchandise and alternative career paths.

Did your parents’ background in classical music have any effect on your album? Are there any particular records that you remember being played as a child?
Not specifically, no. I think that when you grow up everything will have an influence on you, but any classical influences on my album were not consciously made. I was not looking to make anything classical, but with my background I guess you could say it’s an innate training, the music is in my blood. I’m really grateful to have had that kind of upbringing.

In terms of songwriting and orchestration, do you see these as separate things or do they happen simultaneously?
I definitely keep the songwriting separate. I like to focus on the key elements: the lyrics, melody and harmony first, to get the core of the song down. Then I’ll think about the right ensemble to play it. I do the majority of the orchestration and arranging myself but I think that it is important not to get ahead of yourself: if you don’t give the song strong foundations then it can never stand tall.

A lot of comparisons are made between your voice and that of Leonard Cohen. How do you feel about that? I personally think you more resemble Guy Garvey (Elbow) and Matt Berninger (The National). Are you a fan of either of those?
I’m a big fan of Leonard Cohen. He has definitely been an influence to me. You can tell within a millisecond if a song is his and that is such a great thing. I think for artists it is so hard to find your voice, both in the abstract and sonic senses but I am thrilled to be compared to such great company. I really like Elbow and The National. They write beautifully crafted music and have a lot to say. Recently one of my songs was played on Guy Garvey’s radio show and he was very complimentary about it. It is so humbling and surreal to have someone who you really admire become aware of your work and become an advocate for it.

In terms of the album artwork, it appears that you are having a conversation with yourself. Was that your intention?
The main thing that I wanted the cover to convey was that I was not just speaking from my point of view on the album; I was inhabiting other people’s voices and telling their stories.  I think that it is important to get the right look for a record, taking care and effort to package it in the best way possible. If the cover is symbiotic with the meaning of the record then it really speaks to the people and transmits well.

You have quite an interesting array of merchandise, including signed lyric handkerchiefs and pocket mirrors? Are you aiming yourself at the middle-class or is it more a style thing?
Not at all. I think I’m not the sort of musician whose supporters would want a t-shirt of. I just don’t think that it suits my style of music. The lyric handkerchief is something I really like because I think it hasn’t ever been done before. And the idea behind the pocket mirror is owner is looking back on themselves through it. Also, from a boring practical point of view, both are light items which are easy to travel around with when on tour. They seem to be selling really well though. We only have about 10 handkerchiefs left (prior to the gig).

How has the tour been going so far? Do you enjoy playing all across the country?
It’s been fantastic. I am always surprised by how different the crowds are in different cities. The venues vary each night too. Some of the shows were sell outs which is great. Others were pretty close to capacity and a couple were a little more chilled but we’ve had a great reception so far. We’re finishing the tour with a full band show in London in a few days. It’s always nice to end with a home show. I could walk home afterwards if I didn’t have my keyboard!

Besides music, do you have any other big interests/hobbies?
I’m interested in art and culture; films, books, pictures, anything that I can get ideas from for songs really. I also spend far too much time watching football on TV, but that’s not been much use for writing a song just yet!

And finally, if you couldn’t make music, what would your dream job be?
I’d be up front with Suarez, banging in the goals! That has always been a dream of mine since I was little, to be a striker for Liverpool. I enjoyed football from a young age but was never particularly sporty. But I am so happy to be able to do what I love by making music. If I can keep making more records with more amazing musicians, writing and recording music that I really believe in and playing it to crowds who really appreciate it, then I will be very happy indeed.

His stunning debut album War Peace and Diplomacy is out now.

Friday 23 May 2014

Madison Violet Interview in Brighton on their UK Tour - Prince Albert - 19th May 2014

I caught up with Canadian singer-songwriters Brenley MacEachern and Lisa MacIsaac, a.k.a Madison Violet, before their Americana Music Series gig at the PrinceAlbert, the Brighton of their recent UK tour, to talk to them about their upcoming record, beautiful venues and floral preferences.
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Firstly, I wanted to ask you about the Canada folk scene. There seems to be a lot of Canadian songwriters crossing over to the UK at the moment (notably Lindi Ortega and Basia Bulat in the last few months). Is this a new thing?
I think there’s always been a pretty much non-stop export of local artists from Canada coming over to the UK. In places like Toronto there are a lot of international touring artists coming to play, so the music scene there really thrives. Plus there are people like Bob Harris (BBC Radio 2) whose show really gives the folk/Americana/roots music a platform to be heard from. If there’s a market for it then people will come over and play the international shows.

What is the main difference between the audiences in Canada and America?
Well we don’t really play in America much, so the audiences in Canada are a lot bigger! (They both laugh!) We had some trouble a few years back trying to get into the US, which seems really silly because you can drive it in a day. The Border Patrol between Canada and the US is really strict and it can be hard to get work permits to cross, even to play a tour. It’s much easier to come to Europe so we’ve just avoided the hassle. Of course, with the new record when it comes out, there’s no reason that we’d avoid America. It would be kind of hard to miss out because it’s such a big place!

What have you been up to since your last studio album ‘The Good in Goodbye’ back in 2011?
We recorded a live CD/DVD called ‘Come as You Are’ which we released in 2013. It was a filmed during a show from our European Tour back in 2011, featuring 20 tracks played live in concert. We recorded it in a beautiful church called Kulturkirche in Cologne. After that we spent about 6 months on the new record, which we’ve taken 4 tracks from for this exclusive ‘Madison Violet EP’ for the UK tour.

Speaking of the new album, do you have any details for us about it yet? Title? Release date?
The title is tbc but it should be out in the fall in Canada and the US and sometime just after in the UK and Europe. The record has 10 tracks and has a lot more of an electronic influence. It’s got a kind of vintage-modern sound, with a lot of layered vocals, even more tenor guitar and more keyboards. Where we recorded there were piles of keyboards, like old JUNO’s that we used on the record. The previous albums we only had a short time in the studio, but this one we spent about 11 weeks getting it right, with a new producer Tino Zolfo, who used to be in the band soulDecision which were pretty big in America. We kind of felt like we were at our crossroads with our music and we were looking for something new to do and Tino really helped us to change what we were doing and the energy behind the record.


It seems that in the UK at the moment, there are a lot more solo and acoustic acts getting noticed. Have you picked up on a change in musical climate?
To be honest, we’ve never been any good at following trends and if that’s the way things are going then we’re going in the other direction. The new record is a lot more of a band record rather than a stripped back folk sounding one like the previous albums. In North America people seem to love bands like The Shins and Mumford & Sons. There are still people like Jake Bugg who are coming through, but the general scene is a lot more band-dominated, particularly in North America. It’s all the swinging of a pendulum though. I’m sure it will change again soon.

What is the most beautiful venue that you’ve played at?
Probably Massey Hall in Toronto, or some of the old theatres in Quebec. Well they’re not old like things are over here, more like built in the 1960’s! Those and the Kulturkirche in Cologne where we recorded the live album.

And finally, as you are named Madison Violet, what are your favourite types of flowers?
Tulips really brighten up the room and we love sunflowers and daisies.   

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For a review of Madison Violet's 4-track self-titled EP, and my What's On guide for the next week, check out my blog on thebestofBrighton here. Don't forget, for all updates to subscribe to my blog, or follow me on twitter @tomsayeruk.

Thursday 22 May 2014

Ernest and the Pale Moon Review (The Old Market, Hove)

Ernest and the Pale Moon Review




If you take Edgar Allen Poe's 'Tell-Tale Heart' and cross it with the infamous scene from Hitchcock's 'Psycho', then you begin to get something which starts to resemble Ernest and the Pale Moon, the dark and eerie four-man show (actually two men and two women to be precise!) from the award-winning Les Enfants Terribles Theatre Company.

The story is based around Ernest, a tall pale fellow who was recently institutionalised, and looks at how he ended up there from his apartment block on the 13th floor, 7 rooms along on the corner.

The script is very clever, using multiple narrators all talking in the third person and a non-linear structure which pieces the story together as the play develops, with a lot of overlapping events told from different perspectives, in a similar way to the films Vantage Point and Memento.

The performers were all strong actors as well as competent musicians on the side, playing on-stage instruments from the cello to the accordion, the harmonica to the glockenspiel, which added a real live suspense to the soundtrack.

The stage design was simple but very effective, with the platform bearing the asymmetrical door-frame being the centre-piece throughout the performance.The lighting was also spot on, creating the dark Gothic mood which the story called for, particularly with the uses of a lantern and torches on-stage.

The story was full of plot twists and at little over an hour in duration did not drag at all, if anything leaving you wanting more at the end. The final performance of the show at The Old Market is tonight (Thursday 22nd May) at 7:30pm, so why not spend an evening in the company of Ernest, and the faint glow of the pale moon, if you dare...

Wednesday 21 May 2014

Things To Do in Brighton & Hove - 23rd May to 29th May

Things to do in Brighton & Hove - Friday 23rd May - Thursday 29th May

  • 21st May 2014
  • Author: Tom Sayer
  • 0 Comments
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Friday 23rd May


Ashley Fripp
A lunchtime recital of Beethoven and Lizst from the 'disarmingly precocious' award-winning British pianist.
1pm, £10
Brighton Dome – Church Street, BN1 1UE
@brightdome
fripp
Mark Chadwick
The former Levellers frontman performs a set of his solo folk work, with tracks from his new album 'Moment'.
8pm, £10
Prince Albert – 48 Trafalgar Street, BN1 4ED
@levellermark

Flash Bang Band
A late night show as part of the Fringe Festival with the death pop trio. Support from Clowns and Theives By Code.
11pm, £7/5 adv,
The Warren – Russell Place, BN1 2RG
@FLASHBANGBAND

Saturday 24th May


Bite2: YOUTH Poets vs. MCs Slam
Returning for a second year, the young poets and rappers of Brighton get together to battle their words.
6:30pm, £5/2 conc.
Brighton Youth Centre – 64 Edward Street, BN2 0JR

Philharmonia Orchestra
Led by John Wilson, the orchestra will be performing works by Stravinsky, Bernstein and Ravel.
7:30pm, £10-30
Brighton Dome – Church Street, BN1 1UE
@philharmonia
jw

 

Sunday 25th May


Sussex Jazz Orchestra
Modern Jazz Big Band based in Brighton playing the music of founder the late Ian Hamer and others including Paul Busby, Thad Jones and Kenny Wheeler.
6pm, free entry
The Round Georges – 14-15 Sutherland Road, BN2 0EQ
@SussexJazzOrch
jazz

Gabriella Cilmi
Australian-Italian singer-songwriter Gabriella says there is still "nothing sweet about me" with her grown up new record, Sting. SUpport from Chris Simmons and Fools Empire.
7pm, £8
The Haunt - 10 Pool Valley, BN1 1NJ
@gabriellacilmi

Dusty Limits: Psycho
Internationally-acclaimed, award-winning cabaret star Dusty Limits sings songs of love and lunacy.
9pm, £10
Komedia – 44-47 Gardner Street, BN11UN
@DustyLimits

Monday 26th May


Reggae All-Dayer
Spend your bank holiday monday Jammin' with the best of them whatever the weather at Concorde's all day reggae marathon.
From 2pm, free entry
Concorde II – Madeira Drive, BN2 1EN
@concorde_2

Tuesday 27th May


Pet Shop Boys
Formed in the 80's and still going strong, the electronic pop duo come to Brighton as part of their Electric World Tour, promoting the record of the same name, released last year.
7:30pm, £33.50
Brighton Centre - King's Rd, Brighton, BN1 2GR
@petshopboys
Hop Poles Open Mic
A newly established open mic night with a chilled out vibe, that has already attracted a lot of Brighton's finest musical talent. With great drink promos, get down early if you want to play or get a good seat to watch!
8pm, free entry
Hop Poles – 13 Middle Street, BN1 1AL
@HopPolesBrighto
sock

Wednesday 28th May


Decomposed
Discover the awesome power of classical music in this hilarious and riotous ‘buddy-adventure’ on bunk-beds.
2pm, £8.50/7
The Old Market – 11a Upper Market Street, BN3 1AS
@TOMvenue
decomp

Thursday 29th May


Tom Hickox
Critically acclaimed songwriter Tom Hickox is receiving a lot great press at the moment, and rightly so! Check him out while you can: he is certainly going places!
8pm, £7.50
The Hope – 11 Queens Road, BN1 3WA
@tomhickox
hickox
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EP REVIEW - Madison Violet
mad
Canadian songwriting duo Brenley MacEachern and Lisa MacIsaac mix things up with their new self-titled EP, exclusively created for their current tour, featuring four tracks from their forthcoming album (title tbc), which should be out in Autumn 2014. The new material shows a clear departure from their simple acoustic follk roots and a movement towards a more indie-pop sound, which they suit just as well. The opening track 'Under Fire' has a strong electronic influence fusing disco beats, blues guitar, a cornucopia of vocal harmonies and a boogie woogie piano part. 'These ships' opens up with a riff that wouldn't be out of place in an Ibiza club anthem, which feels slightly like a cross between Avicii's mega-hit song 'Wake Me Up' and Shakira's 'Hips Don't Lie' - not a bad thing by any stretch of the imagination. This is my favourite track from the EP with an instantly catchy sing-along chorus "Like I did like you did like we did, baby we weren't built for these ships". 'Operator' combines beeps and synths with a simple vocal and driving drums whilst the closing track 'Trouble' has a spacious otherworldly feel. Their live performance at Prince Albert on Monday was passionate yet restrained, with the addition of a drummer and bass player as well as the duo playing extra violin and synth parts, giving them a more band-like feel. The EP is a great taste of what the album has to offer and I look forward to hearing it towards the end of the year.
For local music reviews, interviews and features check out my blog onwhattomwrites.blogspot.com or follow me on @tomsayeruk.

Wednesday 7 May 2014

Take Me Back

Take me back to the day when we first met
I crossed the borderlines of time
And tarmacked old regrets
To pave the path for days of laughs
It was the best thing I could do
I took your charms with open arms
And travelled miles for you

Now it's a slow train but it gets me there
I'd travel through the night
A few more stops til I get off
To take in all the sights
The streets ahead are empty,
And the way behind's a blur
There's no place I would rather be
Than welcomed back by her

Her crooked smile still warms me
And tells me it's alright
I've got no words that she's not heard
But I've still so much to write
And when once again I'll leave you
I know it's not for long
Soon I'll return, to live and learn
In a place where I belong


Saturday 3 May 2014

Friday Night Was Music Night!

Friday 2nd May - Big Top

Take the world famous BBC Concert Orchestra, throw in the highly esteemed Guy Barker Big Band and to top it off, serve with a sprinkling of two great American jazz singers and an award-winning British vocalist and you have your explanation for why ‘Friday Night Was Music Night’!

The packed Big Top was in good spirits and ready for a great night of live music, which was being broadcast live on Radio 2 for those who weren't fortunate enough to be there.

The show began with an unannounced voice-over reading the news, live from Radio 2, which signalled to everybody to take their seats, sit down and strap themselves in for one hell of a ride!

The show was narrated by BBC journalist and news reporter Jeremy Vine, who told the story of the American prohibition in the 1920’s and 1930’s and through a programme of classic songs from this era, he took the audience back to the sleazy days of under the table drinking, gangsters and most importantly, some of the finest music written in the first half of the twentieth century.

The show started in grand form, with the classic wailing brass and speakeasy sound of ‘Sing Sing Sing’ closely followed by the introduction to the first singer of the night, Liane Carroll, whose performance of the Ethel Water’s hit song ‘Stormy Weather’ was both playful and emotive, showing off her exceptional vocal control as well as her outgoing personality.

Kurt Elling made his Cheltenham Jazz Festival debut smoothly with a fusion of Irving Berlin’s ‘Blue Skies’ with Thelonious Monk’s ‘In Walked Bud’. Completing the trio of vocalists, Curtis Stigers sang the Louis Armstrong hit ‘Someday You’ll Be Sorry, dressed sharply and with a stunning vocal performance to match.
From the first four tracks alone, it was already lining up to be a fantastic night and definitely one of the highlights of the festival this year, keeping up the fine form of previous performances. Elling told the audience that ‘I Can’t Give You Anything But Love’ was “…definitely the one I came to sing”, saying mid-song “…that feels good don’t it? That’s right!”

The three singers all leapt to their microphones with great enthusiasm for each song, with performances which weren’t just vocally impressive but also engaging, fun and demonstrative of how much they were all enjoying being there; during Kurt Ellis’ performance of ‘Minnie the Moocher’, Liane and Curtis were having a great time dancing hand in hand on the side of the stage.

The songs featured many solos, all of which were played with a high degree of virtuosity without going too over the top, keeping it all very family friendly, which is often a potential trip hazard for a lot of contemporary jazz acts.

Guy Barker led the orchestra and the band expertly, no less than expected and the final applause after Jeremy Vine informed the audience that “…we’re off the air now!” was rapturous.  As an integral part of the Cheltenham Jazz Festival programme, the questions that will be on everyone’s lips will be “what will the theme be for next year’s show and when can I book my tickets?”

Friday 2 May 2014

Laura Mvula Gives an Intimate Performance

Thursday 1st May - Big Top

Following up her successful show at the Jazz Arena last year, Laura Mvula returned to Cheltenham Jazz Festival this year with a bigger stage, bigger voice and (if possible) a bigger heart than before.
Selling out a 1300-seater venue is one thing, but being able to give a powerful yet delicate performance that makes each listener feel like they are having a private concert in the comfort of their own home is another.

For the vast majority of the performance, the audience remained pin-droppingly silent until ‘Green Garden pivoted things around to a more energetic groove, with her open invitation to the audience to dance, clap their hands and join her on stage if they wanted (“I’m not joking” she assured them) was met with around 20 energised participants getting up on stage with her band and dancing, clapping their hands and not believing their luck!

The stage was quite bare compared to Jamie’s big band ensemble playing the same venue yesterday, with her accompaniment of strings, harp and drum melting into a beautiful wash of sound, which often hinted at a fairy tale world that she might be singing about, particularly in ‘Like the Morning Dew’ and ‘Can’t Live With the World’.

With her knee-length vintage floral dress, a long black wig and high heels, Laura’s appearance demanded the attention of the audience, and her music had them captivated from start to finish; the exposed vocals leading up to the first chorus of ‘Sing to the Moon’ were delicate and poised, certainly bringing goose bumps all over.

Laura talked comfortably to the audience, her audience, as if they were far fewer in number, introducing her songs with comments about the things that she missed on tour in America: “grey clouds, cool air and warm faces”, and how she appreciated an audience that really listens and doesn’t just sit there drunk shouting out “Play Green Garden!”

Her set showcased her vocal abilities, as well as what can be done with a simple string accompaniment, which was both emotive and mesmerizing in places. Her gentle piano playing and soft vocal delivery in ‘Diamonds’ still filled the arena to the back, whilst the shuffle beat in ‘She’ had a real swing to it which contrasted with the overall stripped back sound. One thing is for certain; she will surely be welcomed back to Cheltenham with wide open arms!

Thursday 1 May 2014

Jamie Opens Cheltenham Jazz Festival in Style

Weds 30th April - The Big Top

Jamie Cullum opened up the proceedings for Cheltenham Jazz Festival 2014 with an explosive double-bill performance in the large circus-style Big Top Arena, located in Montpellier Gardens.

With a full day of sunshine in preparation and the on-site bar and restaurant open before the show, the audience were in good spirits as they took their seats. One gentleman told me before the show that the last time he had seen Jamie perform was in an audience of around twenty people back when the young jazz singer/pianist was just 19. It would seem that a lot has changed in the fifteen years since his days of producing jazzy piano/vocal renditions of popular songs and jazz standards.

For starters, where he was once a solo performer with perhaps with a drummer and bassist in tow, now he came with an army of friends; a string quartet, double bassist, guitarist, pianist, drummer and a Musical Director to help conduct the full-sized big band brass section.

The show began with a bang, with a brass heavy version of his hit single “Get Your Way”, with the backing band allowing Jamie to free himself from the piano and lead from the front of the stage. This showed a massive departure from his rough around the edges vocal style of his earlier material and a development into an outstanding vocalist, who just happens to be a world-class jazz pianist too!

Jamie’s performance was engaging, energetic and enthusiastic, throwing his smartly dressed self across the stage whilst enjoying the extended brass solos. Some old habits like tapping on the piano lid have been replaced by full-on piano acrobatics, which needed two men to fix the piano afterwards, and running into the crowd with a megaphone, which was a particular highlight for many the near-capacity audience.

Jamie’s new material with the big band demonstrated a significant development in his songwriting style which seems to have evolved from album to album. As a big supporter of upcoming jazz artists, Jamie hosts a popular Radio 2 show every Tuesday night at 7pm, which has introduced him to many of his recent collaborators, including Ben Lamdin from Nostalgia77, with whom he has recorded his upcoming album, due to be released later this year, which Jamie describes as “the first actual jazz album I’ve ever made”.

The arrangements were varied and dynamic whilst the performance was exhilarating in places and quite moving in others, particularly his covers of Sufjan Stevens’ “The Seer’s Tower”, which opened with the haunting string quartet introduction, his favourite Randy Newman track “Losing You” and his smooth and sultry version of Pure Imagination, from his last album Momentum.

The pièce de résistance of the performance was the encore, during which Jamie asked the audience who had already all stood up to applaud the show to stay risen, clap their hands and jump up and down to the music. Anybody with a lesser presence would have surely been met with raised eyebrows, particularly from the more senior or reserved audience members, but on his command the entire audience seemed to move as one, creating a sea of heads from the back of the tiered seating all the way to the front row of the stalls, creating an atmosphere that you might expect during a Glastonbury headliner, but not during a jazz gig in April. Once again Jamie has shown that there are no boundaries between pop, rock and jazz that cannot be crossed.

The last thing I heard leaving the arena from a smartly dressed lady in a red dress was “I am in pure bliss”. Let’s hope that Sophie Dahl doesn't hear about this else Jamie’s earlier warning to the audience member who shouted out “I love you Jamie” that his wife would “kick her arse” may come to fruition.