Bon Iver at the Trinity


Bristol Trinity is a funny old venue; decomissioned church in an ‘edgy’ part of town, disappointingly low ceilinged given its original structure but none the less a pleasingly ‘intimate’ venue as Messrs Bon Iver mentioned at last nights sublime show (they played the Shepherds Bush Empire the previous night).

Just prior to their set Justin Vernon sidled his way through the sell-out crown apparently un-noticed by everyone as they stared at the stage wanting the set-up to be over. The dishevilled Vernon doesn’t give off the air of a ‘star’, more like a local wandering around a gig. How does it feel to be overlooked one minute and then greeted with an uproareous welcome as soon as you set foot on stage?

I must admit to being nervous that Vernon and his excellent companions Mike Noyce and Sean Carey on guitar and drums would struggle to reproduce the fragile beauty of the album – but if anything they surpassed it with an even greater distinction between the quiet, faltering passages and the, comparatively, more straight ahead sections. The crowd was thankfully suitably reverential and hushed for the affecting quiet, acoustic sections but vociforously appreciative in all the right places.

The heartfelt, emotive nature of the songs came over in spades and the whole show was simultaneously emotional, uplifting, joyful and heartbreaking. The new song, Bloodbank, went down especially well as did the final encore when all of Bower Birds ( the support) and the Bon Iver chaps gathered around a single (rather small ) mic and sang a beautiful song (by a songstress whose name I didn’t catch) with just Vernons acoustic gutar for company

Much as with the Band of Horses gig, the band really did seem to have a good time and appreciate the genuine warmth and affection from the crowd. It was a delight to see the band in such cosy surroundings and to have them perform such complete music so well. I wonder if we will really ever see them i such a small venue again?

Photo Courtesy Bon Iver Blog

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Haar to you to Mr Yorkston


Not sure why it has taken so long but I finally got a James Yorkston CD, the new ‘When the Haar Rolls In’, and a beautiful disc it is too. It seems a rather delicate offering in many ways, reinforced by his vocal style and the production. Although it is all skillfully played there is a sense that he didn’t waste energy endlessly polishing and tweaking the final sound – not that this is a criticism, its quite refreshing really.

The lyrics are more like prose poems than the usual song lyrics and consequently manage to put over stories with sentiment and feeling rather than forcing unecessary rhymes and wotnot. ‘The Capture of the Horse’ being especially evocative for me.

The bunch of chaps that help out on instruments and vocals, collectively called the Athletes, help render the nu-folk scottish flavour well. As if it needed it, folk royalty in the form of Norma and Mike Waterson add their considerable qualities to ‘Midnight Feast’, itself written by Lal Waterson.

How good it is to have, for a change, a set of music which not devoid of instant pleasures, actually allows the listener the chance to listen and discover more at each turn – this is the music that lasts, quality will out in the end

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New Sounds to My Ear



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Vampires up the Coast



The sound track (or at least pat of it) to the family trip from San Francisco up the Oregon coast to Seattle was provided by the Vampire Weekend album . I know I am a bit late to the party here but none the less it’s all jolly good stuff. The African-esque guitar work recalled (a tad unfortunately methinks) the Paul Simon/Graceland guitar, and perhaps more positively 1980’s era Zaire music and more recently still the Extra Golden boys. Tracks like Campus and Blake’s Got A New Face always caused a sing-along in the hire car.It was one of those rare albums that satisfied us all including my fourteen year old daughter who prefers the likes of Adele (whose album also accompanied us on our trip…) and whilst this really isn’t my thing a couple of tracks like Hometown Glory stood up to repeated listening.

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Simons Cat

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Slipping out of Focus

Oh my goodness, direct from the NPR Blog comes a rave from my own personal grave. Focus, that slightly odd mix of 1970’s Dutch rock and virtuosic performance, were if I remember rightly the second band I ever saw in their own right, at the Chatham Central Hall in 1973 (first up in 1972 were Roy Wood’s Wizard…. swiftly followed by the Crystal Palace Garden Party with all sorts of hairies – Procol Harum, Gryphon (anyone remember them?), Leo Sayer (good grief) and my hero of the time Rick Wakeman)

The YouTube clip here pretty much sums up the experience… Thijs van Leer was extra-ordinary on keyboards, flute and manic vocals, and Jan Akkerman was a genuinely accomplished guitarist. How strange is it now that I have a colleague in HR who plays in band that has recently supported the still-rocking Focus at a recent gig in Bournemouth … old rockers never die they just go to Bournemouth



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Death Cab in Birmingham


Not an auspicious lead up to a show – trailing down the blocked motorway to Birmingham, arriving just late enough to hear the last support band song (no, don’t know who they were), and having to go on my own like a sad lonely type, still…

Once I had extricated myself from the 30 foot concrete overhang position and its ear ripping bass levels I got to a place where I could just see then band, and more importantly hear them properly, things started to get a bit better

I must say the sound was not brilliant and the band seemed a little detached (or was that because stuck on the margins I wasn’t properly engaged?) but Bixby Canyon Bridge was a good opener. After a couple of songs that seemed frankly rather dreary they got back on track with a storming version of I Will Possess Your Heart and some welcome favourites from the Plans album and quite a few from Transatlanticism.

Off quite quickly they came back for a five number encore set that finished with a moving and triumphant version of Transatlanticism itself. So all in all a bit of a mixed bag including some rather uninspiring elements that seemed to expose the rather fragile and insubstantial qualities of some of their songs that I hadn’t really noticed on the recorded versions. However there equally were moments of great beauty and emotion when their fondness for building songs over long ‘ish stretches can result in powerful and affecting music

Photos coutesy of DCFC Flickr

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Band of Horses at Shepherd Bush Empire


Oh I have been waiting for this! First picked up on BoH via podacst on KEXP (not surprisingly given their prior residence in Seattle) where there are a number of podcasts with BoH content. I am now rather hooked, along with others of their ilke (inlcuding the wonderful Mr Tyler Ramsey guitarist of this parish)

Well the lad and I schlepped (sp?) up the M4 to London and the splendid Shepherd Bush Empire for the first of their two sold out nights – squeezed onto the first row of the balcony which was none to comfortable but got us fine views.

Support was from The Virgins (unlikey it seems to me , but there you are) a bunch of skinny chaps with a not unpleasant if not especially memorable bunch of songs (the lad thought them rather good, for the record)

Well the BoH set just blew me away – once Ben settled into his vocal the whole thing rocked along. How great to see a band obviously really enjoying themselves, the audience was absolutely up for it and the set flew by. The whole thing was brilliant, not too many stupid pyrotechnics just great music, ( including a wonderful version of No-One Goes Out Anymore from Mr Ramseys solo album) and Funeral might well have been the high spot for me. As I say they obviously had a ball and it was great to bring them back for a second unplanned encore before we all melted back into the night

Sometimes a gig seems to transcend the usual, this was one such occasion, the lad and I agreed that this was one of the top two or three gigs we have seen (and I even bought the right size T shirt for a change…)

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The National in Birmingham


What a joy – The National in Birmingham. OK the Academy in Brum is not my favourite venue (and this time especially sticky underfoot) but who cares when they put on such a good show. I still find it hard to know how a band keeps up the energy when they are in the middle of what seems an interminable list of festival slots and filler gigs like this one – a few days earlier they had been at Glastonbury.

Opening for them was Caroline Martin with a collection of slightly morose looking chaps. Caroline hails from Bristol and was unknown to me. Her very lyrical and fragile songs seemed an unusual choice as support. However it became a little clearer later in the show when Matt Berninger announced that in his opinion Ms Martin had written the best love soing of the last six years or so, Without Permission, a track on the Virginia EP and part of the encore delivered alongside Ms Martin. To be fair this is a fine song and perhaps Ms Martin might be better in a more intimate and conducive environment.

Any hoo the National set was strong and joyful, rather wonderfully expanded with a small horn section that gave some welcome album-like textures. All the usual tracks were there (save About Today unfortunately, and do they ever play Thirsty?) But great to hear The Geese of Beverley Hills.

I was there with my lad as ever and this time managed to drag along my good chum Martin who, it transpires, had last been to a gig 15 years ago to see local Brum band Pop Will Eat Itself (I think that was it… mmm) – he must come out more …

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People of Water

Another introduction from the Peeblesmeister – People of Water is in fact one Ben Shillabeer who knocks together his collection of music in his personal studio (read – bedroom). Recording on Sink and Stove records from Bristol (again with some linkage to Mr P) People of Water have/has (isn’t that confusing?) a first EP out with but six tracks of ” of experimental, atmospheric but playful indie-rock, with electronic, lo-fi and world music influences”. I first heard some of this on DJ Shannon KEXP podcast number 102 that ran the track Pink Conch – (how do people like KEXP get hold of this sort of stuff I wonder? They also got hold of stuff by Glasweigans We Were Promised Jetpacks who are worth a listened if for nothing else than their name)

Anyhow I must admit to being rather taken by Mr Shillabeers efforts (one free hi quality mp3 of Constant Spring is available from the S&S; web site). I am fortunate that the Peeblemeister has given me access to rather more tracks to listen to – perhaps they will appear on the planned full length album. Constant Spring, Pink Conch, Too Much Information, Built Like Clocks and Pet Level all deserve a listen as do other tracks across this varied, lo-fi, laid back selection

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