The Megaphonic Thrift at The Rainbow 13/03/2012

It's relatively quiet in The Rainbow, however whilst the crowd may be thin on the ground the same can't be said for tonight's opening act Swimming. The Nottingham 5-piece fill the stage, and the room, with their blend of electronics and reverb-soaked rock. Think of a more upbeat Twilight Sad, sans the Scottishness, and mix in a bit of The Cooper Temple Clause, and you may be somewhere close to imagining what these guys sound like. There is definitely a summery vibe to their music, which is reflected in the projections displayed behind them depicting surfers and US highways and various other Americana. On their more keyboard-led tracks they come across as a heavier Late of the Pier, and this may be no coincidence - their keyboardist Sam is/was a member of said band. Swimming have certainly mastered their craft, powerfully layering their sounds, all underpinned by their metronomic drummer who continually propels them forwards. I imagine the next time they swing through town, they'll be playing to a much larger crowd.

Next up are local lads Bad Apes, a caustic three-piece out of Walsall. Don't let their youthful looks fool you, for they know how to bring the noise at nosebleed-inducing levels. Their sound mixes punk and shoegaze in equal measures, and at times they wear their influences on their sleeves. Tonight's set opener for example sounds heavily inspired by Sonic Youth, and despite some issues with bass levels, gets the crowd in the mood for what's to come, a blistering set which takes in 'Oceans Rust' with its acidic bass riff, wavering nauseatingly throughout whilst still forming a solid bedrock upon which guitarist/vocalist Joe can build the song to its violent conclusion. However, the highlight tonight has to be new song 'What Doesn't Kill Me Only Puts Me In A Coma', which comes on like a pissed-off My Bloody Valentine. With its repetitive refrain "It's just the way we live our lives," it's as good as a statement of intent you'll get from Bad Apes. Closing with 'The Near Deaf Experience,' the audience are literally left near deaf as the band blasted the levels sub-atomic before leaving their guitars in a heap on the floor. They may not be to everyone's taste, but if you like your music loud, abrasive and unpredictable, Bad Apes may just be your new favourite band.

The Megaphonic Thrift

Headlining The Rainbow this evening are Norwegian 4-piece The Megaphonic Thrift who bring a lot more melody to proceedings - think a Scandinavian Broken Social Scene, melodic basslines, swathed in layers of reverb-drenched guitar, forming a formidable wall of sound. Similarities can be drawn with early British Sea Power, however it is the shoegaze elements that really make The Megaphonic Thrift shine: the vulnerability and fragility in bassist Linn Frokedal's voice mark a sharp contrast to the sheets of distortion, and recall all the best bits of My Blood Valentine. Not to be outdone by Bad Apes' antics, TMT end with the massive post-rock epic that is 'Queen of Noise', speeding full throttle through to a ear-shattering climax  - a climax that leaves their guitars ringing off into infinity, as well as ears buzzing well into the next day.

Pulled Apart By Horses at the HMV Institute 20/02/2012

Monday night down on Digbeth High Street, and you’d be excused for thinking nothing was going on. However behind the doors of the institute a mass is gathering to witness two of the hardest working bands currently treading the boards. DJ trio Mildred Fierce get the crowd in the mood for what’s to come with their mix of distorted classics, before tonight's first act hit the stage.

I've seen The Computers a few times now, and they have always been a phenomenal live act, however these shows have always been within the confines of The Flapper, so seeing them on a big stage was an interesting prospect, and they certainly didn't disappoint.  Imagine the Eighties Matchbox B-Line Disaster covering The Hives with a pinch of Elvis Costello pomp, and you're somewhere to imagining what these guys sound like. And whilst my description may sound somewhat horrific, they have a great live sound, and a stage presence that most bands would kill for, especially their front-man Alex who literally has the crowd eating from the palm of his hand in moments. Taking the spirit of classic rock n roll and putting it through a punk-rock blender, The Computers deliver up some heavy, surf-rockabilly blues. Some may find the whole ‘preaching to save rock n roll’ vibe a little tiresome, but there’s enough evidence this is tongue-in-cheek to allow me to let them off the hook for being a tad cliché. Alex brings the set to a close from within the crowd, whipping the pit into a maelstrom of arms and legs, lost shoes and nosebleeds. Just like it should be! Not a band I’d listen to on record, but live they hit the mark just right. An excellent start to the evenings proceedings.

Pulled Apart By Horses

Tonight's head-liners, Pulled Apart by Horses, are clearly happy to be in town. Loud, abrasive and good humoured from the get-go, this is their first time back in the second city for a good while and are in good spirits. Having had the previous day off from their touring schedule, front-man Tom Hudson had taken the opportunity to grab some home comforts, including a roast dinner with his parents back in Halesowen. With batteries fully recharged, the band tear their way through a healthy mix of tracks from their self-titled début as well as latest disc Tough Love. ‘I Punched a Lion in the Throat’ kicks thing off nicely, guitarist James Brown throwing himself violently to the floor throughout - even know just thinking about the way he jumps in the air and lands on his knees makes my mind boggle how he hasn't busted his kneecaps out! 'High Five, Swan Dive, Nose Dive' sounds as vital tonight as it has always done, whilst current single 'V.E.N.O.M' gets the already sweaty crowd into even more of a sticky mess. The real curve-ball of the set comes in the form of Tough Love album track 'Everything Dipped in Gold', which shows a side of Pulled Apart we had until now really seen - a more considered, slow-builder of a track that will be a key fixture of their set for a long time to come. After a brief break, the band return for an encore during which they dive headlong into a cover of Nirvana’s ‘Tourette’s’, as well as head-first into the crowd - as Tom and James both clamber into the crowd, climb onto the bar, and accept a drink from a member of the audience, all whilst ploughing through the final chunky chords of 'Den Horn.'  

As I leave tonight, with ears ringing and a grin as wide as my face, I'm pleased in the knowledge that there are bands out there who practice what they preach, and don't treat a show any different if they are sweating it out on a tiny stage or up on a platform with a steel fence between. As long as their are acts like this who can entertain and engage then we're all in safe hands.

Tubelord at The Flapper 26/01/2012

Ah, The Flapper. I've missed you old buddy. Even though it's only been a few weeks since my last visit to its dark underbelly, it feels like a much longer break from my favourite venue in the world. It was last year after all, yeah...? 

As January has been a bit drab gig-wise, you can imagine my excitement to see that Tubelord were back in town, and the day after my birthday too. Fantastic. First up, Pandas and People take the stage. I've been following this Redditch four-piece for awhile now, and tonight is easily the best I've seen them play. A faultless set, which as I joked about with Alex and Tom afterwards saw no problems with their laptop or keyboards falling over! Their set is full of indie-pop nuggets: 'Grab Everything' and 'I Am The Floor' are two particular stand outs for me. Musically they are a hard band to pigeon-hole - at times they are reminiscent of indie-rock greats The Dismemberment Plan (whom they are fans of), but the synth and electronica flourishes point to more diverse inspirations - and it's this attribute that I find particularly attractive about P&P. A new song also gets an airing this evening, and whilst it sounds great it doesn't top the outstanding 'In the Dark.' If you don't listen to anything else off of their streaming album, listen to that one! They may just be the most technically-able band on the scene, but maybe I'm just a gushing fan boy. I really hope they make that push to get their material out there, as 2012 could be their year, and Distorted Tapes is behind them 100%. 

Pandas and People

As the countdown to the 2012 games gets closer and closer, I can imagine Norwich's Olympians are going to gain a lot of accidental hits on their website this year. Totally out of character for me (who usually remembers every band I come across...) I thought I hadn't heard these guys before, but as I started writing this review I realised I had, and that's why some of their songs seemed familiar! A great choice of tour support for Tubelord, Olympians blend of massive pop-hooks and delicate soundscapes is best exemplified in previous single 'Foreign Language'; a soaring pop-rock gem that is reminiscent of Weezer or Clarity-era Jimmy Eat World. Their latest single, 'The Great Gatsby,' is available via the imaginatively titled Olympians Book Club - a set of four singles released throughout 2012 and come stored in a hollowed out book. This kind of geekery gets a massive thumbs up from me, as do Olympians. Good guys, good music.

Olympians

Tubelord

Tubelord are a band who know how to put on a good show, and tonight are on top form as ever. Playing a mix of material from across both their albums to date, and despite latest LP Romance having come out last October, tonight's show still manages to have the sound and feel of a greatest hits set. Opening with the schizophrenic '...Abergavenny', before moving on to the excellent 'Never Washboard', it isn't until 'Stacey's Left Arm' that the crowd truly get into the groove of things. Whilst some fans have been down on their latest record, the band are clearly happy with it. And so they should be: '4T3' is a stunning synth-pop love song, whilst my favourite Romance cut 'My First Castle' is even better live than on the record, with Joseph's ranting "don’t pay rent, swear in the street!" making even the most hard-nosed listener crack a smile. Also worth a shout is tonight's rendition of fan-favourite 'Night of the Pencils' whose live reprise has been altered from "three's the magic number" to a refrain from Tears for Fear's 'Shout.' I'm sure there would have been a few people leaving The Flapper wondering why the lyrics "shout, shout, let it all out, these are the things I can do without, come on" seemed so familiar! Here's to pushing boundaries, and writing pop songs for rock kids. Here's to Tubelord. 

Lady Fortune at the Jagged Rock Lounge 14/01/2012

January is always a funny time of year for shows; everyone is still skint following Christmas excess, it's cold - it's easy to see why most will want to just curl up in front of the TV and forget the world outside. Tonight clearly that was the case, with only the dedicated few turning up to see what is a great line-up, and for me my first show of 2012.

It's been a long time since I've been to a show in this venue, just under 3 years by my calculations. Formally known as the Little Civic, it's now reopened under the somewhat questionable name of the Jagged Rock Lounge - but honestly it's great to see a venue I saw many of my favourites at back in the early 2000s reborn. Sadly the posters that lined the walls are gone (removed by previous owners Loose Lucies), but the room looks much bigger for it. My only concerns with the venue were it's stage lights, which seem to act only to blind concert-goers and make it difficult to make out who's on stage. That aside, on with the show.

First up this evening are Bad Apes who I am very fond of, having put them on at the first Distorted Tapes show back in November- and tonight I feel they played a much stronger set than that show. They aren't the easiest band to describe - there are moments when their experimental noise is reminiscent of the great Sonic Youth, whilst at other times elements of krautrock seem to creep in. The Wolverhampton three-piece manage to tick nearly all the boxes for what I think makes a great band: volume, tunes, originality. It's this last attribute that makes them stand out for me, and tonight the band show a different side to themselves with a new track midway through their set. Although currently a post-rockish instrumental, this song is effective in that it gives the listener an opportunity to hear each instrument, each players part, and building it up to a very solid and satisfying chorus. It's this ability that has made Mogwai such an exciting proposition over the last 15 years, and I hope to see this track develop next time I catch the band. Unfortunately, I felt the momentum the band had made during the first half of their set is lost after this point, however they do bring their set to a close with a cover of At the Drive-In's 'Arcarsenal,' which goes down nicely. Bad Apes are certainly ones to watch, and with time could become a formidable live band. 

Next on the bill are Cajole Cajole, now just a two-piece with brothers Ryan and Noel Malcolm complimented by a laptop. It's been a couple of years since I last saw Cajole - think last time it was when my old band played with them at The Enterprise in Camden. Anyway, Cajole Cajole Mk. II are a very different band, and whilst I really liked their previous incarnation, their new sound has a lot more depth to it - perhaps due to the additional flourishes that the laptop provides. Stylistically, their sound is reminiscent of early material by The Strokes, but overall vibe is a lot more glacial and sparse - think Movement-era New Order, or The Cure at their most atmospheric. Despite this it would be harsh to say they are 80s revivalists - if anything they have more in common with lo-fi US groups like Cold Cave (circa-Love Comes Close, not their latest full-length) or cult-favourites Blank Dogs, who have taken those post-punk influences and developed them into songs not only relevant, but very now. I spoke with the band afterwards, and Noel gives Ryan a great deal of credit for their current direction, but as far a I'm concerned it's just good to have them back on the scene, especially as what they're doing is so different to other indie bands currently on the local circuit. 

Lastly this evening are Lady Fortune, and as any regular readers of Distorted Tapes will be well aware I have a lot of love for these boys. As always, the band are on top form - every time I see them play they seem to be tighter, more powerful in their delivery. Musically, Lady Fortune can deliver the frenetic just as easily as they can the thoughtful, especially in their newer material. New track 'Nylon' (a video of which I  posted here) shows Fortune's impressive song writing ability, switching between a pensive first section into the heavier, more aggressive second half. Nick also demonstrates his strength as a lyricist, such as the exemplar "pass me the TV guide/'cus I've found a show that fails to hold the attention of you/and I know you've got remote control of the situation." It's great stuff, and begs to be sung-along. Why these guys have never made the big time is beyond me! Closing their set with 'Car Crash,' this track could easily be my favourite of theirs to-date, with a Pixies-esque, driving riff, and dark lyrics (by Fortune standards). Here's hoping a recorded version of this well emerge soon, because I really want to play it on repeat. Until then I'll keep spinning their current discs, which coincidently are now all available to stream on their bandcamp here.

All in all, a fantastic night, and three examples of local talent in a venue that has launched a thousand bands. Wolverhampton, you've been spoilt.

&U&I at The Flapper 16/12/2011

With the biting cold outside turning the canal towpath to an icy death-trap, where better to be than deep in the bowels of The Flapper for Off the Cuff’s Xmas Party? Boasting four of the best local acts on one bill for a very festive £4, it was hard not to miss this one. Interestingly, I’ve seen more bands in The Flapper this year than any other venue. I dread to think how many hours I’ve spent stood in that gig room, but I’m trying not to think about it too much for fear I will go and work it out using some form of elaborate spreadsheet...

First up is Birmingham 4-piece Conquistadors, whose blend of angular guitars and chaotic alt rock song structures (which I like to call “The Birmingham Sound”) is the perfect opener to this evening’s show. Having seen Conks a number of times over the past couple of years, I’m impressed at how they keep their sound different and fresh each time. Their set seemed all to brief to me, but they did treat those who turned up early to a very interesting interpretation of Paul McCartney’s Christmas classic ‘Wonderful Christmas Time’, which whilst a little scrappy around the edges was bursting with Christmas cheer and enthusiasm. Here’s wishing the best for Conquistadors for 2012 – they deserve it.

Despite having come across the name countless times before, I’d never actually seen or heard The Cape of Good Hope before. Despite this, I went in with high hopes and I am pleased to report I wasn’t disappointed. Rarely would I say the focal point of a band is their drummer, however this is certainly the case with The Cape The band boasts two drummers, both of whom drive the band along and tease, nay, force you to move your feet. Funky post-hardcore in the vein of Dartz!? Something like that. One blast of 'I Saw Something Dead Floating' or 'I'm A Little Bit Evil' and you'll know what I mean. Highly recommended, and a band I hope to catch live again soon.

Shapes

Next on we have Shapes. One of Birmingham’s more popular exports, I’ve always had trouble getting into them. Considering their pedigree (tours with Glassjaw, releases on Big Scary Monsters), you'd think I'd be totally down with it, but the problem I find with Shapes is that their music lacks real hooks – nothing really pulls me in. I haven’t heard their début LP yet (‘Monotony Chic,’ released earlier this year), but maybe I just haven’t had that eureka moment and until then I won’t get it! In Shapes defence, you can't fault their musicianship – they can play, and can play hard - it's just not for me.

&U&I

&U&I take the crown for being my most seen band of 2011, and also one of my favourite live acts of the year. The band’s impressive work ethic resulted in a cracking debut record – Light Bearer – and tonight, despite a few technical hitches,  the songs from that record really shine. 'Belly Full of Fire...' sounds particularly fine this evening. The band appear in quite a reflective mood, dedicating older material from  last year's EP to fans who have been there from the start, and I can't think of a better time to do so. These three guys have slogged it out since the untimely demise of Blakfish, and have come back far stronger than many would have imagined. A Christmas show wouldn't be a Christmas show without some crazy Crimbo guitar antics, and atop the bassist from Shapes’ shoulders Thom gives Brian May a run for his money by soloing out  'We Wish You A Merry Christmas'. ‘Chancer’s Paradise’ brings the night to a climatic conclusion, but not before seguing into ‘I Wish It Could Be Christmas Every Day.’ If it means that there are more shows like this then I'll have no choice than to agree.

Kong at the Hare & Hounds 28/04/2011

It's Just Noise have put together a corking line up this evening, and one that would give environmentalists obsessed with noise pollution a fit. First up are God Damn, who treat those who have turned up early to a solid set of heavy, bluesy, stoner rock and roll. Opening with their namesake track, the manifesto of sound that is 'God Damn', it's obvious that the crowds ears are going to get a bit of a bruising before Kong even make the stage. There's something of Queens of the Stone Age in their sound, whilst the duel vocals recall the Blood Brothers - to this reviewer at least. Since the last time I saw the Wolverhampton three-piece (at a gig in their lock-up in Wolves last Oct) they've come on leaps and bounds, and despite Thom Edwards' usual antics being somewhat restricted by the tightly packed stage, the songs speak for themselves. And if the rush for free CDs the band were offering is anything to go by, it's an indication that these boys are ones-to-watch.

Next to the stage are &U&I who, for those who don't know, feature 3/4s of the legendary Blakfish. This is the second time I've caught them play since Blakfish's demise early last year. Last time was at the Off the Cuff festival last year, where they received mental support despite having only played a couple of shows with the new material. Tonight the lads are in good humour: "Good evening Birmingham, we're from Sutton Coldfield!" they joke during a pause midway through their set. Certainly the most melodic of the bands on the bill tonight, &U&I know how to write a catchy hook, with latest single 'Stalk this City' a shining example of the bands technical abilities when it comes to writing a good tune. Wary of running out of time, the band bring their set to a close with "the hit," 'Chancer's Paradise' off of last year's debut EP. I still feel it's their best song to date, and I'm pretty sure I caught a few people in the crowd singing along. They're playing the Saturday at this year's Off the Cuff festival at the Flapper, so if you're planning on going make sure you catch them.

Kong are easily the scariest band I've ever seen. Forget the masks Slipknot wear - there's nothing creepy about those rubber faced fools - Kong are the real deal, and are waaay off the chart when it comes to weirdness. Their music is difficult to describe, it's very fucking heavy (expletive necessary), but it's not just noise for noise sake; there's an inventiveness in their music, as well as a sense of humour that makes them absolutley fantastic as a live band to watch. Just like all the best horror movies, you don't want to look, but at the same time you know you need to because otherwish you'll miss guitarist Magpie flashing his arse at the crowd and calling the crowd something along the lines of "turkeyheads", or bassist Lulu's pale body scrawled over in felt-tip pen with the evening's setlist (amongst other things) gyrating at the edge of the stage. Yes, it's confrontational, it's aurally violent, but tonight Kong have the crowd eating out of their hand. Previous singles 'Leather Penny' and 'Blood of a Dove' give the crowd a good reason to (to steal from Willow Smith's vocab) whip their hair back and forth, equally as does the new material, which leaves us with the question just when will they follow up 2009s Snake Magnet?

iLiKETRAiNS at the Hare & Hounds 28/10/2010

The deafening sound of a ships horn heralds the entrance of the iLiKETRAiNS 2010, or I Like Trains as they now like to be know. Gone are the British Rail uniforms and black armbands; the band now clad themsleves as seamen, with rather dashing Officer jackets. Whilst some might see scorn this kind of gimmickery, with 'TRAiNS it's all part of their appeal - and equally as much a reflection of the thematic nature of their music. With their latest record, the band have moved away from the post-rockish, historically-informed sound of their previous records, and instead for the first time looked to the future - particularly the demise of the human race due to it's own ignorance to issues such as global warming.

Tonight the band are clearly on form, playing their set to an almost full Hare. This evening's set comprised mostly of new material from album He Who Saw The Deep, as well as a few older cuts ('Victress', 'A Rook House for Bobby', a rare outing of a (shortened) 'Stainless Steel'). Strangely, no tracks from debut 'Elegies..' were played - not even the early single (and in many ways difining track) 'Terra Nova' showed its epic head, which is a great shame. That's not to deride the new material, which shows the band are more than capable to write softer, more ballad-like tracks, relying less on the wall-of-distortion that is trademark of a lot of their early releases. In many ways tracks like 'A Father's Son' and 'A Divorce Before Marriage' recall their more tender side which came across in their demos prior to Progress Reform.

After the show, I spoke to singer David Martin about the length of time between albums; 3 years is a long space of time between albums nowadays. He was aware that people would think they had nothing left in them, but the gap was more about them trying to create material that they were happy with. And have they acheived that goal? Dave's pleased with the results, and I too have to agree that the band have put together what is a very strong rock record. Yes, it's very different both texturally and thematically than their debut, but I think it's possible to argue that with their latest offering they've become more focused as a band, and as always with iLiKETRAiNS it will be interesting to see where they set sail for next.

Shapes + Grown Ups at the Flapper 23/05/2010

Despite it being an extremely warm Sunday evening there is still a reasonable turn-out for tonight's show in the warm underbelly of the Flapper. Turning up slightly later than anticipated (it was an early kick-off) I manage to catch half of Bronze Medals' set. I don't know if they were having an off-night or if the sound just wasn't doing them justice, but tonight they didn't seem as full of vim as they had last time I caught them at the Adam & Eve. Perhaps the heat had taken it out of them? That said, they stand head and shoulders above a lot of local bands for their ingenuity, surmised in set-closer 'I Lost the Map', which has become one of my favourite tracks of the year thus far.

Next to the stage were City Hero. Whilst they weren't necessarily a bad band, I can't say that the Birmingham three-piece left me wanting more. There were brief moments where interesting riffs came into the fore, reminiscent of old-school Deftones. However where progress was made on the heaviness front, the band cancelled themselves out by lapsing into a, well, cliche and cheesy rock sound that does absolutely nothing for me. I know some people like Nickelback, and there is a place for that gravelly-throated alt-rock, but that place is not in my record collection.

Into It. Over It. acted as a solid counter-balance to the acts proceeding him, and to Grown Ups who would follow. His acoustic discourses on subjects as diverse as friends, love, and American Football went down brilliantly, and his chirpy sense of humour was almost as good as his music. Favourite comment of mine was his thoughts on how Britain doesn't understand the term "bummed' which he uses often, and has had people on the tour mistake his feeling sad as reference to anal sex, which I'm sure is not always a good thing when you're thousands of miles from home. My only regret is that I didn't pick up his 52-track double album, recorded over the course of a year (1 track a week, folks), as he was a lovely guy. I complimented his brilliant humour and he said it was due to watching a lot of British sitcoms with his parents when growing up. It was very pleasing to find a Yank who gets English comedy, so Evan Weiss, I salute you.

The main pull for tonight has to be Chicago's Grown Ups. Recently signed to Big Scary Monsters, and with debut More Songs currently gracing my stereo, I knew that these boys would be an absolute riot. They remind me a lot of Hot Water Music, with their infectious pop-punk hooks skittering along in reckles abandon, with the songs usually cumilating into a fantastical conclusion almost as soon as they've started. The only negative I found this evening was that it did seem a bit too loud, meaning that the vocals were often obscured by the guitars which is a real shame as it was the combination of the vocals and the guitar hooks that originally drew my attention. I was also a little sad about how short their set was - but then their record only clocks in at just over 30 minutes. I really hope these guys come back soon as they are a fantastic, summery punk-rock outfit who deserve your attention. Why not go download their first EP, Songs, over on If You Make It - you won't regret it.

Last up tonight are local boys Shapes who I've written about before on these pages. It's pretty much text book this evening, and despite the crowd becoming decidedly smaller (it's a Sunday night after all) the band plough through their set of juggernaut riffs and unexpected time changes like the prog-metal supremeos they've grown into. A couple of new songs were thrown in for good measure this evening, including one which sounded like it may have been called something to do with AC/DC, but my ears may have tricked me. Closing with live favourite 'You Butcher!' Shapes brought to an end a diverse evening of music. Whilst they are always a great act to watch, for me this evening was all about Grown Ups, who were brilliant and are well worth your investigation.

Mystery Jets at the Custard Factory 06/05/2010

This was an odd one. Apparently Chevrolet are launching a new car, called a Spark, and to celebrate this they enlisted Mystery Jets to perform a 5 date "unscheduled" tour around the country. The cities that the tour stopped at was decided by an online poll on the Chevrolet website, with the pollsters receiving tickets to go along to their chosen city if it won. Now, I only know this with hindsight after some brief researching on the internet. On the night however there was little explanation as to what was going on at all. Kicking off at around 7.30 on a Friday night is not normal practice, and myself and a couple of pals tried to get in (our names convieniently didn't show up on the guestlist) as Mystery Jets were already starting their set. Luckily we were allowed in regardless (breaking the illusion of exclusivity) we dashed into a relitively empty Space 2. This seems to be an ongoing problem with these sponsored shows: no-one knows about them. The same happened at the xBox Reverb show I went to last year. So here's the scene: Mystery Jets are playing on a stage over to the right, there are about 80-100 people standing around in the middle, and to the left are a couple of ugly cars that have been given a "cool" paint job and had a DJ booth installed on the top. I'm confused. However, Chevrolet were obviously aware this would happen and had provided a free bar (maximum of two drinks) for the punters. I got myself a cold one and tried to shut out the vehicular distractions and watch Mystery Jets do their thing.

It was clear from the outset that tonight the band's focus would be on showcasing their new material from forthcoming third album, Serotonin. Opening with latest single 'Flash A Hungry Smile' shows that the Jets are happy to continue on their excursion down the indie pop road, and this song will certainly be one that follows you around this summer. I hadn't been that much of a fan of Twenty One but you can't deny the infectious nature of tracks like 'Young Love' and 'Two Doors Down', the latter of which got the crowd going the most, albeit a near-static bop. It saddens me that they don't play material from the first LP these days, seeing how that was a fave of 2006 (corr, that long ago?), but the new material did enough to leave me suitably impressed, especially 'Waiting for a Miracle', that was a rather tasty cut. So, on walking back out onto Digbeth High Street at a little after 8.30pm with the sun still somewhere in the sky did I want to go out and buy a Chevrolet? No. But I will be keeping an eye out for Mystery Jets over the summer as they are a band made for the festivals, a sunny pop band who have got the knack of writing catchy hooks, but not selling cars.

photo via facebook.com/sparktour

Bronze Medals at the Adam + Eve 28/04/2010

Another week, another free show at the Adam + Eve. It seems that The Other Woman's Club have taken a liking to the venue and can't contain themselves to one event a month, not that I am complaining of course.

First up this evening is Neil Ward. I'm not usually a fan of singer-songwriter types, but I really got into Neil's witty takes on what it is like to be young these days, and whilst I've never stalked a former lover home and thrown a brick at her car, there was enough character and charm in his performance to come to the conclusion that Neil Ward may have actually done said criminal acts. Whilst my initial reaction was that he had a lot in common with Frank Turner (he even looks a bit like ol' Frankie boy), it would be unfair to write off Neil as a sound-a-like, far from it. There was enough variation in style to his playing to avoid boredom, and his lyrics reminded me a little of Hot Club de Paris, which is a good thing in my books. In fact, it would be interesting to hear Neil backed by a full band, as I am certain most of his songs would sound fantastic with a bit more punch behind them. Great set, made even better by the fact he had free CDs, which happens to be the easiest way to get in my good books.

Second act of the evening was Savant. Now, I can summarise this band in three words: Savant fucking rock. These guys may be young, but don't let their age belie the fact they write amazing instrumental tracks (with the occasional vocals) that left me somewhat breathtaken. Opening with 'Little Omar Little', the band wasted no time showing what they are worth. Their drummer is easily the best I've seen in along time, creating textures and a weight to the music that pins down the dueling tappy guitars, stopping them from spinning off into infinity. They also, amusingly, played a cover of 'Undone (The Sweater Song)' which was a nice touch and a savvy addition to their set. I will be keeping a close eye on these bright young things, as if they are this exciting now, well, with time they could become something else entirely.

Bronze Medals have been around for a little while now and have been creating quite a stir. Some may now bassist Michael from his other project Boat to Row, or from Youves. Similarly, you may recognise guitarist Ben from when he stood in for Alex in Youves. However, despite the other projects, Bronze Medals are producing music which is totally different to anything else on the midlands circuit. They may even be my new favourite band. Recalling all the best bits of Tellison and Stapleton, there is a charm to these three that I find hard to put into words. Having listened to their demos on their myspace countless times, I was suprised to find they only played one of them (they closed with 'I Lost The Map'), but this isn't a negative, as the tracks they played were all excellent, especially the one which they introduced as the one "that used to be the new one but isn't that new anymore." There is an inginuity and intelligence that surrounds their music that could easily propel them to cult status. It will be great to hear these guys record more, and with a seemingly endless list of gigs (including a set at this years Off the Cuff festival), there will be plenty of opportunities for everyone to catch them over the coming months. Who would have thought third place would sound so good, eh?

Rolo Tomassi at the Flapper 19/04/2010

Leaving a trail of destruction in its wake, the Rolo Tomassi headline tour rolls into its last port of call: the Flapper. Suprisingly it isn't sold out tonight, which is lucky for me as I hadn't got around to buying an advance ticket. Yet, despite this, the place is still packed to the rafters.

After grabbing a pint of Red Stripe and trying to maneuvre myself into a position where I can see the first act, Throats, take the stage. Well, I say the stage, their singer actually spent most of their set throwing himself around on the floor in front of the stage. Sadly, despite the energy these guys had they didn't do much for me. Their short bursts of noise remind me a little of Napalm Death, but not being much of a hardcore kid their 30 seconds of feedback and distortion did little to capture my imagination.

Trash Talk however were another kettle of fish. Rumour has it they got kicked out of the venue after playing. From where I was it looked like the guitarist started on the DJ or something. Anyway, it felt odd watching an American band (they are from Sacramento) as nearly all the bands I watch these days are from our home shores, but I was suitably impressed by their hardcore workouts which unlike the previous band had some good riffs going on to get my attention. Their singer liked to provoke circle pits around the room, which for anyone who has been to the Flapper will realise is near-lethal. He also had a penchant for grabbing fans by the head to let them scream down the mic. They were mental, and did have a real air of danger around them. I, for one, could understand why people like them so much. Certainly not a band I would listen to of my own accord, but as a live act tonight they worked well to warm up (most literally) the crowd for the mighty Rolo Tomassi.

I was little uncertain as of what to expect of Rolo this evening. Last time I saw them was one of the most intense gigging experiences of my life, an experience that cost me my brand new camera (lost in the mosh) and my dignity. Sadly, they don't sell the latter in Argos for £69.99. Since then, however, the band have holed up with Diplo and produced a new record. Now I quite like Diplo's work, but when I found out he was going to be producing Rolo I worried slightly. My thought was it would either be killer or catastrophic. Fortunatly, if tonight's performance is anything to go by, the fans have nothing to worry about. The band thrashed their way through their set, sprinkling new material alongside tracks from debut Hysterics. New tracks such as the excellent 'Party Wounds' show Rolo are as exciting as ever. They still remind me of Refused; it must be that guitar sound, or perhaps those jazz breaks which simply rule hard. The band seem also keen to prove they're not a one trick pony too, and some of the new material shows the band experimenting with their sound, such as in my new personal favourite, 'Kasia', which starts all post-rocky with chiming guitars before building up into a super-massive Envy-esque tune complimented perfectly by Eva's stunning vocals, backed by some oh-so-throaty screams from her brother. Finishing with 'Abraxas' it is clear to see why Rolo Tomassi are one of Britain's most formidable bands, both in technicality and originality, and from the sound of things Cosmology is going to be slaying some stereos when it comes out at the end of May.

Youves at the Adam + Eve 16/04/2010

As part of the Adam + Eve's 20th Anniversary the venue has been hosting an array of free shows, showcasing and celebrating Brum talent. Tonight's show has been curated by The Other Woman's Club, a female collective of DJs and promoters (amongst other things, who, as well as choosing the acts for the evening, were providing the soundtrack between the bands. This is the first time I've ever been this far into Digbeth, but nestled between a series of derelict looking factory units stands the Adam + Eve. At first glance it looks your stereotypical old-fashioned street corner boozer... and that's pretty much what it is. Inside, one side of the room a stage runs, hardly big enough to contain the equipment and kit that most bands drag along with them these days.

First up was Simon Gregory from Tantrums, who ran through some of his band's tracks, albeit stripped back to just vocals and a (borrowed) guitar. I'm a big fan of Tantrums, they are a group who are doing interesting and fun things on the Birmingham music scene at the moment, and they have made a great leap forward since Anna Palmer (of Little Palm fame) came into the fold. However, this evening, without the backing of the band's solid rhythm section and crazy guitar antics, even crackers like 'Make Ya Feel Hype' seem a tad lacklustre. That's not knocking the songwriting here, it's just that once you've seen Tantrums in their full glory, hearing their songs played like this just isn't the same.

Now, I haven't seen Your Biggest Fanclub for a year or so, and I remember last time feeling somewhat confused by their direction. Not tonight though. It seems since my last encounter they have found their sound, and bloody loud it was too. Then there is the riffs. Oh, the riffs. Imagine QOTSA flogging the corpse of Hendrix (If that makes sense?) and you come somewhere close to imagining how massive Thom's guitar sounds. You wouldn't imagine they are a three-piece, that's for sure. Ash and Ed provide a steady backbone for some of Thom's more interesting guitar workouts, with some especially nice sounds coming from Ed working his pedals to get some serious fuzz out of his bass. If my memory serves me right the last time I saw them I had been impressed by their stage presence, especially Thom's, and tonight was no different, with both Thom and Ed leaving the stage to pace predatorially amongst the crowd. This was topped during their last track where Thom pulled himself up onto the bar and played the rest of the song standing above the punters, much to the concern of the barmaid. All in all, a good solid performance which left me with a smile on my face. The only negative I could find, if I was to get picky, was that often their levels were too far in the red, and Thom's excellent guitar work gets lost in the ensuing wall of noise, which is a real shame.

Last up this evening are Nuneaten lot Youves. I've seen Youves a number of times over the last few months and I always find them great fun to watch. They play a sleazy, spikey dance-punk which joins the dots between Fugazi and A Certain Ratio, and despite several problems with the microphones, they deliver the goods. From the frentic guitar interplay between Michael and Alex, to Luke's funk-infused bass lines, Youves really are the total package. Again, presence is everything, and there is enough going on to keep your eyes busy. There is something about the way Stephen squares up to the microphone, before taking it in his hands and pretty much gyrating against it that could be considered perverse, but it's so visually arresting that I for one won't be making any complaints. Alongside material from last year's Holy Roar mini-album the band played several new songs which fitted seamlessly amongst their older, more well known tracks. Of course, as is often the way with a Youves show, by the end of their set they have stripped off their shirts, and are drenched in sweat, launching themselves around the tiny stage regardless of health and safety.

So, there you have it. A top show, made even more enjoyable by the fact it cost nothing at all to get in. It did however take me nearly 2 hours to get home due to M6 closures though. Swings and roundabouts right? And I mustn't forget to give kudos to the DJ of the evening who played 586's 'We Got Bored' which I hadn't heard in a long, long time, and is an awesome tune. Thankyou Other Woman's Club DJ!!

Tubelord at the Hare & Hounds 05/11/2009

Maybe it's because it's a Thursday. Maybe it's because it's raining. Or maybe it's because it's Bonfire Night. Somewhere out there a Guy is on fire. And maybe a towerblock too, as I saw a few fire engines surrounding one on the way into Kings Heath. Either way, by 8:30 there's still only about 30 people tops in the second, smaller room upstairs in the Hare. There is another gig on in the room next door, but that seems quiet too. What's wrong with people, £5 for an awesome line up? Words fail me sometimes.
First up this evening are 3 lovely boys from Birmingham who go by the name of Shapes. Not so long ago they released their second EP on Big Scary Monsters, which gives the uninitiated an idea of what they've got in store. They seem somewhat amused by the fact they have never played at the Hare, and despite the lacklustre turn out they play with as much energy as they can muster, but not before asking everyone to stand up and move from the comfy sofas that line the room. "It is a gig after all!" guitarist Steve Bachelor reminds the crowd. This evening the band tend to favour their newer material over the old, which is a shame as their first EP was immense. However, they still treat the amassed with their slabs of spastic prog-metal, launching from the stage into the front row with reckless abandon. Closing with 'You Butcher', I can't help but feel a little let down as they were nowhere near as exciting as they were on my last encounter with them, though I must commend their manners, for they thanked everyone for chosing the gig instead of a bonfire. Bless.

Now, something tells me either Tall Ships are new to this game, or maybe they are just having a touch of really bad luck (I think it may be the latter option): guitar strings break during the first song, keyboard in another, several moments where everything seems (to paraphrase the Shapes song) to be more out of tune than everything else... yet simultaneous to this there are moments of clarity where Tall Ships shine, showing themselves to be a magnificantly forward-thinking and creative outfit (albeit, their choice of clothing may leave a lot to be desired). It's an odd set-up with two facing keyboards in the middle and an assortment of pedals underneath. There are also bits of drum in places other than at the drum kit. It's hard to explain, look on their myspace and you will get a better idea of what's going on. Anyway, the great thing about Tall Ships is that all their songs are built out of loops ie. play a bit of guitar, loop it, play some more over the top and so on. It will be interesting to hear how this translates on record, as tonight some of what they were doing was simply lost in the live setting. Their last song was my favourite simply on the merit of how messed up it was. There was instruments being swapped like wives, a dirty distorted keyboard loop, and the bassist climbed up the PA system to hit a cymbal. They were also joined by Joseph and Sean from Tubelord who helped make even more of a racket and brought their set to a close. I clapped a lot.

Finally Tubelord take to the stage and those in attendance finally act like it's a rock show, getting on their feet and moving forward in the general direction of the stage. The Kingston three-piece work their way through tracks from debut Our First American Friends, and it's upon hearing these tracks live you realise how fun and creative a band they are. I personally felt a little let down by their album, as it didn't for me capture them as acurately as their live show - which sometimes wanders in to the raw and rough around the edges. Yet, it is the live Tubelord which really captivates me. There is something of old Biffy in Joe's guitar riffs, whilst his lyrics remind me of Reuben, somewhat cryptic in places but always anthemic. The subtle use of glockenspiel on a couple of tracks draws the band in another direction, a much more chilled an laid back one, whilst these slower songs are easily balanced out by their bouncy emo-pop in tracks like 'I am Azerrad' and 'Night of the Pencils', the latter of which they sing "three is the magic number" over the final chorus, to much amusement and big smiles. Towards the end of the set Joe decided to read some poetry, and asked everyone to sit down on the floor. Which, strangely, everyone did. There was something a bit surreal about a room of people at a gig sitting on the floor whilst listening to a poetry recital, but at the same time it's touches like this that make Tubelord so special. I did whip out my camera at this point to take a photo but got a little embarresed when Joe pointed at me and told everyone to check out the art student (I wish). And almost as soon as it had begun, it was over, as the gang smash their way through the last song regardless of having broken several strings. And as I stepped out onto Kings Heath High Street with the smell of fireworks in the air, there was no way I could consider that tonight, despite low numbers, anyone had been short-changed.

Passion Pit at the O2 Academy 01/11/2009

My second time in the O2 Academy in a matter of days, and this time I at least felt a little more aware of my surroundings. It couldn't be any more different a crowd either - quite a diverse mix was filing into Academy 2, probably due to the amount of hype and/or airplay that Passion Pit have received over the last few months. But, first things first, we have an odd gentleman on the stage who is surrounded by keyboards and boxes with leads coming out of them. That man is Max Tundra (real name Ben Jacobs, fact fans), and whilst knowing the name I had never heard his music. By honest first impression was "what on earth is this?", and it's a good question if ever there was one. This balding 30-something makes music which sounds like a cross between a Nintendo 64 and Nathan Barley's ringtone, or (just so I can use another silly similie) the soundtrack to Vince Noir's wet dreams. It's not bad stuff, his 90s rave track being my highlight, but it's too early on a dreary Sunday evening, and Max sems to be too much for most and more faces painted a picture of confusion than anything else. He finished his set with his rendition of the Goodbye Song. Irony, much?

Next up were one of my highlights of Hop Farm festival, The Joy Formidable. Despite only having a mini-album to their name, the show the Welsh power-trio put on comes across like a greatest hits set. 'The Greatest Light...', 'Whirring' et al. all sound fresh and absolutley vital in the live environment, singer/guitarist Ritzy is every inch the rockstar, despite being tiny... and very cute. They remind me very much of the late great JJ72, with the smallest smattering of Smashing Pumpkins heaviness for good measure. Drummer Matt Thomas is a powerhouse of a drummer and pummels the kit within an inch of its life. TJF should be huge, and with a self-financed live album on its way, we will all be able to relive the excellence of their live show in our bedrooms. I'm looking forward to catching them again in the future, but will have to get used to the fact they will be moving into larger rooms sooner rather than later.

Hype can be a double-edged sword. It can build you up, but it can also knock you down, and tonight it did the latter. Despite the high expectations I had from from the rave reviews about the band, and from their enjoyable debut record Manners, tonight Passion Pit fell short of the buzz that surrounds them. Although there are moments of pure electronic pop beauty in singles like 'The Reeling', other songs are lost in the ether in the live setting, missing the fragile layers that exist on the LP itself. That's not to say the band weren't playing well, but after The Joy Formidable's set it was hard for me to get as excited about them as the previous trio. A faulty mic lead also led to mayhem for the band played through 'I've Got Your Number' (one of their most popular tracks) as an instrumental, oblivious to the crowds blank response and shouts that there were no vocals. Luckily, following some swapping of cables the band obliged the crowds calls of "Again!" and played the track through once more with the vocals. Its probably the only time I've seen a band play the same song twice, with possibly the exception of Let's Wrestle, but they are a whole different kettle of fish. Maybe another time Passion Pit would shine, but for tonight at least the politely bow out, knowing that it wasn't their strongest show, but still an enjoyable evening.

Funeral for a Friend at the O2 Academy 30/10/2009

Right, I pretty much knew what I was getting myself into when I bought a ticket for this event. Organised by Vans, and heralded as the "Off the Wall New Music Night", I was almost certain of what the music would be like and what the demographic of the audience that matched this music would be. On both of these accounts I was not let down. Yet still, I made my way to the new O2 in order to catch two bands: one new, and one old. I would probably have tried to catch some of the smaller acts playing in Academy 3 if doors hadn't been so early, meaning that by the time I actually managed to get home from work, change, catch train, walk across Birmingham, get into the venue, I had missed a large chunk of the evening. Luckily, chances are I wouldn't have missed anything exciting. As I made my way through the maze of corridors between rooms, trying to a) find my bearings, and b) not get knocked over by marauding teens, I found myself in the smallest of the Academy rooms watching a band called Prego. They were playing fairly average/instantly forgettable alt.rock/emo, and looking at my watch I realised that local heroes Blakfish were about to start in Academy 2. I was excited. I left and made my way upstairs.

I love Blakfish, and tonight's performance just acted as fuel to the fire of my interest in them. The sound wasn't fantastic, with there being far too much bass in the mix, however they were just as mouthy as ever, levelling insults towards the other bands on the bill, Vans' merchandising policy, and members of the audience who had the audacity to leave the room mid-set. And there wasn't that many people in the room to begin with. They even managed to break part of the monitor. Playing through a set which comprised mostly of tracks from Champions, the band threw their all into 'Jeremy Kyle is a Marked Man' and the classic 'Economics', as well as the almighty group sing-along that is set closer 'Ringo Star: 2nd Best Drummer in the Beatles' with band and (what remained of) the crowd joining together with the cries that "it could be worse, we could be dead. I don't know how we survived, all I know is we did." Of course, it could be worse than that - they could be in any of the other over-the-top, over-produced, Americanized groups which littered the bill (they threw down several cheeky bars of a Green Day song, before laughing themselves out of it). Instead, Blakfish present something real and raw, it may sound unpolished tonight, but they are still fascinating and unpredictable to watch. It just seems that this crowd aren't that interested. And in one final act of rebellion Sam and Thom left the stage, walked to the back of the room and climbed on the bar, still singing the "it could be worse..." refrain... before they were promptly told off and asked to get down by security staff. Brilliant.

Following all that I was left at a bit of a loss. There was nothing that really took my fancy at all, and it was only roughly one set away from Funeral for a Friend who were obviously the old band I wanted to see. Cutting my losses, I decided to try and get a decent spot in the main room, which also meant having to watch Fightstar. It appears that to be a fan of Fightstar you either have to be an obnoxious teenager or approaching middle-age and trying to recapture your youth. Either way, their appeal was lost on me. Perhaps it's due to the fact I had little knowledge of their music outside of the odd single, or maybe it's just because to me most of their material sounded like sub-standard Deftones covers.

So it is left to Funeral for a Friend to lift my spirits. Considering I've been following the band off and on since the release of their first EP way back in 2002 I'm not sure how I've never managed to catch them live before. I'm not sure what the significance of the guy dressed as a banana was (Blink 182 video anyone?!) who came out to introduce the band to Stevie Wonder's 'I Just Called' but that aside, the band thrashed their way through a well thought out set which incorporated plenty of classics as well as some of their more recent tracks. This was a stroke of luck, as admittedly after their second LP my knowledge of them falters slightly. I was stoked to hear that tracks like 'Juno' and 'Bullet Theory' still rip it up and sound as fresh today as they did 7 years ago. In many ways, it's seeing bands like this that make me realise I am getting older. Corr, can you believe how long these guys have been around now! But hey, seeing them has helped fill the FfaF shaped void that has existed, and maybe just for that hour I was just like those obnoxious teens again, if only in spirit.

Everything Everything at the Flapper 28/10/2009

I know you shouldn't judge a book by its cover, but I'm one of those people who find that if a band have a rubbish name I find it really hard to get over it and enjoy the band, thinking that bad name equals bad music. Fix Monday are a band with one of these names. However, despite the dodgy moniker, they aren't half as bad as I had anticipated and actually had a fair few catchy tracks, such as 'I Change' which got the crowd (myself including) tapping their feet. However, the highlight of their short set for me was their "reverse stage invasion", when the band dropped their instruments and came off stage and joined the crowd to perform a simple yet delicate vocal piece with four-part harmonies and the smallest amount of guitar to anchor them down. What I liked most about this was the way in which it confronted the audience - there was no way of ignoring them when they were stood in front of you. I didn't know where to look and almost felt I should hold my breath, an amazing moment from a band I had written off before even having heard them. Seems that Fix Monday are doing their very best to prove that old idiom wrong.

Next up were Findo Gask, who were the main reason I had come along, after being impressed by their performance alongside Dananananaykroyd earlier in the year at the Xbox Reverb gig at the Rainbow Warehouse. Now, before anyone thinks to say anything, yes they do have an odd name, but it's cool - they're Scottish, and named themselves after a village in Perth and Kinross, Scotland. They throw down a chilled out electro-pop groove which has glimpses of Hot Chip at their most inventive. There's a lot of instrument swapping and often it appears they are so full of ideas that what a lesser band would have milked out into 3 songs, the Gask boys will compress into one brilliantly formed pop gem. Playing through their singles, it is obvious what a talent Findo Gask are: 'Go Faster Stripe' being a personal favourite, as well as the multi-layered, twisting trumpet-led 'Nubo' from the One Eight Zero single, which comes on like a blissed out Youthmovies. They are a band I will definately be keeping an eye our for in the future, as they are a fun band to watch and lovely guys to talk to too. I recomend you hunt down the aforementioned single, it's brilliant.

Last but not least this evening were Everything Everything, who I had heard very little about apart from a few good things from a friend. They stay in a similar world to Findo Gask, writing inexhaustably creative electronic-tinged indie with some amazingly obscure lyrics. They were a bit of a funny looking troop, but have some truly brilliant tracks, namely their trilogy of singles: 'Suffragette Suffragette', 'Photoshop Handsome', and 'My Keys, Your Girlfriend'. 'Photoshop...' is probably my pick of the lot, with its 8-bit gamer tune spliced to a wonderfully catchy vocal hook. I know it sounds crude, but this is probably what The Automatic wish they sounded like if they could actually write decent music.

The Twilight Sad at the Hare & Hounds 26/10/2009

My first impression of the evening was how busy the Hare and Hounds was; the gig room was positively crammed when Goodnight Lenin took to the stage. It seemed that a lot of people had come out to see the local lads play through a highly entertaining set which was a lot folkier than I personally was expecting. I don't mean that in anyway derogatory however, the band clearly have a penchant for writing catchy and emotive music, and I was very impressed by their harmonies. They even threw out a cheeky cover of Kings of Leon's 'Four Kicks', however to call it a cover would be unfair on Goodnight Lenin, who it was clear to hear they had put a lot of thought into their reinterpretation of the piece.

Next up were Manchester-based Mutineers who, despite having a well formed sound, failed to engage with the crowd and recapture those who had wandered off following the end of the previous set. The band obviously wear their New Order/Killers-esque influences on their sleeves, which came across in my favourite of their bunch 'Shadow Kisses', which was a slice of Get Ready era synth-pop. Sadly I felt that they were a bit out of place on the evening's bill, and could easily have shone much brighter on another evening.

Last up of course was The Twilight Sad and, accordingly, the room fills up again. Tonight they were at their most epic, playing an equal mix of classic material from 2007's Fourteen Autumns & Fifteen Winters and new LP Forget the Night Ahead. Opening with 'Reflection of the Television' I was impressed with the sound in the Har, which was much better than when I saw them back in the summer at Hop Farm Festival, enabling every layer of their dense sound to be picked up. Also improved was the general demeanor of the band, whom had seemed unhappy at aformentioned festival, however tonight vocalist James Graham even cracked a funny, joking that he couldn't see Birmingham for the constant cloud being thrown out by the smoke machine, proving that they're not always as miserable as their music may suggest. The lighting was also spot on, providing an apt and dramatic setting for the group - suiting their brooding, cryptic tales which switch effortlessly from beautiful meloncholy to brutal frustration with the touch of a guitar pedal. Vocally, I am left breathless by this band, Graham is easily one of my favourite frontmen of the moment, the highlight of his prowess coming in set-closer 'Cold Days from the Birdhouse', where he holds the melody over little more than a monotonous hum, before breaking into the final refrain of "where are your manners?" framed beautifully by walls of cacophonous, crashing guitar. This was a night I won't be forgetting for a while.

You can buy The Twilight Sad's latest album, Forget the Night Ahead, from FatCat Records