Issue 52 / February 2015

FREE

Issue 52February 2015

All We AreEsa Shields

The Lost BrothersKate Tempest

All W

e Ar

e by

Dav

e Ed

war

ds

FREE

Issue 52February 2015

All We AreEsa Shields

The Lost BrothersKate Tempest

All W

e Ar

e by

Dav

e Ed

war

ds

2015 HIGHLIGHTSTHE UNTHANKSSunday 1 March 7.30pm–

RUMOURS OF FLEETWOOD MACThursday 5 March 7.30pm–

‘A CURIOUS LIFE’& LEVELLERS -(acoustic)Friday 6 March 7.30pm–

DR JOHNand the Nite TrippersMonday 9 March 7.30pm

ONE MANBREAKING BADperformed by Miles AllenTuesday 24 March 7.30pm–

CALEXICOFriday 1 May 8pm–

DYLAN MORANSaturday 2 May 8pm–

THE FULLENGLISHTuesday 5 May 7.30pm

REGINALDD HUNTERSunday 10 May 8pm –

STEWARTLEETuesday 2 June 8pmWednesday 3 June 8pm–

ELVIS COSTELLO - DETOURMonday 15 June 8pm

Liverpool Philharmonic HallBox Office 0151 709 3789liverpoolphil.comImage The Unthanks

Bido Lito Ad 259 x 320 January 2015_Layout 1 14/01/2015 16:14 Page 1

Bido Lito! February 2015 3

bidolito.co.uk

LIBERTÉ, ÉGALITÉ, RESPONSABILITÉEditorial

Over the past few weeks since the terrible atrocities in Paris, in which the lives of seventeen people were taken, many of us have been moved by the

outpouring of sentiment shown by the millions across France who turned out in force to honour the victims who fell at the o�ces of Charlie Hebdo,

and in the supermarket in Porte de Vincennes. This show of solidarity was shared by the hundreds who marched through Liverpool in unity with their

French cousins, and the countless millions across the globe who showed their support via the #JesuisCharlie hashtag.

In all of the polemic that has followed these attacks, the idea of freedom of speech has been widely interrogated, and occasionally used as a shield

to excuse some particularly vile commentary. But what a surprisingly large amount of the comment has shown is a lack of understanding of what

freedom of speech actually means – its implications, limitations and obligations.

It might seem an obvious thing to point out, but our basic human rights of freedom of thought, opinion and expression are some of the strongest

pillars of our society. They allow us all to hold an opinion, no matter how much it conflicts with the next person's, and to receive and impart these

ideas. Fundamentally, this is a very powerful notion, and just because we are so used to it doesn't mean we should gloss over it or be apologetic for it.

As an independent publication which operates with the liberty a�orded us by the joint freedoms of speech and expression, we have the right to

be as opinionated as we like: about any band or gig or person or, indeed, anything we bloody well want. Equally, and even as a moderately small

publication, we have to be keenly aware of the impact of those opinions. Mass media has a responsibility, because of its platform, to not just uphold

the values of free speech, but also to be truthful and, where possible, fair. Of course the media has been used to nefarious ends before, but the

democratisation of comment, especially via social media, has provided a bulwark against the spread of propagandist material. This was something

that was observed acutely during the Arab Spring.

Not all boundaries are clearly defined, though. Cartoonists – particularly satirical cartoonists – deal in exaggeration and caricature, and see the

boundaries of correctness as elastic, to be stretched. They're cruel and cutting and amusing, turning things on their head or looking at situations

in challenging, direct ways. In France, a secular country, religion is fair game for satirists, as are ALL power systems. Say what you like about Charlie

Hebdo’s editorial policy, but don’t deny that they’ve not been democratic in ridiculing the more extreme forms of the world’s religious and political

views. No one was exempt: to do otherwise would have been hypocritical. It may be shocking to us because it's not our culture, but from another

viewpoint in another set of societal circumstance it is fairly normal. This doesn’t mean that we’re forbidden from taking o�ence from something said

by a politician in Finland or published in a school textbook in the Philippines – far from it. But we should balance our response to any inflammatory

remarks with cultural context. Maajid Nawaz , Liberal Democrat candidate for Hampstead and Kilburn and co-founder of counter-extremism think tank

Quilliam, puts it neatly: "You have every right to be o�ended, you do not have the right to not be o�ended".

Freedom of expression is not freedom from consequence – and, indeed, murder is not an acceptable consequence for anything. We need to make

sure that the laws that govern freedom of speech are robust enough to allow us to flourish, while also punishing those who confuse mockery with

race hate, satire with defamation, preaching with inciting violence. There are no rules that govern the boundaries of taste and decency, and this is

where we, as people who want to live in a fair society, need to communicate with care. Rules are there for people, not ideas. Everyone should be

responsible for their own ideas.

Christopher Torpey / @BidoLito

Editor

Bido Lito!Issue Fifty Two / February 2015bidolito.co.uk

Static Gallery

23 Roscoe Lane

Liverpool

L1 9JD

Editor

Christopher Torpey - [email protected]

Editor-In-Chief / Publisher

Craig G Pennington - [email protected]

Reviews Editor

Sam Turner - [email protected]

Designer

Luke Avery - [email protected]

Proofreading

Debra Williams - [email protected]

Sales And Partnerships Manager

Naters Philip - [email protected]

Digital Content Manager

Natalie Williams - [email protected]

Words

Christopher Torpey, Craig G Pennington, Richard

Lewis, Paddy Hughes, Sam Turner, Conor

McDonnell, Jack Graysmark, Dave Tate, Alastair

Dunn, Rob Syme, Glyn Akroyd, Joshua Potts,

Christopher Carr, Chris Hughes.

Photography, Illustration and Layout

Luke Avery, Dave Edwards, Becky Hawley, India

Cranks, Keith Ainsworth, Christopher Coll, Scott

Du�ey, Emma Bassnett, Glyn Akroyd, Antonio

Franco, Mike Sheerin.

Adverts

To advertise please contact [email protected]

Distributed By Middle Distance

Print, distribution and events support across

Merseyside and the North West.

middledistance.org

The views expressed in Bido Lito! are those of the respective contributors and do not necessarily reflect the opinions of the magazine, its sta� or the publishers. All rights reserved.

Rob Watling


bidolito.co.ukbidolito.co.ukbidolito

LIBERTÉ, ÉGALITÉ, RESPONSABILITÉEditorial

Over the past few weeks since the terrible atrocities in Paris, in which the lives of seventeen people were taken, many of us have been moved by the

outpouring of sentiment shown by the millions across France who turned out in force to honour the victims who fell at the o�ces of Charlie Hebdo,

and in the supermarket in Porte de Vincennes. This show of solidarity was shared by the hundreds who marched through Liverpool in unity with their

French cousins, and the countless millions across the globe who showed their support via the #JesuisCharlie hashtag.

In all of the polemic that has followed these attacks, the idea of freedom of speech has been widely interrogated, and occasionally used as a shield

to excuse some particularly vile commentary. But what a surprisingly large amount of the comment has shown is a lack of understanding of what

freedom of speech actually means – its implications, limitations and obligations.

It might seem an obvious thing to point out, but our basic human rights of freedom of thought, opinion and expression are some of the strongest

pillars of our society. They allow us all to hold an opinion, no matter how much it conflicts with the next person's, and to receive and impart these

ideas. Fundamentally, this is a very powerful notion, and just because we are so used to it doesn't mean we should gloss over it or be apologetic for it.

As an independent publication which operates with the liberty a�orded us by the joint freedoms of speech and expression, we have the right to

be as opinionated as we like: about any band or gig or person or, indeed, anything we bloody well want. Equally, and even as a moderately small

publication, we have to be keenly aware of the impact of those opinions. Mass media has a responsibility, because of its platform, to not just uphold

the values of free speech, but also to be truthful and, where possible, fair. Of course the media has been used to nefarious ends before, but the

democratisation of comment, especially via social media, has provided a bulwark against the spread of propagandist material. This was something

that was observed acutely during the Arab Spring.

Not all boundaries are clearly defined, though. Cartoonists – particularly satirical cartoonists – deal in exaggeration and caricature, and see the

boundaries of correctness as elastic, to be stretched. They're cruel and cutting and amusing, turning things on their head or looking at situations

in challenging, direct ways. In France, a secular country, religion is fair game for satirists, as are ALL power systems. Say what you like about Charlie

Hebdo’s editorial policy, but don’t deny that they’ve not been democratic in ridiculing the more extreme forms of the world’s religious and political

views. No one was exempt: to do otherwise would have been hypocritical. It may be shocking to us because it's not our culture, but from another

viewpoint in another set of societal circumstance it is fairly normal. This doesn’t mean that we’re forbidden from taking o�ence from something said

by a politician in Finland or published in a school textbook in the Philippines – far from it. But we should balance our response to any inflammatory

remarks with cultural context. Maajid Nawaz , Liberal Democrat candidate for Hampstead and Kilburn and co-founder of counter-extremism think tank

Quilliam, puts it neatly: "You have every right to be o�ended, you do not have the right to not be o�ended".

Freedom of expression is not freedom from consequence – and, indeed, murder is not an acceptable consequence for anything. We need to make

sure that the laws that govern freedom of speech are robust enough to allow us to flourish, while also punishing those who confuse mockery with

race hate, satire with defamation, preaching with inciting violence. There are no rules that govern the boundaries of taste and decency, and this is

where we, as people who want to live in a fair society, need to communicate with care. Rules are there for people, not ideas. Everyone should be

responsible for their own ideas.

Christopher Torpey / @BidoLito

Editor

Bido Lito!Issue Fifty Two / February 2015bidolito.co.uk

Static Gallery

23 Roscoe Lane

Liverpool

L1 9JD

Editor

Christopher Torpey - [email protected]

Editor-In-Chief / Publisher

Craig G Pennington - [email protected]

Reviews Editor

Sam Turner - [email protected]

Designer

Luke Avery - [email protected]

Proofreading

Debra Williams - [email protected]

Sales And Partnerships Manager

Naters Philip - [email protected]

Digital Content Manager

Natalie Williams - [email protected]

Words

Christopher Torpey, Craig G Pennington, Richard

Lewis, Paddy Hughes, Sam Turner, Conor

McDonnell, Jack Graysmark, Dave Tate, Alastair

Dunn, Rob Syme, Glyn Akroyd, Joshua Potts,

Christopher Carr, Chris Hughes.

Photography, Illustration and Layout

Luke Avery, Dave Edwards, Becky Hawley, India

Cranks, Keith Ainsworth, Christopher Coll, Scott

Du�ey, Emma Bassnett, Glyn Akroyd, Antonio

Franco, Mike Sheerin.

Adverts

To advertise please contact [email protected]

Distributed By Middle Distance

Print, distribution and events support across

Merseyside and the North West.

middledistance.org

The views expressed in Bido Lito! are those of the The views expressed in Bido Lito! are those of the Trespective contributors and do not necessarily reflect the opinions of the magazine, its sta� or the publishers. All rights reserved.

Rob Watling

Bido Lito! February 20154

bidolito.co.uk

ALL

WE ARE



ALL

WE ARE


bidolito.co.uk

Words: Christopher Torpey / @CATorp

Photography: Becky Hawley and Dave Edwards (front cover)

As that great triumverate De La Soul once said, three is the magic

number. Admittedly it’s not spectacularly profound as an aphorism,

but it’s particularly apt when applied to Liverpool’s favourite

multinational combination, ALL WE ARE – a trio of musicians who

are on the cusp of widespread and much deserved acclaim. The

hive mind of Rich O’Flynn, Guro Gikling and Luis Santos (Percussion,

Bass and Guitar respectively) is responsible for every aspect of the

irresistible world of All We Are, which just got even more irresistible

with the release of their debut, self-titled album. In the record’s

eleven taut and sinewy tracks, Rich, Guro and Luis have created a

microcosm of their infectious world, thus cra¤ing a piece of work

that will be utterly compelling to music fans with even the beigest

of tastes.

The first time our paths crossed with All We Are was in 2012,

around the release of their very first EP. Back then they were a folk

band who specialised in “creeping psychedelia”, at least, according

to our definition. The All We Are that exists today is a massive

progression from those embryonic moments, a refined and

ultimately more confident entity. As evolved as All We Are version

2.0 is – and it unquestionably is, because you could never mistake

them for a folk band now – an echo of the expansive, otherworldly

atmosphere that has always been an All We Are trademark still

cloaks their debut record, now fed through the “psychedelic

boogie” FX pedal of the band’s new aesthetic.

When discussing this evolution with Rich, Guro and Luis in a

shadowy corner of their rehearsal room, they are clearly able to

identify the point where it all changed for them. “I think we kind

of see Utmost Good as a defining point, because it was when we

‘found our sound’, if you like. Most of the stu� we’d done up to

then sort of fell by the wayside,” explains Rich as he warms himself

in front of an electric fire. Utmost Good – their gloriously gloopy

and catchy tune from midway through 2013 – is their line in the

sand. All bar one of the songs on All We Are is made up of post-

Utmost Good material, and it’s something that Guro thinks is more

representative of the band’s true essence. “I think we spent a lot

of time before Utmost Good figuring out how to play together,”

she says, “and to find the route we were going to take. It felt like

when we hit on Utmost Good we’d found our sound. So from there

we kind of knew what we were up to.” “I definitely think it shaped

what we did from then on,” Rich adds in agreement.

The track was a trigger for them in many ways, and opened the

door to a label deal: since signing with Domino imprint Double Six

at the beginning of 2014, the trio have been busy piecing together a

record that holds true to their distinctive vibe. The album’s sensual

movement kicks in straight from the o� with Ebb/Flow. Built around

a fat and cloudy bass ri�, Ebb/Flow is a perfect introduction to the

atmosphere the band feel defines them so precisely, complete

with swirls and burps of space noises that twinkle underneath its

killer groove.

Elsewhere, the album’s three singles see them push all of the

boundaries that their fluid genre-chopping allows. Feel Safe has a

funky, lithe disco feel, while Keep Me Alive teases you along with its

gorgeous melody and Guro and Rich’s cooing vocals. There has been

some talk of a Bee Gees element in the All We Are sound, which feels

a little lazy given their own description of their sound as “Bee Gees

on Diazepam”. That said, it is hard to look past the double-header of

Honey and I Wear You at the centre of the record as their unashamed

Barry, Robin and Maurice moment, full of falsetto harmonies and

nimble guitar work. “There are a fair amount of similarities between

us and The Bee Gees,” Guro says half-jokingly, though the smile on

her face suggests it may be even more playful than that. “They went

through a lot of di�erent periods before they found the sound that

was them. I guess in some ways we are like siblings as well, even

though we’re not brothers…!”

As a sublime counterpoint to all this, the wistful Something

About You shows o� their ability to build the layers up from

seemingly nowhere, eventually blooming into a gorgeously dense

whole. And then there’s Utmost Good, languorous and warm,

which keeps a sort of link between the familiar and new worlds

of All We Are. Though everything else on the album was recorded

in their month-long stint at producer Dan Carey’s home studio in

London, the original recording of Utmost Good, done with Joe Wills,

remains, albeit with an updated mix. “We just wanted to give it a

bit of freshness, and to bring it in line with the whole album,” Rich

explains. “We really wanted that production to be on it, though; it’s

quite special to us.”

Given his past record in capturing the perfect mood of a record

(with The Kills, CSS and Django Django to name just a few), Dan Carey

seemed like a perfect fit for All We Are, and it’s clear that the band

enjoyed every bit of their time recording with him. “Personally, it

opened up things as far as groove is concerned,” confirms Rich. “The

nuances of groove, and little things. He’s just the king of vibe!” The

band credit Carey for accentuating and bottling the atmosphere they

had created in their own practice room, and he did so by using all

manner of tricks in the live room. Introducing strobes and a smoke

machine during the recording process may seem like gimmicks

but they helped the band get in the right mood to discover the

intangible energy for which they were looking. This even stretched

to the compulsory wearing of sunglasses for the tracking of I Wear

You, from which engineer Alexis Smith wasn’t exempt. “That’s just

Dan Carey in a nutshell!” laughs Guro, which Luis expands on: “He’s

quite open-minded about what happens in the studio. If anything

goes wrong it’s just ‘the vibe’, you know. Everything is very organic,

even when you have something static like a loop drum machine.

And everything is being fed in to this huge spring on the ceiling of

the studio that captures sound as well. He uses that in the mix, so

the whole thing is ever-changing. And it feels alive, you know. It’s

not like there’s a repeated sound in there – every single sound, even

if it’s delayed or looped, is slightly di�erent.”

Throughout the interview all three of them make repeated

gestures towards the area in the middle of the room where their kit

is arranged, referencing it like a mute fourth member of the band.

“I think the atmosphere that we create starts here in this room with

just the three of us. I think a lot of it is the connection between the

three of us as people and friends that comes out,” explains Guro, to

which Rich adds, “This is the home; this is the real deal.”

Supporting Warpaint on their UK tour in 2014, and watching from

the wings as the LA troupe recreated their own sultry vibe in a live

context, le¤ a lasting impression on the trio. Not only did it show

them that it was possible to achieve onstage what they’d created

alone in their room, but it also encouraged them to be a bit more

fearless when approaching new stu�. It’s telling that their onstage

setup now mirrors their practice room setup, with the three of

them facing each other in a triangle, almost zoning everything else

out. “A big part of it is that we have this All We Are world that we

live and breathe all the time,” Guro asserts. “I think when we go on

stage we want people to be invited in to that.”

As many folk in their adopted home will attest to, the world of

All We Are is something that is virtually impossible not to get taken

in by. It’s a world borne out of the intense chemistry that exists

between these three close friends, which Rich quite neatly sums

up: “In some ways the connection that exists between the three

of us is the basis of what the band’s about.” All We Are’s style feels

uniquely suited to them and, excitingly, is fluent enough to morph

across di�erent genres. In many ways the release of their debut

record is a new beginning for them, like a butterfly emerging from

its chrysalis. All hail the power of three.

All We Are is out on 5th February on Double Six.

soundcloud.com/thisisallweare



Words: Christopher Torpey / @CATorp

Photography: Becky Hawley and Dave Edwards (front cover)

As that great triumverate De La Soul once said, three is the magic

number. Admittedly it’s not spectacularly profound as an aphorism,

but it’s particularly apt when applied to Liverpool’s favourite

multinational combination, ALL WE ARE – a trio of musicians who

are on the cusp of widespread and much deserved acclaim. The

hive mind of Rich O’Flynn, Guro Gikling and Luis Santos (Percussion,

Bass and Guitar respectively) is responsible for every aspect of the

irresistible world of All We Are, which just got even more irresistible

with the release of their debut, self-titled album. In the record’s

eleven taut and sinewy tracks, Rich, Guro and Luis have created a

microcosm of their infectious world, thus cra¤ing a piece of work

that will be utterly compelling to music fans with even the beigest

of tastes.

The first time our paths crossed with All We Are was in 2012,

around the release of their very first EP. Back then they were a folk

band who specialised in “creeping psychedelia”, at least, according

to our definition. The All We Are that exists today is a massive

progression from those embryonic moments, a refined and

ultimately more confident entity. As evolved as All We Are version

2.0 is – and it unquestionably is, because you could never mistake

them for a folk band now – an echo of the expansive, otherworldly

atmosphere that has always been an All We Are trademark still

cloaks their debut record, now fed through the “psychedelic

boogie” FX pedal of the band’s new aesthetic.

When discussing this evolution with Rich, Guro and Luis in a

shadowy corner of their rehearsal room, they are clearly able to

identify the point where it all changed for them. “I think we kind

of see Utmost Good as a defining point, because it was when we

‘found our sound’, if you like. Most of the stu� we’d done up to

then sort of fell by the wayside,” explains Rich as he warms himself

in front of an electric fire. Utmost Good – their gloriously gloopy

and catchy tune from midway through 2013 – is their line in the

sand. All bar one of the songs on All We Are is made up of post- is made up of post-

Utmost Good material, and it’s something that Guro thinks is more material, and it’s something that Guro thinks is more

representative of the band’s true essence. “I think we spent a lot

of time before Utmost Good figuring out how to play together,” figuring out how to play together,”

she says, “and to find the route we were going to take. It felt like

when we hit on Utmost Good we’d found our sound. So from there

we kind of knew what we were up to.” “I definitely think it shaped

what we did from then on,” Rich adds in agreement.

The track was a trigger for them in many ways, and opened the

door to a label deal: since signing with Domino imprint Double Six

at the beginning of 2014, the trio have been busy piecing together a

record that holds true to their distinctive vibe. The album’s sensual

movement kicks in straight from the o� with Ebb/Flow. Built around

a fat and cloudy bass ri�, Ebb/Flow is a perfect introduction to the is a perfect introduction to the

atmosphere the band feel defines them so precisely, complete

with swirls and burps of space noises that twinkle underneath its

killer groove.

Elsewhere, the album’s three singles see them push all of the

boundaries that their fluid genre-chopping allows. Feel Safe has a

funky, lithe disco feel, while Keep Me AliveKeep Me Alive teases you along with its

gorgeous melody and Guro and Rich’s cooing vocals. There has been

some talk of a Bee Gees element in the All We Are sound, which feels

a little lazy given their own description of their sound as “Bee Gees

on Diazepam”. That said, it is hard to look past the double-header of

HoneyHoney and I Wear You at the centre of the record as their unashamed

Barry, Robin and Maurice moment, full of falsetto harmonies and

nimble guitar work. “There are a fair amount of similarities between

us and The Bee Gees,” Guro says half-jokingly, though the smile on

her face suggests it may be even more playful than that. “They went

through a lot of di�erent periods before they found the sound that

was them. I guess in some ways we are like siblings as well, even

though we’re not brothers…!”

As a sublime counterpoint to all this, the wistful Something Something

About You shows o� their ability to build the layers up from shows o� their ability to build the layers up from

seemingly nowhere, eventually blooming into a gorgeously dense

whole. And then there’s Utmost Good, languorous and warm,

which keeps a sort of link between the familiar and new worlds

of All We Are. Though everything else on the album was recorded

in their month-long stint at producer Dan Carey’s home studio in

London, the original recording of Utmost Good, done with Joe Wills,

remains, albeit with an updated mix. “We just wanted to give it a

bit of freshness, and to bring it in line with the whole album,” Rich

explains. “We really wanted that production to be on it, though; it’s

quite special to us.”

Given his past record in capturing the perfect mood of a record

(with The Kills, CSS and Django Django to name just a few), Dan Carey

seemed like a perfect fit for All We Are, and it’s clear that the band

enjoyed every bit of their time recording with him. “Personally, it

opened up things as far as groove is concerned,” confirms Rich. “The

nuances of groove, and little things. He’s just the king of vibe!” The

band credit Carey for accentuating and bottling the atmosphere they

had created in their own practice room, and he did so by using all

manner of tricks in the live room. Introducing strobes and a smoke

machine during the recording process may seem like gimmicks

but they helped the band get in the right mood to discover the

intangible energy for which they were looking. This even stretched

to the compulsory wearing of sunglasses for the tracking of I Wear

You, from which engineer Alexis Smith wasn’t exempt. “That’s just

Dan Carey in a nutshell!” laughs Guro, which Luis expands on: “He’s

quite open-minded about what happens in the studio. If anything

goes wrong it’s just ‘the vibe’, you know. Everything is very organic,

even when you have something static like a loop drum machine.

And everything is being fed in to this huge spring on the ceiling of

the studio that captures sound as well. He uses that in the mix, so

the whole thing is ever-changing. And it feels alive, you know. It’s

not like there’s a repeated sound in there – every single sound, even

if it’s delayed or looped, is slightly di�erent.”

Throughout the interview all three of them make repeated

gestures towards the area in the middle of the room where their kit

is arranged, referencing it like a mute fourth member of the band.

“I think the atmosphere that we create starts here in this room with

just the three of us. I think a lot of it is the connection between the

three of us as people and friends that comes out,” explains Guro, to

which Rich adds, “This is the home; this is the real deal.”

Supporting Warpaint on their UK tour in 2014, and watching from

the wings as the LA troupe recreated their own sultry vibe in a live

context, le¤ a lasting impression on the trio. Not only did it show

them that it was possible to achieve onstage what they’d created

alone in their room, but it also encouraged them to be a bit more

fearless when approaching new stu�. It’s telling that their onstage

setup now mirrors their practice room setup, with the three of

them facing each other in a triangle, almost zoning everything else

out. “A big part of it is that we have this All We Are world that we

live and breathe all the time,” Guro asserts. “I think when we go on

stage we want people to be invited in to that.”

As many folk in their adopted home will attest to, the world of

All We Are is something that is virtually impossible not to get taken

in by. It’s a world borne out of the intense chemistry that exists

between these three close friends, which Rich quite neatly sums

up: “In some ways the connection that exists between the three

of us is the basis of what the band’s about.” All We Are’s style feels

uniquely suited to them and, excitingly, is fluent enough to morph

across di�erent genres. In many ways the release of their debut

record is a new beginning for them, like a butterfly emerging from

its chrysalis. All hail the power of three.

All We Are is out on 5th February on Double Six. is out on 5th February on Double Six.

soundcloud.com/thisisallweare


bidolito.co.uk

Since

she first

performed poetry

as a sixteen-year-old in

a dingy hip hop store on Carnaby

Street, KATE TEMPEST has not only taken the underground art

scene by storm, but has achieved the kind of crossover success

that only comes around once in a generation. Over the last

fi¤een years she has written plays and poetry collections, toured

with her band, Sound Of Rum, supported Benjamin Zephaniah

and Scroobius Pip, and has even started writing a novel. In 2014

she finally became a household name when her debut album

Everybody Down was nominated for The Mercury Prize. Ahead of

her upcoming gig at The Kazimier (18th February), Tempest kindly

took some time out from a writing retreat to speak to Liverpool’s

own slam poetry prince, Paddy Hughes, about her fantastically

diverse career.

Bido Lito!: Hello Kate. You’re involved in music, poetry and

literature but what came first?

Kate Tempest: It was music that was my first way into being

creative. I just fell into the other things a¤er a few years of writing

lyrics and being in bands and mucking around with lyrics. As for

the poetry thing… that was kind of an accident. I just wrote lyrics

that I already had to beats and music, and performed them at

poetry gigs. Now poetry for me is a very separate thing to my

music, but at the beginning it was all the same because I just

had lyrics.

BL!: For a lot of musicians in Liverpool, the city, for better or for

worse, becomes an early focal point when writing. Did that apply

to you growing up in London?

KT: When you grow up in a city like Liverpool or London, it’s

such an intense environment because it’s so full of people… so

many people and so much influence to hold in your head at one

time. When you’re a kid and you experience a darker side to your

city it leaves its mark; but so do the other parts, like the access

you have to creativity through community recording centres. For

me, your city gives you so much oxygen. I love London; it’s such

a big part of who I am. Like, if I’d grown up in the countryside I

would be a completely di�erent artist.

BL!: When did it become apparent

that you were going to make a living

from music and writing? Is that what

you always wanted to be or did you

have di�erent aspirations when you

were a lot younger?

KT: I actually wanted to be a vet when I

was really little because I loved animals, but I

can’t really imagine anything worse now. I wanted

to be a writer when I was ten. I loved reading and

telling stories… I never made a decision because it was

everything that I was living for already. So I just went for it. I

wanted to write and make music and now I’m pinching myself.

BL!: How did you find the transition from recording spoken-

word to recording music, and how have your fans reacted to the

switch?

KT: There have been some funny moments at gigs where I have

looked out from the stage which has two drummers and a full

synth set up and I’ve seen people who have obviously come to

hear poetry, and at first it is a strange feeling… but I’m always

glad they’ve come and have followed my work. A gig is just about

the journey that you all go on together and when you achieve

that journey it is very exciting.

But, yeah, it is a very di�erent thing and they both demand

very di�erent things. When I know I’m onstage with the band I

feel a lot more relaxed and for me that is the most natural state

to be in. The band feels a lot more inclusive and chilled out. It’s

just more fun.

BL!: With freedom of speech being discussed in every pub and

co�ee shop, how important do you feel it is to have a liberal,

thriving arts culture in the city that you live in?

KT: It’s extremely important. Art is important in keeping people

sane. So much happens politically and globally that it’s o¤en

hard to understand what to think, but you might hear a song that

may be unrelated but brings you into context with how you feel

about the world and the time you’re living in. That is why art is so

important. I feel that we have moved beyond politics; it doesn’t

exist. Finance runs things but music gives us the meaning,

something that’s real. A purpose.

BL!: When you’re not busy writing who, or what, do you listen to?

KT: I listen to loads of di�erent people. Poetry-wise I’m blessed

to count Scroobius Pip, Polar Bear, George The Poet and Hollie

McNish as peers and friends. Other poets I admire are Robin

Robinson and Carol Ann Du�y … the proper monoliths of writing.

Music-wise…. Mica Levi, who composed the film score for Under

The Skin, is fantastic. Young Fathers – who are also on my label,

Big Dada – are brilliant. Also, Jam Baxter has just released an

album called And Then We Ate Them Whole, which you should

really check out.

BL!: So how do you and the band create your music?

KT: I work with a producer called Dan Carey. We make all of the

music together. Dan is brilliant… we just get together and spend

hours and hours in a strange world and come out the other side

with music. That’s the only way I can put it!

BL!: It must have felt strange then when your debut solo record

was nominated for The Mercury Prize…!

KT: It felt amazing; I mean it’s massive. I have been trying to get

into the music industry for about twelve years, so to have got that

nomination it just felt like a clichéd ‘dream come true’.

But when you make a piece of work it doesn’t really matter

what others think as long as you like it. In the past I’ve made

work that I wasn’t really happy with because I cared too much

about the reaction, but with this record I was just excited because

I am so proud of it. It’s the beginning of a whole new chapter in

my career. I’m thrilled to bits because this is everything I have

ever wanted to do.

BL!: Do you have any advice to Liverpool’s performers and

writers?

KT: In terms of writing you need to remember that you love

writing and to enjoy what you have written. Performing well is

about putting yourself in a natural state. If you can enter into this

real space between your intention and your work and not under-

say things and not over-say things, you’ll be fine. Put yourself into

that space and mean it. There was a poet called Rilke who used

to get artists writing to him and asking him for advice and he said

that you don’t need advice. He said that what you have produced

is your work, your art and your life. You don’t need anybody else

to tell you when it’s finished or ready.

BL!: What are you working on at the moment?

KT: Well I’m working on a novel, which I’m really excited about.

It’s a whole new world and I don’t know what people are going

to think about it, but I’ve wanted to write a novel all my life and

now I have the story. It is a hard thing to do, though. That will be

out in 2016. I’m also in the studio making another album and I’m

touring all of 2015 with the band. I’m just pushing myself and

appreciating every opportunity – and, as always, trying to be a

better writer.

Kate Tempest plays The Kazimier on 18th February, and her

debut album Everybody Down is out now on Big Dada.

katetempest.co.uk

Words: Paddy Hughes / @paddyhughes89

Photography: India Cranks



Since

she first

performed poetry

as a sixteen-year-old in

a dingy hip hop store on Carnaby

Street, KATE TEMPEST has not only taken the underground art

scene by storm, but has achieved the kind of crossover success

that only comes around once in a generation. Over the last

fi¤een years she has written plays and poetry collections, toured

with her band, Sound Of Rum, supported Benjamin Zephaniah

and Scroobius Pip, and has even started writing a novel. In 2014

she finally became a household name when her debut album

Everybody DownEverybody Down was nominated for The Mercury Prize. Ahead of was nominated for The Mercury Prize. Ahead of

her upcoming gig at The Kazimier (18th February), Tempest kindly

took some time out from a writing retreat to speak to Liverpool’s

own slam poetry prince, Paddy Hughes, about her fantastically

diverse career.

Bido Lito!: Hello Kate. You’re involved in music, poetry and

literature but what came first?

Kate Tempest: It was music that was my first way into being

creative. I just fell into the other things a¤er a few years of writing

lyrics and being in bands and mucking around with lyrics. As for

the poetry thing… that was kind of an accident. I just wrote lyrics

that I already had to beats and music, and performed them at

poetry gigs. Now poetry for me is a very separate thing to my

music, but at the beginning it was all the same because I just

had lyrics.

BL!: For a lot of musicians in Liverpool, the city, for better or for

worse, becomes an early focal point when writing. Did that apply

to you growing up in London?

KT: When you grow up in a city like Liverpool or London, it’s

such an intense environment because it’s so full of people… so

many people and so much influence to hold in your head at one

time. When you’re a kid and you experience a darker side to your

city it leaves its mark; but so do the other parts, like the access

you have to creativity through community recording centres. For

me, your city gives you so much oxygen. I love London; it’s such

a big part of who I am. Like, if I’d grown up in the countryside I

would be a completely di�erent artist.

BL!: When did it become apparent

that you were going to make a living

from music and writing? Is that what

you always wanted to be or did you

have di�erent aspirations when you

were a lot younger?

KT: I actually wanted to be a vet when I

was really little because I loved animals, but I

can’t really imagine anything worse now. I wanted

to be a writer when I was ten. I loved reading and

telling stories… I never made a decision because it was

everything that I was living for already. So I just went for it. I

wanted to write and make music and now I’m pinching myself.

BL!: How did you find the transition from recording spoken-

word to recording music, and how have your fans reacted to the

switch?

KT: There have been some funny moments at gigs where I have

looked out from the stage which has two drummers and a full

synth set up and I’ve seen people who have obviously come to

hear poetry, and at first it is a strange feeling… but I’m always

glad they’ve come and have followed my work. A gig is just about

the journey that you all go on together and when you achieve

that journey it is very exciting.

But, yeah, it is a very di�erent thing and they both demand

very di�erent things. When I know I’m onstage with the band I

feel a lot more relaxed and for me that is the most natural state

to be in. The band feels a lot more inclusive and chilled out. It’s

just more fun.

BL!: With freedom of speech being discussed in every pub and

co�ee shop, how important do you feel it is to have a liberal,

thriving arts culture in the city that you live in?

KT: It’s extremely important. Art is important in keeping people

sane. So much happens politically and globally that it’s o¤en

hard to understand what to think, but you might hear a song that

may be unrelated but brings you into context with how you feel

about the world and the time you’re living in. That is why art is so

important. I feel that we have moved beyond politics; it doesn’t

exist. Finance runs things but music gives us the meaning,

something that’s real. A purpose.

BL!: When you’re not busy writing who, or what, do you listen to?

KT: I listen to loads of di�erent people. Poetry-wise I’m blessed

to count Scroobius Pip, Polar Bear, George The Poet and Hollie

McNish as peers and friends. Other poets I admire are Robin

Robinson and Carol Ann Du�y … the proper monoliths of writing.

Music-wise…. Mica Levi, who composed the film score for Under

The Skin, is fantastic. Young Fathers – who are also on my label,

Big Dada – are brilliant. Also, Jam Baxter has just released an

album called And Then We Ate Them Whole, which you should

really check out.

BL!: So how do you and the band create your music?BL!: So how do you and the band create your music?BL!:

KT: I work with a producer called Dan Carey. We make all of the

music together. Dan is brilliant… we just get together and spend

hours and hours in a strange world and come out the other side

with music. That’s the only way I can put it!

BL!: It must have felt strange then when your debut solo record BL!: It must have felt strange then when your debut solo record BL!:

was nominated for The Mercury Prize…!

KT: It felt amazing; I mean it’s massive. I have been trying to get

into the music industry for about twelve years, so to have got that

nomination it just felt like a clichéd ‘dream come true’.

But when you make a piece of work it doesn’t really matter

what others think as long as you like it. In the past I’ve made

work that I wasn’t really happy with because I cared too much

about the reaction, but with this record I was just excited because

I am so proud of it. It’s the beginning of a whole new chapter in

my career. I’m thrilled to bits because this is everything I have

ever wanted to do.

BL!: Do you have any advice to Liverpool’s performers and

writers?

KT: In terms of writing you need to remember that you love

writing and to enjoy what you have written. Performing well is

about putting yourself in a natural state. If you can enter into this

real space between your intention and your work and not under-

say things and not over-say things, you’ll be fine. Put yourself into

that space and mean it. There was a poet called Rilke who used

to get artists writing to him and asking him for advice and he said

that you don’t need advice. He said that what you have produced

is your work, your art and your life. You don’t need anybody else

to tell you when it’s finished or ready.

BL!: What are you working on at the moment?

KT: Well I’m working on a novel, which I’m really excited about.

It’s a whole new world and I don’t know what people are going

to think about it, but I’ve wanted to write a novel all my life and

now I have the story. It is a hard thing to do, though. That will be

out in 2016. I’m also in the studio making another album and I’m

touring all of 2015 with the band. I’m just pushing myself and

appreciating every opportunity – and, as always, trying to be a

better writer.

Kate Tempest plays The Kazimier on 18th February, and her

debut album Everybody DownEverybody Down is out now on Big Dada.

katetempest.co.uk

Words: Paddy Hughes / @paddyhughes89

Photography: India Cranks

o2academyliverpool.co.uk11-13 Hotham Street, Liverpool L3 5UF • Doors 7pm unless statedVenue box office opening hours: Mon - Sat 11.30am - 5.30pm • No booking fee on cash transactionsticketweb.co.uk • seetickets.com • gigantic.com • ticketmaster.co.uk

facebook.com/o2academyliverpool

twitter.com/o2academylpool

instagram.com/o2academyliverpool

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Wed 28th Jan • £15 adv

Hayseed Dixie

Fri 30th Jan • £16 adv

Horizon 12th BirthdayFt. Lethal Theory (Live)

Fri 6th Feb • £10 adv

CashA Tribute To The Man In Black with full band

Sat 7th Feb • £6 adv

The Usual Crowd

Sat 14th Feb • £2 adv / £4 adv10.30pm - 3am • over 18s only

Bump & Grind -Valentines Special

Mon 16th Feb •

The War On Drugs

Wed 18th Feb • £16.50 adv

Kerrang! Tour ft. Don Broco + We Are The In Crowd + Bury Tomorrow + Beartooth

Fri 20th Feb •

Hudson TaylorSinging For Strangers Tour+ Southern

Sat 21st Feb • £11 adv

The Smyths30th Anniversary of Hatful Of Hollow - The seminal album played in its entirety

Sun 22nd Feb • £16 adv

Jungle + Clarence Clarity


The Gentle Scars+ Raw Bones + Dave Jackson & The Cathedral Mountaineers


T’Pau

Sat 7th Mar • £15 adv

Dizzy Lizzy & AC/DC UK

Mon 9th Mar • £23 adv

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Room 94

Sat 14th Mar • £18.50 adv

Damien Dempsey+ Ian Prowse


Whole Lotta Led

Fri 20th Mar • £18.50 adv

Reef

Sat 21st Mar 2014 • £10 adv

The Clone Roses The Uk’s No.1 Stone Roses Tribute

Thurs 26th Mar • £15 adv

Dan Reed & Danny Vaughn

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Sex Pistols Experience & Ed Tenpole Tudor

Sun 29th Mar • £17 adv

Rival Sons

Tues 31st Mar • £13.50 adv

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The Isrights & Who Brought The Bear?+ Elephant & Castle + The Usual Crowd + Heavy Peanut and the Roving Dudes

Sat 4th Apr • £14 adv

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Circa Waves


The Sex Pissed Dolls

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Roxy Music Tribute Nightft. Roxy Musique + The Strawberry Thieves

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Five

Wed 22nd Apr • £15 adv

Prong+ Steak Number Eight + Hark

Fri 1st May • £15 adv / £40 VIP

Damage+ Rough Copy

Sat 2nd May • £12.50 adv

Bless This BeatologyDJ FOOD Live AV Set + DJ Kiddology

Fri 8th May • £26.50 adv

Mobb Deep“The Infamous…” 20th Anniversary Tour

Mon 25th May • £20 adv

Chas & Dave

Fri 29th May • £12 adv

Cloudbusting (Kate Bush Tribute)

Fri 5th Jun • £15 adv

ChameleonsVox What Does Anything Mean? Basically? Tour


Atomic Kitten15 Years - The Greatest Hits Tour

Thurs 18th Jun • £20 adv

Tony Visconti & Woody Woodmansey with Glenn Gregory perform David Bowie’s The Man Who Sold The World

Sat 21st Nov • £13 adv8pm - 1am • over 18s only

Quadrophenia Night

Sun 1st Mar • £28.50 adv

(Mountford Hall, Liverpool Guild of Students)

Ryan Adams Sat 11th Apr • £10 adv

Circa WavesMon 16th Feb • £25 adv


The Jesus and Mary Chain

The Jesus And Mary ChainMon 16th Feb- Mountford HallTickets £25 adv

Ryan AdamsSun 1st Mar- Mountford HallTickets £28.50 adv

PlaceboTues 10th Mar- Mountford HallTickets £29.50 adv

Catfish & The BottlemenSun 5th Apr- Mountford HallSOLD OUT

Ticketweb.co.uk • 0844 477 2000

liverpoolguild.org

o2academyliverpool.co.uk11-13 Hotham Street, Liverpool L3 5UF • Doors 7pm unless statedVenue box office opening hours: Mon - Sat 11.30am - 5.30pm • No booking fee on cash transactionsticketweb.co.uk • seetickets.com • gigantic.com • ticketmaster.co.uk

facebook.com/o2academyliverpool

twitter.com/o2academylpool

instagram.com/o2academyliverpool

youtube.com/o2academytv

Wed 28th Jan • £15 adv

Hayseed Dixie

Fri 30th Jan • £16 adv

Horizon 12th BirthdayFt. Lethal Theory (Live)


CashA Tribute To The Man In Black with full band


The Usual Crowd

Sat 14th Feb • £2 adv / £4 adv10.30pm - 3am • over 18s only

Bump & Grind -Valentines Special

Mon 16th Feb •

The War On Drugs

Wed 18th Feb • £16.50 adv

Kerrang! Tour ft. Don Broco + We Are The In Crowd + Bury Tomorrow + Beartooth

Fri 20th Feb •

Hudson TaylorSinging For Strangers Tour+ Southern

Sat 21st Feb • £11 adv

The Smyths30th Anniversary of Hatful Of Hollow - The seminal album played in its entirety

Sun 22nd Feb • £16 adv

Jungle + Clarence Clarity


The Gentle Scars+ Raw Bones + Dave Jackson & The Cathedral Mountaineers


T’Pau


Dizzy Lizzy & AC/DC UK

Mon 9th Mar • £23 adv

The Stranglers

Mon 9th Mar • £10 / £25 VIP adv

Room 94

Sat 14th Mar • £18.50 adv

Damien Dempsey+ Ian Prowse


Whole Lotta Led

Fri 20th Mar • £18.50 adv

Reef

Sat 21st Mar 2014 • £10 adv

The Clone Roses The Uk’s No.1 Stone Roses Tribute

Thurs 26th Mar • £15 adv

Dan Reed & Danny Vaughn

Fri 27th Mar • £12 adv

Sex Pistols Experience & Ed Tenpole Tudor

Sun 29th Mar • £17 adv

Rival Sons

Tues 31st Mar • £13.50 adv

Fuse ODG

Fri 3rd Apr • £6 adv

The Isrights & Who Brought The Bear?+ Elephant & Castle + The Usual Crowd + Heavy Peanut and the Roving Dudes


The View


Circa Waves


The Sex Pissed Dolls

Sun 12th Apr • £15 adv

Insane Championship WrestlingInsane Entertainment System Tourft. Boom Shakalaka (He’s On Fire)

Tues 14th Apr • £9 adv

Turbowolf+ Dolomite Minor + Hyena

Fri 17th Apr • £12 adv

Roxy Music Tribute Nightft. Roxy Musique + The Strawberry Thieves

Sat 18th Apr •

The Wombats

Wed 22nd Apr • £27.50 adv

Five

Wed 22nd Apr • £15 adv

Prong+ Steak Number Eight + Hark

Fri 1st May • £15 adv / £40 VIP

Damage+ Rough Copy

Sat 2nd May • £12.50 adv

Bless This BeatologyDJ FOOD Live AV Set + DJ Kiddology

Fri 8th May • £26.50 adv

Mobb Deep“The Infamous…” 20th Anniversary Tour

Mon 25th May • £20 adv

Chas & Dave

Fri 29th May • £12 adv

Cloudbusting (Kate Bush Tribute)


ChameleonsVox What Does Anything Mean? Basically? Tour


Atomic Kitten15 Years - The Greatest Hits Tour

Thurs 18th Jun • £20 adv

Tony Visconti & Woody Woodmansey with Glenn Gregory perform David Bowie’s The Man Who Sold The World

Sat 21st Nov • £13 adv8pm - 1am • over 18s only

Quadrophenia Night

Sun 1st Mar • £28.50 adv


Ryan Adams Sat 11th Apr • £10 adv

Circa WavesMon 16th Feb • £25 adv


The Jesus and Mary Chain

The Jesus And Mary ChainMon 16th Feb- Mountford HallTickets £25 adv

Ryan AdamsSun 1st Mar- Mountford HallTickets £28.50 adv

PlaceboTues 10th Mar- Mountford HallTickets £29.50 adv

Catfish & The BottlemenSun 5th Apr- Mountford HallSOLD OUT

Ticketweb.co.uk • 0844 477 2000

liverpoolguild.org


bidolito.co.uk

Sci-Fi Torch SongsWith ESA SHIELDS

Devonshire Road, Toxteth, L8, is one of Liverpool’s lesser-

known thoroughfares when it comes to musical connections,

rather unfairly as it turns out. The road’s capacious Victorian

mansions provided lodgings for some of the city’s most famed

mavericks in the early 1980s, with Number 20 serving as the

de facto Echo & The Bunnymen HQ through drummer Pete de

Freitas’ presence alongside Teardrop Explodes leader Julian

Cope, and Wild Swans main man Paul Simpson. Legend would

have it that the building’s living conditions surpassed even those

depicted in iconic 1980s vom-com The Young Ones for squalor,

Thatcher-era desperation and all-round craziness. The house

was also home to an American import described only as “The

Adolescent (Crazy Guest)” by Cope in his classic autobiography

Head On. Now we know her as Courtney Love.

Fast-forward to the present day and Devonshire Road is

still providing a home for oddball musical types, as it is the

current residence of one-man underground pop consortium ESA

SHIELDS. “I’m going to Berlin tomorrow and I found out three

days ago that they’re putting me on in Hamburg too, supporting

[cult electro doyen] Felix Kubin,” Shields explains as we meet up

in his front room-cum-studio, surrounded by a record collection

that looks to be the entire stock of Rough Trade East, West and

all points in-between. “A mate of mine is lending me another

one of these tonight cos I can’t delete anything o� here,” the

singer states, nodding at the behemoth of an Akai 12-track digital

recorder that nestles in the corner of the room. “I wanna have

a seamless backing track so I don’t have gaps looking through

other discs as I’m playing.”

Ovum Caper, Esa Shields’ sparkling debut LP issued in

September 2014 by vinyl-only German label Gagarin Records

(hence the trip over), assimilates a bewildering array of genres,

and finds its resultant o�-kilter pop songs successfully bridging

the gap between skewed and melodic. “I’m very glad it’s been

released; it’s a relief, really,” Shields says of the seven-years-in-

the-making LP, as he lights the first in an endless succession

of Marlboros. “It’s nice to hear people talking about it, which I

thought would never happen. There were gigs where there was

literally no audience for years.”

Performed almost in its entirety by Shields, the album’s

wayward keyboard textures, obscure guitar tunings and

androgynous vocals lodge in the brain deliciously over repeated

listens. The backlit Lost Time evokes an obscure sixties girl

group, while the doomy synth lines and folk-inspired vocal

melody of Woods And Gullies suggest a mash up of a John

Carpenter soundtrack and Fairport Convention. The whimsical

acid folk of Shelley Duvall and the gorgeous Casio keyboard-

led pop bijou of Monde Capricorn, meanwhile, provide the

album’s considerable highlights, on an LP where, no matter

how discordant proceedings get across the eleven tracks, a pop

sensibility always shines through.

Formerly a member of superlative alt. rock unit SeaWitches,

and featured on a Super Numeri-curated compilation in 2005,

Esa Shields has long been a part of the city’s rich and varied

underground scene. A memorable appearance at Korova

supporting Ladytron in 2006 saw him eating an apple onstage,

a move some interpreted by some as a piece of performance

art. “That was just out of nerves!” the singer grins as he

remembers the incident. “You were able to smoke then, too;

I really miss that,” he says, lamenting the death of the stress-

busting onstage ciggie.

On the subject of live work, while a band is being recruited to

bring his songs to the stage later in the year, Shields’ tracks have

up to now almost always been performed solo, juxtaposing live

vocals with backing tracks supplied by a 4-track recorder. He cites

a gig by US pop provocateur Ariel Pink at The Kazimier in 2012 –

which saw the singer playing behind a screen up on the venue’s

balcony – as an example of the direction he hopes his own

shows will take. “I’m a not massive fan of him [Ariel Pink], but

him playing behind a screen, I loved that. That’s the sort of stu�

I come up with but never do. I always leave it far too late and

just end up… singing,” he shrugs. “I’d like to make shows more

interesting, definitely, rather than me just standing there, still.”

For a long time hampered by stage fright, it seems as though

Shields has gradually got to grips with his stagecra¤ over time

as his fears of performing have eased. “I’ve got more faith with

the music now,” he nods.

While Ovum Caper’s pink artwork, which features various kinky

illustrations, is certainly eye-catching, for a brief time the LP was

going to be issued in a format that would have made Björk’s

multimedia extravaganzas look prosaic. “Initially I wanted it to

come with a set of little cards. Y’know, those ones that open

up and play a tune,” Shields says. “There would have been a

version of a song in each one of them. It would have been far

too expensive, though that’s still an open-ended idea, mind!”

Shields' internet presence, aside from the recent additions

of SoundCloud and Bandcamp pages, is generally scarce and

literally non-existent in the case of social media. “I suppose I

should but I quite like not being on any sites like Facebook,”

the singer mumbles, ruminating on the ever-increasing number

of sites musicians supposedly “have” to be signed up to in the

present day. “I’ll be emailing more regularly since I’ve got an

email address now, though,” he announces brightly.

Drawn extensively from Eastern European cinema and the BBC

Radiophonic Workshop, in addition to seemingly every category

of music ever conceived, much of Shields’ Library of Congress-

proportioned record collection has been sourced from the

‘Soundtracks and Compilations’ section

in Probe. Recent acquisitions include

discs by Krzysztof Komeda, who scored

a clutch of Roman Polanski classics, plus

legendary composer Bernard Hermann’s

score for Brian De Palma shocker Sisters.

“Ideally that’s the direction I’d like to go

in,” Shields nods when asked if he would

ever branch out into soundtracks for films

and television. “It’d be great to do one for an

action film and totally fuck it up!” he laughs.

Alongside solo work, an impressive amount

of plate-spinning by the vocalist and multi-

instrumentalist is currently taking place with

various collaborative ventures. Immersive

sound and visual experience Lost Minutes, with

Legends Of Flight, returns to the Unity Theatre in

February following a successful run in October.

A friend’s band called The Inksets, meanwhile, is

in its fledgling stages. “I’m really looking forward

to that,” he enthuses of the project. “We’ve been

wanting to get that o� the ground for ages. We

did a couple of songs in the summer but it’s been

slow since then cos of my album. They had this song

before I joined, then I put my two penny worth in on

guitar,” he explains as he plays me a demo version of

the track, a slab of propulsive robotic pop.

Amidst ongoing activity around Ovum Caper, the

follow-up is already taking shape, with a release pencilled

in for later this year. “I’ve got most of it recorded, with two

songs to go. I’ve got most of the vocals done; then I’ll

get it mixed and hopefully get it issued. It’s gonna

be totally miscellaneous this one, it’s shaping up

that way,” Shields says of the set, which certainly

looks set to retain his debut LP’s eclecticism.

“It’s more or less the same sort of principle. I’m

not thinking about it until I’ve got twelve songs

that sit comfortably with each other.”

And with that we bid farewell, as the

preparations for the trip to Germany are wrapped

up. If Ovum Caper announced the belated

arrival of a genuine one-o� talent, then Shields’

subsequent journey into the unexplored

realms of outsider pop looks set to be just as

compelling.

Ovum Caper is out now on Gagarin Records.

esashields.bandcamp.com

Words: Richard Lewis

Photography: Keith Ainsworth / arkimages.co.uk

Sci-Fi Torch SongsWith ESA SHIELDS

Devonshire Road, Toxteth, L8, is one of Liverpool’s lesser-

known thoroughfares when it comes to musical connections,

rather unfairly as it turns out. The road’s capacious Victorian

mansions provided lodgings for some of the city’s most famed

mavericks in the early 1980s, with Number 20 serving as the

de facto Echo & The Bunnymen HQ through drummer Pete de

Freitas’ presence alongside Teardrop Explodes leader Julian

Cope, and Wild Swans main man Paul Simpson. Legend would

have it that the building’s living conditions surpassed even those

depicted in iconic 1980s vom-com The Young Ones for squalor,

Thatcher-era desperation and all-round craziness. The house

was also home to an American import described only as “The

Adolescent (Crazy Guest)” by Cope in his classic autobiography

Head On. Now we know her as Courtney Love.

Fast-forward to the present day and Devonshire Road is

still providing a home for oddball musical types, as it is the

current residence of one-man underground pop consortium ESA

SHIELDS. “I’m going to Berlin tomorrow and I found out three

days ago that they’re putting me on in Hamburg too, supporting

[cult electro doyen] Felix Kubin,” Shields explains as we meet up

in his front room-cum-studio, surrounded by a record collection

that looks to be the entire stock of Rough Trade East, West and

all points in-between. “A mate of mine is lending me another

one of these tonight cos I can’t delete anything o� here,” the

singer states, nodding at the behemoth of an Akai 12-track digital

recorder that nestles in the corner of the room. “I wanna have

a seamless backing track so I don’t have gaps looking through

other discs as I’m playing.”

Ovum CaperOvum Caper, Esa Shields’ sparkling debut LP issued in Ovum Caper, Esa Shields’ sparkling debut LP issued in Ovum Caper

September 2014 by vinyl-only German label Gagarin Records

(hence the trip over), assimilates a bewildering array of genres,

and finds its resultant o�-kilter pop songs successfully bridging

the gap between skewed and melodic. “I’m very glad it’s been

released; it’s a relief, really,” Shields says of the seven-years-in-

the-making LP, as he lights the first in an endless succession

of Marlboros. “It’s nice to hear people talking about it, which I

thought would never happen. There were gigs where there was

literally no audience for years.”

Performed almost in its entirety by Shields, the album’s

wayward keyboard textures, obscure guitar tunings and

androgynous vocals lodge in the brain deliciously over repeated

listens. The backlit Lost Time evokes an obscure sixties girl evokes an obscure sixties girl

group, while the doomy synth lines and folk-inspired vocal

melody of Woods And Gullies suggest a mash up of a John

Carpenter soundtrack and Fairport Convention. The whimsical

acid folk of Shelley DuvallShelley Duvall and the gorgeous Casio keyboard-

led pop bijou of Monde CapricornMonde Capricorn, meanwhile, provide the

album’s considerable highlights, on an LP where, no matter

how discordant proceedings get across the eleven tracks, a pop

sensibility always shines through.

Formerly a member of superlative alt. rock unit SeaWitches,

and featured on a Super Numeri-curated compilation in 2005,

Esa Shields has long been a part of the city’s rich and varied

underground scene. A memorable appearance at Korova

supporting Ladytron in 2006 saw him eating an apple onstage,

a move some interpreted by some as a piece of performance

art. “That was just out of nerves!” the singer grins as he

remembers the incident. “You were able to smoke then, too;

I really miss that,” he says, lamenting the death of the stress-

busting onstage ciggie.

On the subject of live work, while a band is being recruited to

bring his songs to the stage later in the year, Shields’ tracks have

up to now almost always been performed solo, juxtaposing live

vocals with backing tracks supplied by a 4-track recorder. He cites

a gig by US pop provocateur Ariel Pink at The Kazimier in 2012 –

which saw the singer playing behind a screen up on the venue’s

balcony – as an example of the direction he hopes his own

shows will take. “I’m a not massive fan of him [Ariel Pink], but

him playing behind a screen, I loved that. That’s the sort of stu� loved that. That’s the sort of stu� loved

I come up with but never do. I always leave it far too late and

just end up… singing,” he shrugs. “I’d like to make shows more

interesting, definitely, rather than me just standing there, still.”

For a long time hampered by stage fright, it seems as though

Shields has gradually got to grips with his stagecra¤ over time

as his fears of performing have eased. “I’ve got more faith with

the music now,” he nods.

While Ovum CaperOvum Caper’s pink artwork, which features various kinky

illustrations, is certainly eye-catching, for a brief time the LP was

going to be issued in a format that would have made Björk’s

multimedia extravaganzas look prosaic. “Initially I wanted it to

come with a set of little cards. Y’know, those ones that open

up and play a tune,” Shields says. “There would have been a

version of a song in each one of them. It would have been far

too expensive, though that’s still an open-ended idea, mind!”

Shields' internet presence, aside from the recent additions

of SoundCloud and Bandcamp pages, is generally scarce and

literally non-existent in the case of social media. “I suppose I

should but I quite like not being on any sites like Facebook,”

the singer mumbles, ruminating on the ever-increasing number

of sites musicians supposedly “have” to be signed up to in the

present day. “I’ll be emailing more regularly since I’ve got an

email address now, though,” he announces brightly.

Drawn extensively from Eastern European cinema and the BBC

Radiophonic Workshop, in addition to seemingly every category

of music ever conceived, much of Shields’ Library of Congress-

proportioned record collection has been sourced from the

‘Soundtracks and Compilations’ section

in Probe. Recent acquisitions include

discs by Krzysztof Komeda, who scored

a clutch of Roman Polanski classics, plus

legendary composer Bernard Hermann’s

score for Brian De Palma shocker Sisters.

“Ideally that’s the direction I’d like to go

in,” Shields nods when asked if he would

ever branch out into soundtracks for films

and television. “It’d be great to do one for an

action film and totally fuck it up!” he laughs.

Alongside solo work, an impressive amount

of plate-spinning by the vocalist and multi-

instrumentalist is currently taking place with

various collaborative ventures. Immersive

sound and visual experience Lost Minutes, with

Legends Of Flight, returns to the Unity Theatre in

February following a successful run in October.

A friend’s band called The Inksets, meanwhile, is

in its fledgling stages. “I’m really looking forward

to that,” he enthuses of the project. “We’ve been

wanting to get that o� the ground for ages. We

did a couple of songs in the summer but it’s been

slow since then cos of my album. They had this song

before I joined, then I put my two penny worth in on

guitar,” he explains as he plays me a demo version of

the track, a slab of propulsive robotic pop.

Amidst ongoing activity around Ovum CaperOvum Caper, the Ovum Caper, the Ovum Caper

follow-up is already taking shape, with a release pencilled

in for later this year. “I’ve got most of it recorded, with two

songs to go. I’ve got most of the vocals done; then I’ll

get it mixed and hopefully get it issued. It’s gonna

be totally miscellaneous this one, it’s shaping up

that way,” Shields says of the set, which certainly

looks set to retain his debut LP’s eclecticism.

“It’s more or less the same sort of principle. I’m

not thinking about it until I’ve got twelve songs

that sit comfortably with each other.”

And with that we bid farewell, as the

preparations for the trip to Germany are wrapped

up. If Ovum CaperOvum Caper announced the belated

arrival of a genuine one-o� talent, then Shields’

subsequent journey into the unexplored

realms of outsider pop looks set to be just as

compelling.

Ovum CaperOvum Caper is out now on Gagarin Records.Ovum Caper is out now on Gagarin Records.Ovum CaperOvum Caper is out now on Gagarin Records.Ovum Caper

esashields.bandcamp.com

Words: Richard Lewis

Photography: Keith Ainsworth / arkimages.co.uk


bidolito.co.uk


bidolito.co.uk

Illustration: Scott Du�ey / scottdu�ey.co.uk

Think back to the last song you heard and try and weigh up

how much you actually connected with it. You heard, but did you

listen? Did you hear the sounds, process their meaning, and react

to them? Did you just use your ears to listen? The act, even art, of

listening is far more involved than our sense of hearing, and it’s a

skill which is as profound to our way of communicating as being

able to articulate.

Currently running at The Bluecoat, LISTENING is a

groundbreaking exhibition – the latest Hayward Touring Curatorial

Open exhibition – which examines the crossover between the

visual and the sonic, with many of the selected artists working

in the fields of both contemporary music and art. Featuring a

variety of media, from drawings and sculpture to prints and video,

and with works ranging dramatically in duration from less than

a second to six hours, Listening is an orchestration of works that

curator Sam Belinfante claims “interrogates the act of listening

itself, rather than merely its aural objects”.

From the almost inaudible sound of a dying star to the

stretched, dissected and reassembled noise of a clap of thunder,

our notion of what makes up the sound we hear is laid bare. A

new work by Turner Prize-winner Laure Prouvost choreographs a

dialogue between lights and objects in the exhibition, while the

insulated anechoic chamber of Haroon Mirza – winner of the Nam

June Paik Art Center Prize 2014 – silences the outside world to

allow us to listen profoundly to the sound of our own bodies.

The exhibition will also include Liverpool-based artist Imogen

Stidworthy’s rarely-seen work, The Whisper Heard, which

centres on the spoken word in relation to di�erent notions of

meaning and communication. In the piece, sounds and images

are configured into three acoustic zones, focused and reflected

within the adapted space by loudspeakers and a parabolic dish.

The sounds come from two people who deal with language in

very di�erent ways: a man su�ering from aphasia, a condition

following a stroke which a�ects the language faculty of the brain;

and a three-year-old boy who is in the process of learning to speak.

Both participants respond to the narration of a chapter from Jules

Verne’s Journey To The Centre Of The Earth, a passage which sees

the character Otto Lidenbrock losing all sense of relation to the

outside world and his trust in his senses. As neither participant

is able to read, their relationship with these narrated words is

primarily oral.

To get more of a feel for these ideas of interpreting spoken and

written words, we spoke to Imogen, the 2008 Liverpool Art Prize

winner, on what listening actually means...

Bido Lito!: What does your piece, The Whisper Heard, aim to

highlight?

Imogen Stidworthy: It challenges the meaning of language.

In the installation, the voice of the little boy pronounces but he

doesn’t understand; the man understands but doesn’t pronounce.

The child is still learning to speak and the man has a condition

called aphasia, damage to the language cortex of the brain, which

means that the synaptical links that help him connect thoughts

with words are sometimes lost.

When words aren’t working ‘properly’ we have to feel around

them to find other forms of meaning. We may have to detach from

language in order even to sense and register other forms. How

can we let go of language when we’re up to our necks in it? In

the installation, the spoken word is pulled apart into interrelated

zones: what you could call body language, thinking space, facial

expression, vocal resonance, the narrative thread of a story

unfolding, written text – all these elements are configured as a

spatial, sonic ‘machine’.

BL!: We’re interested in the nature of meaning within the

piece – is comprehension of the spoken text necessary in

understanding the message?

IS: If you don’t comprehend a spoken text you start to listen

di�erently. Meaning is not only semantic, I’m interested in the

sound of the voice, the hesitations, the elisions, the embodiment

of thought, or of response, and the space of relation between

two bodies and subjectivities engaging in dialogue. What is it

that is passing between us and giving us the experience we call

communication?

BL!: Have you made any changes to the piece since you first

exhibited it?

IS: The work was developed for an exhibition at Matt's Gallery

in London in 2003; a¤er that, I showed it in Bergen, Tel Aviv,

Seoul and Linz. Every space was di�erent and every time the

arrangement of the elements had to be adapted to the space. The

elements are assembled like a kit set up temporarily for a test or a

treatment to happen. This can be wheeled into any space, though

the key is in the relationship between the parts. There are some

sonic e�ects – reflections and lines of focused sound – that have

to be set up, and there’s a synaesthetic dimension which happens

when all these relationships are working together.

BL!: Why have you included imagery (in the form of video) in a

piece that is ostensibly about challenging our methods of hearing?

IS: With The Whisper Heard I wanted to focus on processes

of what we think of as ‘understanding’. Listening and hearing

involve di�erent forms of attention – one is more searching than

the other – but listening and hearing both set us up with very

di�erent expectations for what we might understand from visual

images. The work operates within that tension between the sonic

and the visual, and it needs both.

BL!: As we are bombarded by mainly visual information from

every angle, do you think our ability to listen is being lost?

IS: How we listen and what we listen to is a�ected by many

things. The visual image is one factor within a much larger

set of conditions shaped by our social, technological, cultural

and political environment. Our capacity to listen is not being

diminished, though of course it is changing. A lot of attention is

given to visual culture as a way of understanding broader cultural

shi¤s; historically, much less attention has been given to our

listening culture, for reasons which continue to be discussed and

written about. Visiting the exhibition Listening involves many

di�erent modes of listening and hearing; perhaps it helps us

to focus on some of those changes as we experience them in

ourselves.

The Listening exhibition is on at The Bluecoat now, running

until 29th March. Our Editor, Christopher Torpey, is also giving a

short guest tour of the exhibition on 28th March, explaining his

interpretation of some of the pieces involved.

thebluecoat.org.uk



Illustration: Scott Du�ey / scottdu�ey.co.uk

Think back to the last song you heard and try and weigh up

how much you actually connected with it. You heard, but did you

listen? Did you hear the sounds, process their meaning, and react

to them? Did you just use your ears to listen? The act, even art, of

listening is far more involved than our sense of hearing, and it’s a

skill which is as profound to our way of communicating as being

able to articulate.

Currently running at The Bluecoat, LISTENING is a

groundbreaking exhibition – the latest Hayward Touring Curatorial

Open exhibition – which examines the crossover between the

visual and the sonic, with many of the selected artists working

in the fields of both contemporary music and art. Featuring a

variety of media, from drawings and sculpture to prints and video,

and with works ranging dramatically in duration from less than

a second to six hours, Listening is an orchestration of works that

curator Sam Belinfante claims “interrogates the act of listening

itself, rather than merely its aural objects”.

From the almost inaudible sound of a dying star to the

stretched, dissected and reassembled noise of a clap of thunder,

our notion of what makes up the sound we hear is laid bare. A

new work by Turner Prize-winner Laure Prouvost choreographs a

dialogue between lights and objects in the exhibition, while the

insulated anechoic chamber of Haroon Mirza – winner of the Nam

June Paik Art Center Prize 2014 – silences the outside world to

allow us to listen profoundly to the sound of our own bodies.

The exhibition will also include Liverpool-based artist Imogen

Stidworthy’s rarely-seen work, The Whisper HeardThe Whisper Heard, which

centres on the spoken word in relation to di�erent notions of

meaning and communication. In the piece, sounds and images

are configured into three acoustic zones, focused and reflected

within the adapted space by loudspeakers and a parabolic dish.

The sounds come from two people who deal with language in

very di�erent ways: a man su�ering from aphasia, a condition

following a stroke which a�ects the language faculty of the brain;

and a three-year-old boy who is in the process of learning to speak.

Both participants respond to the narration of a chapter from Jules

Verne’s Journey To The Centre Of The Earth, a passage which sees

the character Otto Lidenbrock losing all sense of relation to the

outside world and his trust in his senses. As neither participant

is able to read, their relationship with these narrated words is

primarily oral.

To get more of a feel for these ideas of interpreting spoken and

written words, we spoke to Imogen, the 2008 Liverpool Art Prize

winner, on what listening actually means...

Bido Lito!: What does your piece, The Whisper HeardThe Whisper Heard, aim to

highlight?

Imogen Stidworthy: It challenges the meaning of language.

In the installation, the voice of the little boy pronounces but he

doesn’t understand; the man understands but doesn’t pronounce.

The child is still learning to speak and the man has a condition

called aphasia, damage to the language cortex of the brain, which

means that the synaptical links that help him connect thoughts

with words are sometimes lost.

When words aren’t working ‘properly’ we have to feel around

them to find other forms of meaning. We may have to detach from

language in order even to sense and register other forms. How

can we let go of language when we’re up to our necks in it? In

the installation, the spoken word is pulled apart into interrelated

zones: what you could call body language, thinking space, facial

expression, vocal resonance, the narrative thread of a story

unfolding, written text – all these elements are configured as a

spatial, sonic ‘machine’.

BL!: We’re interested in the nature of meaning within the BL!: We’re interested in the nature of meaning within the BL!:

piece – is comprehension of the spoken text necessary in

understanding the message?

IS: If you don’t comprehend a spoken text you start to listen

di�erently. Meaning is not only semantic, I’m interested in the

sound of the voice, the hesitations, the elisions, the embodiment

of thought, or of response, and the space of relation between

two bodies and subjectivities engaging in dialogue. What is it

that is passing between us and giving us the experience we call

communication?

BL!: Have you made any changes to the piece since you first BL!: Have you made any changes to the piece since you first BL!:

exhibited it?

IS: The work was developed for an exhibition at Matt's Gallery

in London in 2003; a¤er that, I showed it in Bergen, Tel Aviv,

Seoul and Linz. Every space was di�erent and every time the

arrangement of the elements had to be adapted to the space. The

elements are assembled like a kit set up temporarily for a test or a

treatment to happen. This can be wheeled into any space, though

the key is in the relationship between the parts. There are some

sonic e�ects – reflections and lines of focused sound – that have

to be set up, and there’s a synaesthetic dimension which happens

when all these relationships are working together.

BL!: Why have you included imagery (in the form of video) in a

piece that is ostensibly about challenging our methods of hearing?

IS: With The Whisper HeardThe Whisper Heard I wanted to focus on processes

of what we think of as ‘understanding’. Listening and hearing

involve di�erent forms of attention – one is more searching than

the other – but listening and hearing both set us up with very

di�erent expectations for what we might understand from visual

images. The work operates within that tension between the sonic

and the visual, and it needs both.

BL!: As we are bombarded by mainly visual information from

every angle, do you think our ability to listen is being lost?

IS: How we listen and what we listen to is a�ected by many

things. The visual image is one factor within a much larger

set of conditions shaped by our social, technological, cultural

and political environment. Our capacity to listen is not being

diminished, though of course it is changing. A lot of attention is

given to visual culture as a way of understanding broader cultural

shi¤s; historically, much less attention has been given to our

listening culture, for reasons which continue to be discussed and

written about. Visiting the exhibition Listening involves many

di�erent modes of listening and hearing; perhaps it helps us

to focus on some of those changes as we experience them in

ourselves.

The Listening exhibition is on at The Bluecoat now, running

until 29th March. Our Editor, Christopher Torpey, is also giving a

short guest tour of the exhibition on 28th March, explaining his

interpretation of some of the pieces involved.

thebluecoat.org.uk

Presented by

Liverpool International Festival Of Psychedelia & Effenaar

June 2015

June 20152015mg 5-6

A throbbinglaboratory of bands, Djs,visual happenings and kaleidoscopic experiments

Tickets and more informationwww.eindhovenpsychlab.com

Trouble in Mind StageMorgan Delt / Doug TuttleJacco Gardner

The Soft Moon The Cult of Dom KellerPow! / Black BombaimTeeth of the Sea / Pauw

Plus many more tobe announced!

Presented by

Liverpool International Festival Of Psychedelia & Effenaar

June 20152015mg 5-6 June 20155-6 June 2015

A throbbinglaboratory of bands, Djs,visual happenings and kaleidoscopic experiments

Tickets and more informationwww.eindhovenpsychlab.com

Trouble in Mind StageMorgan Delt / Doug TuttleJacco Gardner

The Soft Moon The Cult of Dom KellerPow! / Black BombaimTeeth of the Sea / Pauw

Plus many more tobe announced!


bidolito.co.uk




bidolito.co.uk

LOST AND FOUNDThe Liverpool of The Lost Brothers

“On the last night of recording our new album, Oisin and I took

a late-night stroll around some of the old places. Walking past

Elevator Studios, we stopped and stood outside. This is where I

recorded my first record with The Basement, under the production

of Ian Broudie. Around the corner was the rehearsal rooms – a

massive building with fi�y-odd rooms, all filled with bands playing

into the night. We stood outside and looked up at our old rooms,

mine with The Basement and Oisin's with The 747s.

I spent so many hours, days, weeks, months and years up in that

room. I even lived up there in a period of desperate hopelessness.

We stood listening to the beautiful racket of a hundred songs

falling onto the street until someone exited the building, leaving

the door ajar and we ran inside. The place still smelled the same

– a mixture of urine, metal and weed. Knowing the perils of the

dreaded li�, we opted to take the stairs to the fi�h floor.

Back when we practised there, those stairwells echoed with

the sounds of The Coral, The Zutons, The Bandits, The Stands, The

Little Flames, The Cubical, etc. Now they sing with a new song.

We knocked on the door of our old praccy room until someone

answered and kindly let us in. The room still looked the same,

only the humans were di�erent. Our dust was still there, our pen

scribblings still on the walls, and I looked in the corner to see the

old piano that could never be tuned.

The piano came from the cellar of the building. Paul Speed (the

owner) told us that if we wanted it we could have it. Too big and

heavy to put in the li�, we somehow dragged it up six flights of

stairs. We took it in shi�s. It took two days. When we finally got

it in the room we noticed it was impossible to tune, and it sat in

the corner, unused for the five years we were there. And there it is

still. Untouched. In its place. In its home. In a corner. Covered in

cobwebs and dust. Along with our ghosts.”

Mark McCausland

Liverpool clearly has a special place in the hearts of THE LOST

BROTHERS. The two Irishmen, Oisin Leech and Mark McCausland,

now based north of Dublin, formed on Merseyside around 2007

a¤er cutting their teeth in an assortment of bands: Mark’s band

The Basement were briefly attached to Deltasonic, which put them

in touch with some of Liverpool music’s noughties luminaries,

while Oisin’s 747s recorded a version of Baby I’m Yours with Arctic

Monkeys a¤er releasing their underappreciated record, Zampano.

Those were the tail end of some golden years for music in the

city: national and international music press were taking notice of

The Bandwagon night at the Zanzibar, The Coral had ushered in a

Scousedelic renaissance, and Liverpool bopped again

Despite moving away, the Losties – as they’ve a�ectionately

become known – have travelled extensively, playing and

recording in cities across the globe. Last year saw their return

to Liverpool to record their fourth album, New Songs Of Dawn

And Dust, at Parr Street Studios, with production responsibilities

going to another restless product of those kaleidoscopic times,

Bill Ryder-Jones. “We are fascinated by Bill’s work as a solo

artist. His two albums are stunning; I really respect what he

is doing and the sounds he is getting,” Oisin tells me while

having some well-earned downtime in Ireland between

touring. “So we wanted to bring these songs – travelogues that

we had written on the road – to Bill, and he brought things out

of the songs that we didn’t even know were there and added

his magic dust.”

“One of our favourite Liverpool rituals was to go to the

Marlborough pub beside The Jacaranda on a Monday night. It

was a tiny corner old man’s pub with red velvet carpet and wine-

coloured cushioned lounge couches. Every Monday there was

an old-time New Orleans jazz band that played their hearts out.

These guys were very elderly and were literally playing for their

lives. The energy was amazing. Pints were £1.40 so it meant I could

buy the entire pub a beer and still have change for the jukebox

when the band was done. The jukebox had Fred Neil records on it.

I found those Monday nights very inspiring.”

Oisin Leech

As well as jazz, folk and beat luminaries of the last 60 years,

the sounds of heartbreak, hard work and lives of romantic

recklessness can be heard in all of the duo’s long players. But Oisin

sees the characteristic sadness in the Losties’ tunes di�erently: “I

don’t see them as sad songs; all my favourite songs – whether

they’re Randy Newman, Leonard Cohen or Bob Dylan songs, as

well as the inherent sadness in Irish folk music – really warm my

soul. I think a really sad song punches through everything and

restores your faith to bring you out the other end.”

“Another fine Liverpool ritual was to call down to Jongo's Guitar

Shop on Aigburth Road. We would come back to Liverpool a�er

a long tour and just sit o� in Jongo's shop and talk about music.

Jongo has gypsy blood in him and he lives and breathes good

music. He once helped produce a demo of a song I wrote called

Rainkiss. We recorded it round at the now-legendary Honza's

house. Honza... there's another character who was very good to

us in the early days. If Keith Richards and Tom Waits had a baby

wizard it would be Honza.”

Oisin Leech

The Lost Brothers are musicians who, true to their name, live in

their songs as well as the sonic aesthetics of various decades. As

such, they have spent their career wandering the world working

with some of music’s most admired names. “This nomadic lifestyle

started without us even noticing. We weren’t living anywhere

and were constantly on the road,” says Oisin as he ponders their

rootless existence. “I suppose wherever our record collections are

we call home.”

Portland (“a great music city”) was the band’s first stop a¤er

leaving Liverpool in 2008. There they recorded their first album

with Mike Coykendall (M Ward, Bright Eyes) and Adam Selzer

(The Decembrists). In between staying in a haunted pub and

hanging out at the biggest independent bookshop in the world,

they recorded Trails Of The Lonely with the help of pedal steel

specialist Paul Brainard. A support slot with Richard Hawley then

led the boys to She�eld where they recorded So Long, John Fante

with the bequi�ed crooner’s band and producer Colin Elliott in

2010. Oisin and Mark were back Stateside in 2011 in Nashville,

where they recorded the sublime The Passing Of The Night with

the help of Brendan Benson as well as members of the Old Crow

Medicine Show and The Cardinals.

You can hear a sense of place in these albums that cuts to the

essence of the setting: Bird In A Cage marvellously recreates the

atmosphere of a honky tonk, and Only By Light Of The Moon is

expertly inflected with She�eld’s 60s-indebted forlorn romance.

Oisin finds that it is impossible to avoid the inspiration which

comes with experiencing new places and people: “When you’re

on the road, whether you like it or not you’re being inspired by

everything you see and the people you meet. This new album was

really inspired by the characters we met, trying to get through life

and trying to survive.”

“I used to get the train out to Formby and take a long sea walk

in the mornings. Then on the way back to town I’d try to write a

song on the train. I would pop up to see Carl in Hairy Records, chat

about Van Morrison, and finish o� the day listening to Edgar Jones

DJing at La'go. If the night got extended we would all go to the

Kif near Parr Street. That was a kind of commune/art warehouse

where late-night jams would happen. The next day one could walk

o� the blues along the Mersey and call into the Beatles shop. All

in all it was a great time back then, but Liverpool has a great new

vibe about it again at the moment. It's a buzzing city right now.

Exciting times."

Oisin Leech

New Song Of Dawn And Dust adds to this new vibe partly

thanks to Hotel Loneliness, the track penned by another Coral

cohort, Nick Power. It’s a tune typical of the Losties’ melodic

anguish and bridges the classic songwriting qualities of both

bands. “Nick is a huge fan of So Long, John Fante and he and Bill

really encouraged us,” says Oisin of the latest collaboration. “Out

of the blue he sent us Hotel Loneliness three or four years ago

and said ‘I would love to hear the Losties sing this song’. He kind

of became our song pen pal, then we all worked together on that

song. It was great to see Bill and Nick together.”

The boys are now looking forward to playing the next

instalment of Liverpool Acoustic Festival, which takes place at the

Unity Theatre in March. “We haven’t actually played [as the Lost

Brothers] that o¤en in Liverpool and any excuse we have to come,

we’ll be over cos we love it,” says Oisin, “Whenever we step o� the

train at Lime Street we feel a gust of energy behind us, and we’ll

walk up Bold Street and everything’s feeling groovy. In the back

of our minds Liverpool’s our home.”

While there are bands in Liverpool who may be ploughing more

innovative musical furrows as they learn their trades in the city’s

venerable educational institutions, it would be di�cult to find a

band who live and breathe the musical tradition which hangs in

the air of the oldest pubs and practice rooms in Liverpool as much

as The Lost Brothers. For that, they will always be welcome here.

The Lost Brothers play Liverpool Acoustic Festival at the Unity

Theatre on 21st March, in a special showcase hosted by Bido Lito!

which also features a DJ set from Nick Power.

New Songs Of Dawn And Dust is out now on Lojinx Records.

thelostbrothersband.com

Words: Sam Turner / @SamTurner1984 Illustration: Chris Coll / facebook.com/HauntedBoyStu�



LOST AND FOUNDThe Liverpool of The Lost BrothersLOST AND FOUND

The Liverpool of The Lost BrothersLOST AND FOUND

“On the last night of recording our new album, Oisin and I took

a late-night stroll around some of the old places. Walking past

Elevator Studios, we stopped and stood outside. This is where I

recorded my first record with The Basement, under the production

of Ian Broudie. Around the corner was the rehearsal rooms – a

massive building with fi�y-odd rooms, all filled with bands playing

into the night. We stood outside and looked up at our old rooms,

mine with The Basement and Oisin's with The 747s.

I spent so many hours, days, weeks, months and years up in that

room. I even lived up there in a period of desperate hopelessness.

We stood listening to the beautiful racket of a hundred songs

falling onto the street until someone exited the building, leaving

the door ajar and we ran inside. The place still smelled the same

– a mixture of urine, metal and weed. Knowing the perils of the

dreaded li�, we opted to take the stairs to the fi�h floor.

Back when we practised there, those stairwells echoed with

the sounds of The Coral, The Zutons, The Bandits, The Stands, The

Little Flames, The Cubical, etc. Now they sing with a new song.

We knocked on the door of our old praccy room until someone

answered and kindly let us in. The room still looked the same,

only the humans were di�erent. Our dust was still there, our pen

scribblings still on the walls, and I looked in the corner to see the

old piano that could never be tuned.

The piano came from the cellar of the building. Paul Speed (the

owner) told us that if we wanted it we could have it. Too big and

heavy to put in the li�, we somehow dragged it up six flights of

stairs. We took it in shi�s. It took two days. When we finally got

it in the room we noticed it was impossible to tune, and it sat in

the corner, unused for the five years we were there. And there it is

still. Untouched. In its place. In its home. In a corner. Covered in

cobwebs and dust. Along with our ghosts.”

Mark McCausland

Liverpool clearly has a special place in the hearts of THE LOST

BROTHERS. The two Irishmen, Oisin Leech and Mark McCausland,

now based north of Dublin, formed on Merseyside around 2007

a¤er cutting their teeth in an assortment of bands: Mark’s band

The Basement were briefly attached to Deltasonic, which put them

in touch with some of Liverpool music’s noughties luminaries,

while Oisin’s 747s recorded a version of Baby I’m YoursBaby I’m Yours with Arctic

Monkeys a¤er releasing their underappreciated record, ZampanoZampano.

Those were the tail end of some golden years for music in the

city: national and international music press were taking notice of

The Bandwagon night at the Zanzibar, The Coral had ushered in a

Scousedelic renaissance, and Liverpool bopped again

Despite moving away, the Losties – as they’ve a�ectionately

become known – have travelled extensively, playing and

recording in cities across the globe. Last year saw their return

to Liverpool to record their fourth album, New Songs Of Dawn New Songs Of Dawn

And Dust, at Parr Street Studios, with production responsibilities

going to another restless product of those kaleidoscopic times,

Bill Ryder-Jones. “We are fascinated by Bill’s work as a solo

artist. His two albums are stunning; I really respect what he

is doing and the sounds he is getting,” Oisin tells me while

having some well-earned downtime in Ireland between

touring. “So we wanted to bring these songs – travelogues that

we had written on the road – to Bill, and he brought things out

of the songs that we didn’t even know were there and added

his magic dust.”

“One of our favourite Liverpool rituals was to go to the

Marlborough pub beside The Jacaranda on a Monday night. It

was a tiny corner old man’s pub with red velvet carpet and wine-

coloured cushioned lounge couches. Every Monday there was

an old-time New Orleans jazz band that played their hearts out.

These guys were very elderly and were literally playing for their

lives. The energy was amazing. Pints were £1.40 so it meant I could

buy the entire pub a beer and still have change for the jukebox

when the band was done. The jukebox had Fred Neil records on it.

I found those Monday nights very inspiring.”

Oisin Leech

As well as jazz, folk and beat luminaries of the last 60 years,

the sounds of heartbreak, hard work and lives of romantic

recklessness can be heard in all of the duo’s long players. But Oisin

sees the characteristic sadness in the Losties’ tunes di�erently: “I

don’t see them as sad songs; all my favourite songs – whether

they’re Randy Newman, Leonard Cohen or Bob Dylan songs, as

well as the inherent sadness in Irish folk music – really warm my

soul. I think a really sad song punches through everything and

restores your faith to bring you out the other end.”

“Another fine Liverpool ritual was to call down to Jongo's Guitar

Shop on Aigburth Road. We would come back to Liverpool a�er

a long tour and just sit o� in Jongo's shop and talk about music.

Jongo has gypsy blood in him and he lives and breathes good

music. He once helped produce a demo of a song I wrote called

Rainkiss. We recorded it round at the now-legendary Honza's

house. Honza... there's another character who was very good to

us in the early days. If Keith Richards and Tom Waits had a baby

wizard it would be Honza.”

Oisin Leech

The Lost Brothers are musicians who, true to their name, live in

their songs as well as the sonic aesthetics of various decades. As

such, they have spent their career wandering the world working

with some of music’s most admired names. “This nomadic lifestyle

started without us even noticing. We weren’t living anywhere

and were constantly on the road,” says Oisin as he ponders their

rootless existence. “I suppose wherever our record collections are

we call home.”

Portland (“a great music city”) was the band’s first stop a¤er

leaving Liverpool in 2008. There they recorded their first album

with Mike Coykendall (M Ward, Bright Eyes) and Adam Selzer

(The Decembrists). In between staying in a haunted pub and

hanging out at the biggest independent bookshop in the world,

they recorded Trails Of The LonelyTrails Of The Lonely with the help of pedal steel with the help of pedal steel

specialist Paul Brainard. A support slot with Richard Hawley then

led the boys to She�eld where they recorded So Long, John FanteSo Long, John Fante

with the bequi�ed crooner’s band and producer Colin Elliott in

2010. Oisin and Mark were back Stateside in 2011 in Nashville,

where they recorded the sublime The Passing Of The NightThe Passing Of The Night with

the help of Brendan Benson as well as members of the Old Crow

Medicine Show and The Cardinals.

You can hear a sense of place in these albums that cuts to the

essence of the setting: Bird In A CageBird In A Cage marvellously recreates the

atmosphere of a honky tonk, and Only By Light Of The MoonOnly By Light Of The Moon is

expertly inflected with She�eld’s 60s-indebted forlorn romance.

Oisin finds that it is impossible to avoid the inspiration which

comes with experiencing new places and people: “When you’re

on the road, whether you like it or not you’re being inspired by

everything you see and the people you meet. This new album was

really inspired by the characters we met, trying to get through life

and trying to survive.”

“I used to get the train out to Formby and take a long sea walk

in the mornings. Then on the way back to town I’d try to write a

song on the train. I would pop up to see Carl in Hairy Records, chat

about Van Morrison, and finish o� the day listening to Edgar Jones

DJing at La'go. If the night got extended we would all go to the

Kif near Parr Street. That was a kind of commune/art warehouse

where late-night jams would happen. The next day one could walk

o� the blues along the Mersey and call into the Beatles shop. All

in all it was a great time back then, but Liverpool has a great new

vibe about it again at the moment. It's a buzzing city right now.

Exciting times."

Oisin Leech

New Song Of Dawn And DustNew Song Of Dawn And Dust adds to this new vibe partly

thanks to Hotel Loneliness, the track penned by another Coral

cohort, Nick Power. It’s a tune typical of the Losties’ melodic

anguish and bridges the classic songwriting qualities of both

bands. “Nick is a huge fan of So Long, John FanteSo Long, John Fante and he and Bill

really encouraged us,” says Oisin of the latest collaboration. “Out

of the blue he sent us Hotel Loneliness three or four years ago

and said ‘I would love to hear the Losties sing this song’. He kind

of became our song pen pal, then we all worked together on that

song. It was great to see Bill and Nick together.”

The boys are now looking forward to playing the next

instalment of Liverpool Acoustic Festival, which takes place at the

Unity Theatre in March. “We haven’t actually played [as the Lost

Brothers] that o¤en in Liverpool and any excuse we have to come,

we’ll be over cos we love it,” says Oisin, “Whenever we step o� the

train at Lime Street we feel a gust of energy behind us, and we’ll

walk up Bold Street and everything’s feeling groovy. In the back

of our minds Liverpool’s our home.”

While there are bands in Liverpool who may be ploughing more

innovative musical furrows as they learn their trades in the city’s

venerable educational institutions, it would be di�cult to find a

band who live and breathe the musical tradition which hangs in

the air of the oldest pubs and practice rooms in Liverpool as much

as The Lost Brothers. For that, they will always be welcome here.

The Lost Brothers play Liverpool Acoustic Festival at the Unity

Theatre on 21st March, in a special showcase hosted by Bido Lito!

which also features a DJ set from Nick Power.

New Songs Of Dawn And DustNew Songs Of Dawn And Dust is out now on Lojinx Records.New Songs Of Dawn And Dust is out now on Lojinx Records.New Songs Of Dawn And DustNew Songs Of Dawn And Dust is out now on Lojinx Records.New Songs Of Dawn And Dust

thelostbrothersband.com

Words: Sam Turner / @SamTurner1984 Illustration: Chris Coll / facebook.com/HauntedBoyStu�

The Liverpool of The Lost BrothersWords: Sam Turner / @SamTurner1984 Illustration: Chris Coll / facebook.com/HauntedBoyStu�

The Liverpool of The Lost Brothers


bidolito.co.uk

Head to bidolito.co.uk now to read more tour memories

from Henry Pulp and Natalie McCool, plus see a full photo

gallery containing all of the photos from the tour.

brokenmen.co.uk

nataliemccool.co.uk

Following a chance encounter with

Rolling Stone Russia that led to an

interview and a late-night, pissed-up

jaunt to The Mayflower, BROKEN MEN were o�ered the kind of chance

that doesn’t come around o¤en: a tour of Russia, playing several dates

in the underground rock clubs of Moscow and St Petersburg. So, with

their passports in hand and a burning desire to go and play to some

new and wholly unknown crowds, Broken Men joined forces with

NATALIE MCCOOL and set o� to tour the land responsible for slamming

Pussy Riot in jail and bringing TaTu to Eurovision.

While they were away, Natalie and Broken Men’s drummer/vocalist,

Henry Pulp, kept a tour diary. They’ve combined some of their memories

with photos from the tour, to shed some light on what it’s like touring

a rock’n’roll show in Putin’s backyard.

“We were signing autographs and getting pictures with people, so it

was a million miles away from what we’re used to. They made us feel

like royalty.” – Henry Pulp

“They are so into their live music and it was a pleasure to play in front

of such engaged audiences. One girl in Moscow who saw us by chance

said she searched all day the next day to find out who we all were,

and then when she finally got the info she came to the gig the next

night. It was amazing! Another girl said I made her cry – in a good way!”

– Natalie McCool

TWO STEPPE ROCKBroken Men and Natalie McCooltour diaryPhotography: GLORYBOX / glory-box.com

Natalie McCool: Russia

is huge but we only saw a tiny portion of it: St Petersburg is

more European, Moscow was amazing but very imposing. All the

buildings are huge and it just goes on and on. There is much less

music over there – compared to here – but I think that makes the

people love it more.

Henry Pulp: The crowds are a lot more attentive, a

lot more appreciative. They even came to the soundcheck.

In the UK it’s like uncool to tell someone how much you

enjoyed the show. Over there they act as if you have just

given them a bucket of gold.



Head to bidolito.co.uk now to read more tour memories

from Henry Pulp and Natalie McCool, plus see a full photo

gallery containing all of the photos from the tour.

brokenmen.co.uk

nataliemccool.co.uk

Following a chance encounter with

Rolling Stone Russia that led to an

interview and a late-night, pissed-up

jaunt to The Mayflower, BROKEN MEN were o�ered the kind of chance jaunt to The Mayflower, BROKEN MEN were o�ered the kind of chance

that doesn’t come around o¤en: a tour of Russia, playing several dates that doesn’t come around o¤en: a tour of Russia, playing several dates

in the underground rock clubs of Moscow and St Petersburg. So, with in the underground rock clubs of Moscow and St Petersburg. So, with

their passports in hand and a burning desire to go and play to some their passports in hand and a burning desire to go and play to some

new and wholly unknown crowds, Broken Men joined forces with new and wholly unknown crowds, Broken Men joined forces with

NATALIE MCCOOL and set o� to tour the land responsible for slamming NATALIE MCCOOL and set o� to tour the land responsible for slamming

Pussy Riot in jail and bringing TaTu to Eurovision.Pussy Riot in jail and bringing TaTu to Eurovision.

While they were away, Natalie and Broken Men’s drummer/vocalist, While they were away, Natalie and Broken Men’s drummer/vocalist,

Henry Pulp, kept a tour diary. They’ve combined some of their memories Henry Pulp, kept a tour diary. They’ve combined some of their memories

with photos from the tour, to shed some light on what it’s like touring with photos from the tour, to shed some light on what it’s like touring

a rock’n’roll show in Putin’s backyard.a rock’n’roll show in Putin’s backyard.

“We were signing autographs and getting pictures with people, so it “We were signing autographs and getting pictures with people, so it

was a million miles away from what we’re used to. They made us feel was a million miles away from what we’re used to. They made us feel

like royalty.” – like royalty.” – like royalty.” Henry PulpHenry Pulp

“They are so into their live music and it was a pleasure to play in front “They are so into their live music and it was a pleasure to play in front

of such engaged audiences. One girl in Moscow who saw us by chance of such engaged audiences. One girl in Moscow who saw us by chance

said she searched all day the next day to find out who we all were, said she searched all day the next day to find out who we all were,

and then when she finally got the info she came to the gig the next and then when she finally got the info she came to the gig the next

night. It was amazing! Another girl said I made her cry – in a good way!” night. It was amazing! Another girl said I made her cry – in a good way!”

– Natalie McCoolNatalie McCoolNatalie McCool

TWO STEPPE ROCKTWO STEPPE ROCKTWO STEPPE ROCKBroken Men and Broken Men and Broken Men and Natalie McCoolNatalie McCoolNatalie McCooltour diarytour diarytour diaryPhotography: GLORYBOX / glory-box.com

Natalie McCool: Russia

is huge but we only saw a tiny portion of it: St Petersburg is

more European, Moscow was amazing but very imposing. All the

buildings are huge and it just goes on and on. There is much less

music over there – compared to here – but I think that makes the

people love it more.

Henry Pulp: The crowds are a lot more attentive, a

lot more appreciative. They even came to the soundcheck.

In the UK it’s like uncool to tell someone how much you

enjoyed the show. Over there they act as if you have just

given them a bucket of gold.


bidolito.co.uk

Henry Pulp:

Our main big travelling stints were on night trains between

Moscow and St Petersburg, but it felt like a scene from the movies so

it didn’t get tedious. We’ve come back from that trip stronger than ever;

everyone’s that little bit more switched on because we’ve had a taste of

something every musician longs for, some form of international break.

Natalie McCool: While we were waiting in Moscow for

the night train, an older couple started talking to me; they looked

tough as old boots. I was terrified at first but a�er having some

goulash I calmed down a bit. We didn't really understand each other

and there was a lot of pointing and eyebrow twitching going on,

but just looking at them, for me, they epitomised Russia. They had

clearly been through a lot.

Henry Pulp: Being forced to spend so much time together

in close proximity takes a band to a whole new level. The bond that

grows is immeasurable, especially for a band of our size. You feel

like you’re part of the The Gramercy Ri�s; you feel uniformed. A total

connection is built as soon as you step o� the plane.

Natalie McCool: The last night at Krizis Zhanra in Moscow

was actually amazing; it was like Bumper circa 2006. We were head-

banging to Jet on the dancefloor; I started a conga line with a guy in

a huge white fur jacket... you get the idea. Also, I was getting ready

backstage and the DJ started playing From Nowhere by Dan Croll – a little

taste of home there!



Henry Pulp:

Our main big travelling stints were on night trains between

Moscow and St Petersburg, but it felt like a scene from the movies so

it didn’t get tedious. We’ve come back from that trip stronger than ever;

everyone’s that little bit more switched on because we’ve had a taste of

something every musician longs for, some form of international break.

Natalie McCool: While we were waiting in Moscow for

the night train, an older couple started talking to me; they looked

tough as old boots. I was terrified at first but a�er having some

goulash I calmed down a bit. We didn't really understand each other

and there was a lot of pointing and eyebrow twitching going on,

but just looking at them, for me, they epitomised Russia. They had

clearly been through a lot.

Henry Pulp: Being forced to spend so much time together

in close proximity takes a band to a whole new level. The bond that

grows is immeasurable, especially for a band of our size. You feel

like you’re part of the The Gramercy Ri�s; you feel uniformed. A total

connection is built as soon as you step o� the plane.

Natalie McCool: The last night at Krizis Zhanra in Moscow

was actually amazing; it was like Bumper circa 2006. We were head-

banging to Jet on the dancefloor; I started a conga line with a guy in

a huge white fur jacket... you get the idea. Also, I was getting ready

backstage and the DJ started playing From Nowhere by Dan Croll – a little

taste of home there!


bidolito.co.uk

If you’ve been to a gig at any point in the last ten years (and we

bloody hope you have), the chances are you’ll have seen dozens,

if not hundreds, of amateur photographers thrusting their mobile

phones in the air to get a picture, or even ‘enjoying’ the show

being played out on their minute blue-lit screens. Meanwhile, the

real people who are busy capturing those all-important “wow”

moments on camera are the quiet and sturdy photographers,

doing their best to remain unnoticed. If they’re not crouched in the

lion’s den that is the photo pit, they’re braving the crushes at the

front of the crowd to get that one shot that sums up the show – the

one shot that will be shared on social media the following day by

those people who were wa�ing their camera phones in the air.

For the latest in our 'Who Are Ya?' series looking at the

people who make live music happen, we speak to Merseyside

photographer CONOR MCDONNELL about the way the people

behind the lens view a concert. Having graduated from the

homely delights of The Zanzibar and The Shipping Forecast, Conor

is now a much in demand photographer who regularly does live

and tour photography for Ellie Goulding, Rita Ora and James

Morrison. Before jetting o� for a one-night shoot in Las Vegas

with Calvin Harris, Conor – the man behind the most liked photo

ever on Instagram – spoke to us about the o�en underappreciated

role of the gig photographer.

I always keep my gear packed as my job o¤en has lots of last-

minute calls. It’s always packed with fully charged batteries and

clean cards (plus plenty of spares), ready to go. My general gear

that I take mostly to every job consists of two camera bodies, an

assortment of lenses (there are four in the bag), two flash guns

and hard drives. Earplugs are a definite essential for this job, too.

I also currently pop in a Polaroid camera for fun.

Every job I do these days is for the artist, so I always get to

photograph and film the whole show. Back in the day when I

started shooting live music and I wasn’t working for artists but for

magazines and websites, it was almost always ‘first three songs’.

There’s lots of pressure, as you have no control over anything at

all: you can’t control the lighting, or where the artist will be. It’s

tricky. You have to learn to anticipate the moment – there’s no

point in chasing it, it’s already happened. I remember a few times

in the past where I’ve been shooting artists and, when leaving at

the start of the fourth song, the lighting became incredible or the

artist started to jump around and climb about on stage, and I’ve

thought, “Ahh, I wish I could shoot that, it looks amazing”. But you

just gotta work with what you have!

There are no general rules on pit etiquette between

photographers. It’s not like when you do it, there’s a list of stu�

you have to abide by. I wish there was, as some people have no

idea how to behave in the pit. When I started I was sixteen years

old so I was quite young. I was always getting pushed out of the

way by older photographers who thought that because they have

been doing it for years they are better and have a priority over

me. I’ve had several elbows to the head, been dragged back, etc.

There’s no need to be like that, no matter who you are.

The best condition for shooting a live show is lots of energy,

be it from the performer or the crowd. Energy is always fun to

capture. It always looks awesome, too. Good lighting definitely

helps but it isn’t a necessity. I like to make myself work hard when

shooting. Obviously great lighting makes it easier but if there’s

no energy even the greatest lighting rig in the world can look like

the most boring concert in the world. My favourite place I’ve ever

photographed was Red Rocks in Denver, Colorado, a legendary

venue, which was so much fun. I got free rein over the whole

concert there whilst on tour in America with Ellie Goulding.

When on tour or when I work with artists I always explore the

venue before the gig, quite o¤en during soundcheck. This way

I can find vantage points and the quickest route to and from

these points. Figuring this out during the actual concert is wasted

time. A lot of the time you just have to find these places yourself:

sometimes you can ask security how to get to certain points but

more o¤en than not I just do it. It’s easier to ask for forgiveness

than permission.

On tour, my lens cap always stays o�, and editing is done late

into the night. The majority, if not all, of the time my photos are

expected on a superfast turnaround. I try to get my photos to the

artist the same night so that they can post them on social media.

As a live photographer, my role is to document the occasion for

the artist, so that when the photos go live you look at them

and they make you wish you were there because it looked so

awesome.

I’m always finding new places to take shots from. Though

it varies from venue to venue, you can o¤en find me on stage

hidden behind amps or band members getting the shot. One of

the strangest places I got into was at the O2 in Dublin [now the

3Arena], where I managed to get in the roof of the arena directly

above the stage and crowd. It made for an interesting angle.

It definitely helps being a music fan for shooting live music.

It helps me anticipate what could potentially happen on stage.

Live music photography is all about anticipation: like I said earlier,

there’s no point in chasing something that has already happened

as it’s gone forever. It helps to anticipate if there’s going to be

a drop in the music or a breakdown as, more o¤en than not,

something will happen during those moments.

I don’t mind it when fans post my photos online, though a lot

of photographers I know do. It really frustrates them and they

spend so much time chasing [the people concerned] getting

them to take [the photos] down. The way I see it, I’m shooting

for the fans too and I’d rather spend time working than chasing

teenagers online asking them to take down a photo. If they enjoy

it then I see it as my job there is done. It bothers me when people

make money out of it though, like people putting my photos on

fake merch, or selling prints. That’s a di�erent story. That is the¤.

To be a good live photographer takes a combination of natural

talent and an acquired technique. I think you can be taught

photography to a certain degree, but I think you have to have a

natural eye for it, and that is something that can’t be taught.

conormcdonnell.co.uk

Head to bidolito.co.uk now to see a gallery of Conor’s

favourite live shots. And, if you’re interested in being part of

our live photography team at Bido Lito!, drop us a line on

[email protected].

Tales from the photo pitwith Conor McDonnell Camera

Memory Cards

Ear Plugs

Laptop

PassportLenses

WHO ARE YA?People Who Make Live Music Happen



If you’ve been to a gig at any point in the last ten years (and we

bloody hope you have), the chances are you’ll have seen dozens,

if not hundreds, of amateur photographers thrusting their mobile

phones in the air to get a picture, or even ‘enjoying’ the show

being played out on their minute blue-lit screens. Meanwhile, the

real people who are busy capturing those all-important “wow”

moments on camera are the quiet and sturdy photographers,

doing their best to remain unnoticed. If they’re not crouched in the

lion’s den that is the photo pit, they’re braving the crushes at the

front of the crowd to get that one shot that sums up the show – the

one shot that will be shared on social media the following day by

those people who were wa�ing their camera phones in the air.

For the latest in our 'Who Are Ya?' series looking at the

people who make live music happen, we speak to Merseyside

photographer CONOR MCDONNELL about the way the people

behind the lens view a concert. Having graduated from the

homely delights of The Zanzibar and The Shipping Forecast, Conor

is now a much in demand photographer who regularly does live

and tour photography for Ellie Goulding, Rita Ora and James

Morrison. Before jetting o� for a one-night shoot in Las Vegas

with Calvin Harris, Conor – the man behind the most liked photo

ever on Instagram – spoke to us about the o�en underappreciated

role of the gig photographer.

I always keep my gear packed as my job o¤en has lots of last-

minute calls. It’s always packed with fully charged batteries and

clean cards (plus plenty of spares), ready to go. My general gear

that I take mostly to every job consists of two camera bodies, an

assortment of lenses (there are four in the bag), two flash guns

and hard drives. Earplugs are a definite essential for this job, too.

I also currently pop in a Polaroid camera for fun.

Every job I do these days is for the artist, so I always get to

photograph and film the whole show. Back in the day when I

started shooting live music and I wasn’t working for artists but for

magazines and websites, it was almost always ‘first three songs’.

There’s lots of pressure, as you have no control over anything at

all: you can’t control the lighting, or where the artist will be. It’s

tricky. You have to learn to anticipate the moment – there’s no

point in chasing it, it’s already happened. I remember a few times

in the past where I’ve been shooting artists and, when leaving at

the start of the fourth song, the lighting became incredible or the

artist started to jump around and climb about on stage, and I’ve

thought, “Ahh, I wish I could shoot that, it looks amazing”. But you

just gotta work with what you have!

There are no general rules on pit etiquette between

photographers. It’s not like when you do it, there’s a list of stu�

you have to abide by. I wish there was, as some people have no

idea how to behave in the pit. When I started I was sixteen years

old so I was quite young. I was always getting pushed out of the

way by older photographers who thought that because they have

been doing it for years they are better and have a priority over

me. I’ve had several elbows to the head, been dragged back, etc.

There’s no need to be like that, no matter who you are.

The best condition for shooting a live show is lots of energy,

be it from the performer or the crowd. Energy is always fun to

capture. It always looks awesome, too. Good lighting definitely

helps but it isn’t a necessity. I like to make myself work hard when

shooting. Obviously great lighting makes it easier but if there’s

no energy even the greatest lighting rig in the world can look like

the most boring concert in the world. My favourite place I’ve ever

photographed was Red Rocks in Denver, Colorado, a legendary

venue, which was so much fun. I got free rein over the whole

concert there whilst on tour in America with Ellie Goulding.

When on tour or when I work with artists I always explore the

venue before the gig, quite o¤en during soundcheck. This way

I can find vantage points and the quickest route to and from

these points. Figuring this out during the actual concert is wasted

time. A lot of the time you just have to find these places yourself:

sometimes you can ask security how to get to certain points but

more o¤en than not I just do it. It’s easier to ask for forgiveness

than permission.

On tour, my lens cap always stays o�, and editing is done late

into the night. The majority, if not all, of the time my photos are

expected on a superfast turnaround. I try to get my photos to the

artist the same night so that they can post them on social media.

As a live photographer, my role is to document the occasion for

the artist, so that when the photos go live you look at them

and they make you wish you were there because it looked so

awesome.

I’m always finding new places to take shots from. Though

it varies from venue to venue, you can o¤en find me on stage

hidden behind amps or band members getting the shot. One of

the strangest places I got into was at the O2 in Dublin [now the

3Arena], where I managed to get in the roof of the arena directly

above the stage and crowd. It made for an interesting angle.

It definitely helps being a music fan for shooting live music.

It helps me anticipate what could potentially happen on stage.

Live music photography is all about anticipation: like I said earlier,

there’s no point in chasing something that has already happened

as it’s gone forever. It helps to anticipate if there’s going to be

a drop in the music or a breakdown as, more o¤en than not,

something will happen during those moments.

I don’t mind it when fans post my photos online, though a lot

of photographers I know do. It really frustrates them and they

spend so much time chasing [the people concerned] getting

them to take [the photos] down. The way I see it, I’m shooting

for the fans too and I’d rather spend time working than chasing

teenagers online asking them to take down a photo. If they enjoy

it then I see it as my job there is done. It bothers me when people

make money out of it though, like people putting my photos on

fake merch, or selling prints. That’s a di�erent story. That is the¤.

To be a good live photographer takes a combination of natural

talent and an acquired technique. I think you can be taught

photography to a certain degree, but I think you have to have a

natural eye for it, and that is something that can’t be taught.

conormcdonnell.co.uk

Head to bidolito.co.uk now to see a gallery of Conor’s

favourite live shots. And, if you’re interested in being part of

our live photography team at Bido Lito!, drop us a line on

[email protected].

Tales from the photo pitwith Conor McDonnell Camera

Memory Cards

Ear Plugs

Laptop

PassportLenses

WHO ARE YA?WHO ARE YA?WHO ARE YA?WHO ARE YA?WHO ARE YA?WHO ARE YA?WHO ARE YA?WHO ARE YA?

People Who Make Live Music Happen



1 HES K ETH ST A IG B URTH , L IV ER P O O L

L17 8X J0 2 0 7232 0 0 0 8

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bidolito.co.uk

FEBRUARY IN BRIEF

FACT GROUP THERAPY FACT have announced their latest major exhibition, GROUP THERAPY: Mental Distress In A Digital Age. This is a show originating from FACT’s extensive work within

mental health over the past two decades and one which proposes that art and the creative use of digital devices can challenge dated ideas about mental illness, helping

to reduce stigma and encourage open discussion about our personal wellbeing. The exhibition features Madlove by The Vacuum Cleaner, responding to the artist’s own

experience of psychiatric hospitals as punishing rather than loving environments, and also includes a collaboratively designed asylum. Visit fact.co.uk for full listings.

FACT / 5th March onwards

SILENT SLEEP ON A MERRY SUNDANCE Liverpool’s meandering globetrotting purveyors of soul-searching melancholia, SILENT SLEEP, dropped a brand-new LP before Bido Lito! even hit the

presses on this first edition of 2015. Stay The Night. Stay The Morning, Too is the follow up to the group’s 2013 debut and features guest appearances by

Dan Croll, The Wombats’ Tord Knudsen and Vidar Nordheim of Wave Machines. The band head out for a string of dates across the UK and Europe, before a

second appearance at the Sundance Film Festival in Salt Lake City, and a vinyl cut of the LP lands in March.

Stay The Night. Stay The Morning, Too is available digitally now

HAWK EYESHow do you improve colossal, savage ri�s in a compact environment? Throw pizza into the mix. The DIY ethos of Maguire’s Pizza Bar fits perfectly as the

host for two of Britain’s finest up and coming hard rock bands. Ahead of the release of their third e�ort, Everything Is Fine, Leeds-based HAWK EYES join

forces with the vicious oozings of GOD DAMN. This can only result in a blistering bedlam of noise, but if you like your sounds heavy then it’ll be a little

slice of heaven.

Maguire’s / 12th February

THE STAVES With a name like that, you can bet there’s going to be an emphasis on vocals in this folk rock trio, but what grabs you is just how bold their harmonies

are, thriving o� one another. Three years a¤er their debut, Dead Born And Grown, THE STAVES return with If I Was, but to simply describe it as a follow-up

would not do it justice, especially with Bon Iver mastermind Justin Vernon at the production helm. Catch them up close and personal to experience the

new album in all its glory.

Arts Club / 10th February

RAE MORRISWith a barrage of singer-songwriters vying for our attention, the 'laying your heart on the line' strategy can come across as clichéd, if not cynical. But

this is just the honest, humble ethos to which RAE MORRIS firmly clings. A¤er a run of successful singles and a guest spot on Bombay Bicycle Club’s

Mercury Prize-nominated fourth album, So Long, See You Tomorrow, Morris returns to Liverpool with a show at The Kazimier to support her debut album,

Unguarded. Now with a solid backbone, Morris looks set to grab the New Year by the reins.

The Kazimier / 1st February

JULIAN COPEIt is di�cult to overstate the vision of musician, musicologist and all round mastermind JULIAN COPE. With thirty years in the music business which

began with post-punk project The Teardrop Explodes, his extensive portfolio features over twenty solo albums, countless collaborations and now the latest

chapter in the epic saga of his career; his debut novel One Three One, subtitled ‘A Time-Shi¤ing Gnostic Hooligan Road Novel.’ If there’s one thing his solo

show at the Epstein won’t be short on, it’s variety.

The Epstein Theatre / 5th February

THE WAR ON DRUGSRescheduling from their original November date has only whetted our appetites further for THE WAR ON DRUGS’ Liverpool showcase. If you’ve somehow

missed the acclaim from all corners for Adam Granduciel and co’s third album, Lost In The Dream, then you’re in for a treat: Granduciel’s intimate musings,

elevated by the wayward Springsteen-esque melodies, have been cited as one of the finest albums to emerge in 2014. With a wealth of earlier material

on which to draw, The War On Drugs should give the O2 Academy an unrivalled atmosphere.

O2 Academy / 16th February

Edited by Jack Graysmark



FEBRUARY IN BRIEFFEBRUARY IN BRIEFFEBRUARY IN BRIEF

FACT GROUP THERAPY FACT have announced their latest major exhibition, GROUP THERAPY: Mental Distress In A Digital Age. This is a show originating from FACT’s extensive work within FACT have announced their latest major exhibition, GROUP THERAPY: Mental Distress In A Digital Age. This is a show originating from FACT’s extensive work within FACT have announced their latest major exhibition, GROUP THERAPY: Mental Distress In A Digital Age. This is a show originating from FACT’s extensive work within FACT have announced their latest major exhibition, GROUP THERAPY: Mental Distress In A Digital Age. This is a show originating from FACT’s extensive work within

mental health over the past two decades and one which proposes that art and the creative use of digital devices can challenge dated ideas about mental illness, helping mental health over the past two decades and one which proposes that art and the creative use of digital devices can challenge dated ideas about mental illness, helping mental health over the past two decades and one which proposes that art and the creative use of digital devices can challenge dated ideas about mental illness, helping mental health over the past two decades and one which proposes that art and the creative use of digital devices can challenge dated ideas about mental illness, helping

to reduce stigma and encourage open discussion about our personal wellbeing. The exhibition features Madlove by The Vacuum Cleaner, responding to the artist’s own to reduce stigma and encourage open discussion about our personal wellbeing. The exhibition features Madlove by The Vacuum Cleaner, responding to the artist’s own to reduce stigma and encourage open discussion about our personal wellbeing. The exhibition features Madlove by The Vacuum Cleaner, responding to the artist’s own to reduce stigma and encourage open discussion about our personal wellbeing. The exhibition features Madlove by The Vacuum Cleaner, responding to the artist’s own

experience of psychiatric hospitals as punishing rather than loving environments, and also includes a collaboratively designed asylum. Visit experience of psychiatric hospitals as punishing rather than loving environments, and also includes a collaboratively designed asylum. Visit experience of psychiatric hospitals as punishing rather than loving environments, and also includes a collaboratively designed asylum. Visit fact.co.uk for full listings. for full listings. fact.co.uk for full listings. fact.co.uk

FACT / 5th March onwards

SILENT SLEEP ON A MERRY SUNDANCE Liverpool’s meandering globetrotting purveyors of soul-searching melancholia, SILENT SLEEP, dropped a brand-new LP before Liverpool’s meandering globetrotting purveyors of soul-searching melancholia, SILENT SLEEP, dropped a brand-new LP before Bido Lito! Bido Lito! even hit the even hit the

presses on this first edition of 2015. Stay The Night. Stay The Morning, TooStay The Night. Stay The Morning, Too is the follow up to the group’s 2013 debut and features guest appearances by is the follow up to the group’s 2013 debut and features guest appearances by is the follow up to the group’s 2013 debut and features guest appearances by

Dan Croll, The Wombats’ Tord Knudsen and Vidar Nordheim of Wave Machines. The band head out for a string of dates across the UK and Europe, before a Dan Croll, The Wombats’ Tord Knudsen and Vidar Nordheim of Wave Machines. The band head out for a string of dates across the UK and Europe, before a Dan Croll, The Wombats’ Tord Knudsen and Vidar Nordheim of Wave Machines. The band head out for a string of dates across the UK and Europe, before a

second appearance at the Sundance Film Festival in Salt Lake City, and a vinyl cut of the LP lands in March. second appearance at the Sundance Film Festival in Salt Lake City, and a vinyl cut of the LP lands in March.

Stay The Night. Stay The Morning, TooStay The Night. Stay The Morning, Too is available digitally now

HAWK EYESHow do you improve colossal, savage ri�s in a compact environment? Throw pizza into the mix. The DIY ethos of Maguire’s Pizza Bar fits perfectly as the How do you improve colossal, savage ri�s in a compact environment? Throw pizza into the mix. The DIY ethos of Maguire’s Pizza Bar fits perfectly as the How do you improve colossal, savage ri�s in a compact environment? Throw pizza into the mix. The DIY ethos of Maguire’s Pizza Bar fits perfectly as the How do you improve colossal, savage ri�s in a compact environment? Throw pizza into the mix. The DIY ethos of Maguire’s Pizza Bar fits perfectly as the

host for two of Britain’s finest up and coming hard rock bands. Ahead of the release of their third e�ort, host for two of Britain’s finest up and coming hard rock bands. Ahead of the release of their third e�ort, host for two of Britain’s finest up and coming hard rock bands. Ahead of the release of their third e�ort, Everything Is FineEverything Is FineEverything Is FineEverything Is FineEverything Is FineEverything Is Fine, Leeds-based HAWK EYES join , Leeds-based HAWK EYES join

forces with the vicious oozings of GOD DAMN. This can only result in a blistering bedlam of noise, but if you like your sounds heavy then it’ll be a little forces with the vicious oozings of GOD DAMN. This can only result in a blistering bedlam of noise, but if you like your sounds heavy then it’ll be a little forces with the vicious oozings of GOD DAMN. This can only result in a blistering bedlam of noise, but if you like your sounds heavy then it’ll be a little forces with the vicious oozings of GOD DAMN. This can only result in a blistering bedlam of noise, but if you like your sounds heavy then it’ll be a little

slice of heaven.

Maguire’s / 12th February

THE STAVES With a name like that, you can bet there’s going to be an emphasis on vocals in this folk rock trio, but what grabs you is just how bold their harmonies With a name like that, you can bet there’s going to be an emphasis on vocals in this folk rock trio, but what grabs you is just how bold their harmonies With a name like that, you can bet there’s going to be an emphasis on vocals in this folk rock trio, but what grabs you is just how bold their harmonies

are, thriving o� one another. Three years a¤er their debut, Dead Born And Grown, THE STAVES return with , THE STAVES return with If I Was, but to simply describe it as a follow-up , but to simply describe it as a follow-up

would not do it justice, especially with Bon Iver mastermind Justin Vernon at the production helm. Catch them up close and personal to experience the would not do it justice, especially with Bon Iver mastermind Justin Vernon at the production helm. Catch them up close and personal to experience the would not do it justice, especially with Bon Iver mastermind Justin Vernon at the production helm. Catch them up close and personal to experience the

new album in all its glory.


RAE MORRISWith a barrage of singer-songwriters vying for our attention, the 'laying your heart on the line' strategy can come across as clichéd, if not cynical. But With a barrage of singer-songwriters vying for our attention, the 'laying your heart on the line' strategy can come across as clichéd, if not cynical. But With a barrage of singer-songwriters vying for our attention, the 'laying your heart on the line' strategy can come across as clichéd, if not cynical. But With a barrage of singer-songwriters vying for our attention, the 'laying your heart on the line' strategy can come across as clichéd, if not cynical. But

this is just the honest, humble ethos to which RAE MORRIS firmly clings. A¤er a run of successful singles and a guest spot on Bombay Bicycle Club’s this is just the honest, humble ethos to which RAE MORRIS firmly clings. A¤er a run of successful singles and a guest spot on Bombay Bicycle Club’s this is just the honest, humble ethos to which RAE MORRIS firmly clings. A¤er a run of successful singles and a guest spot on Bombay Bicycle Club’s this is just the honest, humble ethos to which RAE MORRIS firmly clings. A¤er a run of successful singles and a guest spot on Bombay Bicycle Club’s

Mercury Prize-nominated fourth album, So Long, See You Tomorrow, Morris returns to Liverpool with a show at The Kazimier to support her debut album, Mercury Prize-nominated fourth album, So Long, See You Tomorrow, Morris returns to Liverpool with a show at The Kazimier to support her debut album, Mercury Prize-nominated fourth album, So Long, See You Tomorrow, Morris returns to Liverpool with a show at The Kazimier to support her debut album, Mercury Prize-nominated fourth album, So Long, See You Tomorrow, Morris returns to Liverpool with a show at The Kazimier to support her debut album,

UnguardedUnguarded. Now with a solid backbone, Morris looks set to grab the New Year by the reins.. Now with a solid backbone, Morris looks set to grab the New Year by the reins.

The Kazimier / 1st February

JULIAN COPEIt is di�cult to overstate the vision of musician, musicologist and all round mastermind JULIAN COPE. With thirty years in the music business which It is di�cult to overstate the vision of musician, musicologist and all round mastermind JULIAN COPE. With thirty years in the music business which It is di�cult to overstate the vision of musician, musicologist and all round mastermind JULIAN COPE. With thirty years in the music business which

began with post-punk project The Teardrop Explodes, his extensive portfolio features over twenty solo albums, countless collaborations and now the latest began with post-punk project The Teardrop Explodes, his extensive portfolio features over twenty solo albums, countless collaborations and now the latest began with post-punk project The Teardrop Explodes, his extensive portfolio features over twenty solo albums, countless collaborations and now the latest

chapter in the epic saga of his career; his debut novel One Three One, subtitled ‘A Time-Shi¤ing Gnostic Hooligan Road Novel.’ If there’s one thing his solo , subtitled ‘A Time-Shi¤ing Gnostic Hooligan Road Novel.’ If there’s one thing his solo , subtitled ‘A Time-Shi¤ing Gnostic Hooligan Road Novel.’ If there’s one thing his solo

show at the Epstein won’t be short on, it’s variety.

The Epstein Theatre / 5th February

THE WAR ON DRUGSRescheduling from their original November date has only whetted our appetites further for THE WAR ON DRUGS’ Liverpool showcase. If you’ve somehow Rescheduling from their original November date has only whetted our appetites further for THE WAR ON DRUGS’ Liverpool showcase. If you’ve somehow Rescheduling from their original November date has only whetted our appetites further for THE WAR ON DRUGS’ Liverpool showcase. If you’ve somehow Rescheduling from their original November date has only whetted our appetites further for THE WAR ON DRUGS’ Liverpool showcase. If you’ve somehow

missed the acclaim from all corners for Adam Granduciel and co’s third album, missed the acclaim from all corners for Adam Granduciel and co’s third album, Lost In The DreamLost In The Dream, then you’re in for a treat: Granduciel’s intimate musings, , then you’re in for a treat: Granduciel’s intimate musings, , then you’re in for a treat: Granduciel’s intimate musings,

elevated by the wayward Springsteen-esque melodies, have been cited as one of the finest albums to emerge in 2014. With a wealth of earlier material elevated by the wayward Springsteen-esque melodies, have been cited as one of the finest albums to emerge in 2014. With a wealth of earlier material elevated by the wayward Springsteen-esque melodies, have been cited as one of the finest albums to emerge in 2014. With a wealth of earlier material elevated by the wayward Springsteen-esque melodies, have been cited as one of the finest albums to emerge in 2014. With a wealth of earlier material

on which to draw, The War On Drugs should give the O2 Academy an unrivalled atmosphere.on which to draw, The War On Drugs should give the O2 Academy an unrivalled atmosphere.on which to draw, The War On Drugs should give the O2 Academy an unrivalled atmosphere.

O2 Academy / 16th February

Edited by Jack GraysmarkEdited by Jack Graysmark


bidolito.co.uk

TOKIMONSTAHaving put to bed the last edition of their mystical season of themed events, everisland are already charging forward with a new agenda: bringing

the cream of the international crop to the Mersey. Los Angeles’ TOKIMONSTA deals in glitch hop, a startling sound that warps percussion, vinyl and live

instruments. It’s a tightrope that balances progressive with heritage, and it’s an incredible deviation from her humble beginnings as a classical piano pupil.

In fact, it’s an excellent example of thinking outside the box.

Camp and Furnace / 19th February

RICHARD DAWSONContemplation never was so sinister as with folk musician RICHARD DAWSON. His latest release, Nothing Important, features only four tracks,

with two of them clocking in at over sixteen minutes. Yet the deeply unsettling nature of Dawson’s lingering notes from his nylon string guitar

ensure you remain absorbed, uncertain of his next move. The sheer scale of his music’s ambition keeps him from coming across as arrogant, as

the frankness in his storytelling holds strong. This session in the Hold should be absorbing at least.

The Shipping Forecast / 18th February

THRESHOLD FESTIVAL The grassroots music and culture extravaganza that is THRESHOLD FESTIVAL continue the build-up to their fi¤h instalment with some tantalising announcements,

including headliners NUBIYAN TWIST – a twelve-piece outfit who fuse groove-driven music from around the world with soundsystem culture and jazz-inspired

improvisation. Clean Bandit’s ELIZA SHADDAD (pictured) also joins the 2015 throng alongside a unique collaboration, with NATALIE McCOOL joining electronic

duo DROHNE and the ethereal SILENT CITIES at a secret location for a veritable love triangle of musicianship. Check out thresholdfestival.co.uk for all the latest.

Baltic Triangle / 27th-29th March

THE SUNDOWNERSThe kaleidoscopic alt-rock musings of THE SUNDOWNERS were captured in Parr Street studios for their self-titled debut, produced by an impressive team

of James Skelly, Ian Skelly and Richard Turvey. The influences of what they were listening to at the time – Tame Impala, Fleetwood Mac and The Velvet

Underground to name a few – are evident, but the five-piece channel the diverse range into their own Wirral-stamped brand, which is packed full of

gorgeous harmonies. A¤er twelve months of singles and relentless touring, their live performance is sure to be tight for this LP launch show.

The Kazimier / 20th February

ORLA GARTLANDOne hundred hours of video is uploaded to YouTube every minute; si¤ through that and you can discover genuine talent, thanks to the power of this platform in

giving youngsters an audience. ORLA GARTLAND’s quirky guitar pop has now transformed from popular covers to her own releases, marking her second EP, Lonely

People, with a performance at the Arts Club. It’s a heck of a leap forward from bedroom covers but, given her reputation for animated performances, she was never

destined to remain solitary behind the camera.


LOLA COLTIt’s rare a record that seamlessly captures the full power of the live experience. However, so captivating is the psychedelic rock of LOLA COLT that their

spellbinding debut, Away In The Water, comes close. Released on Fuzz Club Records, a label that prides itself on championing raw and experimental

sounds, the band’s penchant for brooding, expansive melodies carries an enormous amount of force in the live setting, dedicated to making each set

unique to that moment. It demands your participation, if only to get lost in the haze.

The Magnet / 20th February

LIVERPOOL INTERNATIONAL JAZZ FESTIVALThe third Liverpool International Jazz Festival kicks o� this month, looking set to build on two previous fantastic editions. The event’s customary dynamic

programme is this year topped by Mercury Prize nominees GOGO PENGUIN (pictured) who, along with THE JAMES TAYLOR QUARTET, headline two Kazimier

shows, expanding the festival’s footprint away from its Capstone Theatre base. Jazz rock super-trio TROYKA and DENNIS ROLLINS’ VELOCITY TRIO also

feature as part of a line-up focussing on cutting edge jazz, creativity and innovation in music making. hope.ac.uk/lijf

Various Venues / 26th February - 1st March

FIESTA BOMBARDANever relenting in its ambition and with an ever-growing demand to meet, the carnival has its eyes set on a majestic prize: Fiesta Bombarda is kicking

o� its 2015 programme with a visit to St. George’s Hall. The vast space is sure to elevate the trademark lush sounds, while the grand architecture will be

transformed by gleaming visuals to create the ultimate party atmosphere. MUNGO’S HI FI headline, with THE FIRE BENEATH THE SEA also on the roster

along with more very special guests still to be announced.

St. George’s Hall / 21st February

bidolito.co.uk


TOKIMONSTAHaving put to bed the last edition of their mystical season of themed events, everisland are already charging forward with a new agenda: bringing Having put to bed the last edition of their mystical season of themed events, everisland are already charging forward with a new agenda: bringing Having put to bed the last edition of their mystical season of themed events, everisland are already charging forward with a new agenda: bringing

the cream of the international crop to the Mersey. Los Angeles’ TOKIMONSTA deals in glitch hop, a startling sound that warps percussion, vinyl and live the cream of the international crop to the Mersey. Los Angeles’ TOKIMONSTA deals in glitch hop, a startling sound that warps percussion, vinyl and live the cream of the international crop to the Mersey. Los Angeles’ TOKIMONSTA deals in glitch hop, a startling sound that warps percussion, vinyl and live

instruments. It’s a tightrope that balances progressive with heritage, and it’s an incredible deviation from her humble beginnings as a classical piano pupil. instruments. It’s a tightrope that balances progressive with heritage, and it’s an incredible deviation from her humble beginnings as a classical piano pupil. instruments. It’s a tightrope that balances progressive with heritage, and it’s an incredible deviation from her humble beginnings as a classical piano pupil.

In fact, it’s an excellent example of thinking outside the box.In fact, it’s an excellent example of thinking outside the box.In fact, it’s an excellent example of thinking outside the box.

Camp and Furnace / 19th FebruaryCamp and Furnace / 19th FebruaryCamp and Furnace / 19th February

RICHARD DAWSONRICHARD DAWSONRICHARD DAWSONContemplation never was so sinister as with folk musician RICHARD DAWSON. His latest release, Contemplation never was so sinister as with folk musician RICHARD DAWSON. His latest release, Contemplation never was so sinister as with folk musician RICHARD DAWSON. His latest release, Contemplation never was so sinister as with folk musician RICHARD DAWSON. His latest release, Nothing ImportantNothing Important, features only four tracks,

with two of them clocking in at over sixteen minutes. Yet the deeply unsettling nature of Dawson’s lingering notes from his nylon string guitar with two of them clocking in at over sixteen minutes. Yet the deeply unsettling nature of Dawson’s lingering notes from his nylon string guitar with two of them clocking in at over sixteen minutes. Yet the deeply unsettling nature of Dawson’s lingering notes from his nylon string guitar with two of them clocking in at over sixteen minutes. Yet the deeply unsettling nature of Dawson’s lingering notes from his nylon string guitar

ensure you remain absorbed, uncertain of his next move. The sheer scale of his music’s ambition keeps him from coming across as arrogant, as ensure you remain absorbed, uncertain of his next move. The sheer scale of his music’s ambition keeps him from coming across as arrogant, as ensure you remain absorbed, uncertain of his next move. The sheer scale of his music’s ambition keeps him from coming across as arrogant, as ensure you remain absorbed, uncertain of his next move. The sheer scale of his music’s ambition keeps him from coming across as arrogant, as

the frankness in his storytelling holds strong. This session in the Hold should be absorbing at least.the frankness in his storytelling holds strong. This session in the Hold should be absorbing at least.the frankness in his storytelling holds strong. This session in the Hold should be absorbing at least.the frankness in his storytelling holds strong. This session in the Hold should be absorbing at least.

The Shipping Forecast / 18th FebruaryThe Shipping Forecast / 18th FebruaryThe Shipping Forecast / 18th February

THRESHOLD FESTIVAL THRESHOLD FESTIVAL THRESHOLD FESTIVAL The grassroots music and culture extravaganza that is THRESHOLD FESTIVAL continue the build-up to their fi¤h instalment with some tantalising announcements, The grassroots music and culture extravaganza that is THRESHOLD FESTIVAL continue the build-up to their fi¤h instalment with some tantalising announcements, The grassroots music and culture extravaganza that is THRESHOLD FESTIVAL continue the build-up to their fi¤h instalment with some tantalising announcements,

including headliners NUBIYAN TWIST – a twelve-piece outfit who fuse groove-driven music from around the world with soundsystem culture and jazz-inspired including headliners NUBIYAN TWIST – a twelve-piece outfit who fuse groove-driven music from around the world with soundsystem culture and jazz-inspired including headliners NUBIYAN TWIST – a twelve-piece outfit who fuse groove-driven music from around the world with soundsystem culture and jazz-inspired

improvisation. Clean Bandit’s ELIZA SHADDAD (pictured) also joins the 2015 throng alongside a unique collaboration, with NATALIE McCOOL joining electronic improvisation. Clean Bandit’s ELIZA SHADDAD (pictured) also joins the 2015 throng alongside a unique collaboration, with NATALIE McCOOL joining electronic improvisation. Clean Bandit’s ELIZA SHADDAD (pictured) also joins the 2015 throng alongside a unique collaboration, with NATALIE McCOOL joining electronic

duo DROHNE and the ethereal SILENT CITIES at a secret location for a veritable love triangle of musicianship. Check out duo DROHNE and the ethereal SILENT CITIES at a secret location for a veritable love triangle of musicianship. Check out duo DROHNE and the ethereal SILENT CITIES at a secret location for a veritable love triangle of musicianship. Check out thresholdfestival.co.uk for all the latest. thresholdfestival.co.uk for all the latest. thresholdfestival.co.uk

Baltic Triangle / 27th-29th March Baltic Triangle / 27th-29th March

THE SUNDOWNERSTHE SUNDOWNERSTHE SUNDOWNERSThe kaleidoscopic alt-rock musings of THE SUNDOWNERS were captured in Parr Street studios for their self-titled debut, produced by an impressive team The kaleidoscopic alt-rock musings of THE SUNDOWNERS were captured in Parr Street studios for their self-titled debut, produced by an impressive team The kaleidoscopic alt-rock musings of THE SUNDOWNERS were captured in Parr Street studios for their self-titled debut, produced by an impressive team

of James Skelly, Ian Skelly and Richard Turvey. The influences of what they were listening to at the time – Tame Impala, Fleetwood Mac and The Velvet of James Skelly, Ian Skelly and Richard Turvey. The influences of what they were listening to at the time – Tame Impala, Fleetwood Mac and The Velvet of James Skelly, Ian Skelly and Richard Turvey. The influences of what they were listening to at the time – Tame Impala, Fleetwood Mac and The Velvet

Underground to name a few – are evident, but the five-piece channel the diverse range into their own Wirral-stamped brand, which is packed full of Underground to name a few – are evident, but the five-piece channel the diverse range into their own Wirral-stamped brand, which is packed full of Underground to name a few – are evident, but the five-piece channel the diverse range into their own Wirral-stamped brand, which is packed full of

gorgeous harmonies. A¤er twelve months of singles and relentless touring, their live performance is sure to be tight for this LP launch show. gorgeous harmonies. A¤er twelve months of singles and relentless touring, their live performance is sure to be tight for this LP launch show. gorgeous harmonies. A¤er twelve months of singles and relentless touring, their live performance is sure to be tight for this LP launch show.

The Kazimier / 20th FebruaryThe Kazimier / 20th FebruaryThe Kazimier / 20th February

ORLA GARTLANDORLA GARTLANDOne hundred hours of video is uploaded to YouTube every minute; si¤ through that and you can discover genuine talent, thanks to the power of this platform in One hundred hours of video is uploaded to YouTube every minute; si¤ through that and you can discover genuine talent, thanks to the power of this platform in One hundred hours of video is uploaded to YouTube every minute; si¤ through that and you can discover genuine talent, thanks to the power of this platform in

giving youngsters an audience. ORLA GARTLAND’s quirky guitar pop has now transformed from popular covers to her own releases, marking her second EP, giving youngsters an audience. ORLA GARTLAND’s quirky guitar pop has now transformed from popular covers to her own releases, marking her second EP, giving youngsters an audience. ORLA GARTLAND’s quirky guitar pop has now transformed from popular covers to her own releases, marking her second EP, Lonely Lonely

PeoplePeoplePeoplePeoplePeoplePeople, with a performance at the Arts Club. It’s a heck of a leap forward from bedroom covers but, given her reputation for animated performances, she was never , with a performance at the Arts Club. It’s a heck of a leap forward from bedroom covers but, given her reputation for animated performances, she was never , with a performance at the Arts Club. It’s a heck of a leap forward from bedroom covers but, given her reputation for animated performances, she was never

destined to remain solitary behind the camera. destined to remain solitary behind the camera. destined to remain solitary behind the camera.

Arts Club / 18th FebruaryArts Club / 18th February

LOLA COLTIt’s rare a record that seamlessly captures the full power of the live experience. However, so captivating is the psychedelic rock of LOLA COLT that their It’s rare a record that seamlessly captures the full power of the live experience. However, so captivating is the psychedelic rock of LOLA COLT that their It’s rare a record that seamlessly captures the full power of the live experience. However, so captivating is the psychedelic rock of LOLA COLT that their

spellbinding debut, Away In The WaterAway In The WaterAway In The WaterAway In The WaterAway In The WaterAway In The Water, comes close. Released on Fuzz Club Records, a label that prides itself on championing raw and experimental Away In The Water, comes close. Released on Fuzz Club Records, a label that prides itself on championing raw and experimental Away In The Water

sounds, the band’s penchant for brooding, expansive melodies carries an enormous amount of force in the live setting, dedicated to making each set sounds, the band’s penchant for brooding, expansive melodies carries an enormous amount of force in the live setting, dedicated to making each set sounds, the band’s penchant for brooding, expansive melodies carries an enormous amount of force in the live setting, dedicated to making each set

unique to that moment. It demands your participation, if only to get lost in the haze.unique to that moment. It demands your participation, if only to get lost in the haze.unique to that moment. It demands your participation, if only to get lost in the haze.

The Magnet / 20th FebruaryThe Magnet / 20th FebruaryThe Magnet / 20th February

LIVERPOOL INTERNATIONAL JAZZ FESTIVALLIVERPOOL INTERNATIONAL JAZZ FESTIVALLIVERPOOL INTERNATIONAL JAZZ FESTIVALLIVERPOOL INTERNATIONAL JAZZ FESTIVALThe third Liverpool International Jazz Festival kicks o� this month, looking set to build on two previous fantastic editions. The event’s customary dynamic The third Liverpool International Jazz Festival kicks o� this month, looking set to build on two previous fantastic editions. The event’s customary dynamic The third Liverpool International Jazz Festival kicks o� this month, looking set to build on two previous fantastic editions. The event’s customary dynamic The third Liverpool International Jazz Festival kicks o� this month, looking set to build on two previous fantastic editions. The event’s customary dynamic

programme is this year topped by Mercury Prize nominees GOGO PENGUIN (pictured) who, along with THE JAMES TAYLOR QUARTET, headline two Kazimier programme is this year topped by Mercury Prize nominees GOGO PENGUIN (pictured) who, along with THE JAMES TAYLOR QUARTET, headline two Kazimier programme is this year topped by Mercury Prize nominees GOGO PENGUIN (pictured) who, along with THE JAMES TAYLOR QUARTET, headline two Kazimier programme is this year topped by Mercury Prize nominees GOGO PENGUIN (pictured) who, along with THE JAMES TAYLOR QUARTET, headline two Kazimier

shows, expanding the festival’s footprint away from its Capstone Theatre base. Jazz rock super-trio TROYKA and DENNIS ROLLINS’ VELOCITY TRIO also shows, expanding the festival’s footprint away from its Capstone Theatre base. Jazz rock super-trio TROYKA and DENNIS ROLLINS’ VELOCITY TRIO also shows, expanding the festival’s footprint away from its Capstone Theatre base. Jazz rock super-trio TROYKA and DENNIS ROLLINS’ VELOCITY TRIO also shows, expanding the festival’s footprint away from its Capstone Theatre base. Jazz rock super-trio TROYKA and DENNIS ROLLINS’ VELOCITY TRIO also

feature as part of a line-up focussing on cutting edge jazz, creativity and innovation in music making.feature as part of a line-up focussing on cutting edge jazz, creativity and innovation in music making.feature as part of a line-up focussing on cutting edge jazz, creativity and innovation in music making.feature as part of a line-up focussing on cutting edge jazz, creativity and innovation in music making. hope.ac.uk/lijf

Various Venues / 26th February - 1st MarchVarious Venues / 26th February - 1st MarchVarious Venues / 26th February - 1st March

FIESTA BOMBARDAFIESTA BOMBARDAFIESTA BOMBARDANever relenting in its ambition and with an ever-growing demand to meet, the carnival has its eyes set on a majestic prize: Fiesta Bombarda is kicking Never relenting in its ambition and with an ever-growing demand to meet, the carnival has its eyes set on a majestic prize: Fiesta Bombarda is kicking Never relenting in its ambition and with an ever-growing demand to meet, the carnival has its eyes set on a majestic prize: Fiesta Bombarda is kicking

o� its 2015 programme with a visit to St. George’s Hall. The vast space is sure to elevate the trademark lush sounds, while the grand architecture will be o� its 2015 programme with a visit to St. George’s Hall. The vast space is sure to elevate the trademark lush sounds, while the grand architecture will be o� its 2015 programme with a visit to St. George’s Hall. The vast space is sure to elevate the trademark lush sounds, while the grand architecture will be

transformed by gleaming visuals to create the ultimate party atmosphere. MUNGO’S HI FI headline, with THE FIRE BENEATH THE SEA also on the roster transformed by gleaming visuals to create the ultimate party atmosphere. MUNGO’S HI FI headline, with THE FIRE BENEATH THE SEA also on the roster transformed by gleaming visuals to create the ultimate party atmosphere. MUNGO’S HI FI headline, with THE FIRE BENEATH THE SEA also on the roster

along with more very special guests still to be announced.along with more very special guests still to be announced.along with more very special guests still to be announced.

St. George’s Hall / 21st FebruarySt. George’s Hall / 21st FebruarySt. George’s Hall / 21st February




bidolito.co.uk

Reviews

DOGSHOWJacques Malchance

The Invisible Wind Factory

In a city where the Krazyhouse proclaims

itself as the ‘biggest alternative venue’, it

is perhaps understandable that the threat

of losing The Kazimier was felt with such

acute dismay amongst Liverpool's creative

community. Coming only months a¤er the

closure of MelloMello – itself a victim of the

increasing rents in the area – it felt for many

like another symptom of a city that, for all its

creative spirit and endeavour, could no longer

shield its cultural hubs against the influence of

a commercially minded property market. That a

venue with such popularity and regard as The

Kazimier could – despite its integral place in

the Liverpool music scene – even be under the

threat of closure exemplifies just how di�cult

it is to run a creative business in the heart of

the city. In amongst all the doom and gloom,

however, what many people seemed to forget is

that the creative spirit that defines these places

transcends bricks and mortar. To paraphrase Je�

Goldblum's iconic words, creativity finds a way.

Tonight, that ‘way’ manifests itself as The

Invisible Wind Factory. A space devised by a

group known as The Vision Commission, The

Invisible Wind Factory is billed as an assembly

line of light and sound set in the heart of

Liverpool's docklands, away from the prying

eyes of property developers. Trudging down

the dock road into the wind and rain, signs of

life slowly start disappearing – buildings turn

into warehouses, warehouses into even bigger

warehouses – and it is only the queue outside,

buzzing with anticipation, which indicates that

we've found the place. The space is cavernous.

Cold and industrial, it has echoes of some

underground Kreuzberg nightspot.

Upon entering the Wind Factory revellers

are greeted by a strange yet welcome sight:

keyboardist JACQUES MALCHANCE, elevated

above the throng, exhibiting his own brand

of krautrock-esque soundscapes like some

deranged hotel lobby pianist. It is perhaps

indicative of the atmosphere at this much-

anticipated opening that a crazed-looking

man playing cosmic keyboards on a platform

can serve as background music but, given the

spectacularly odd nature of the night, it merely

serves as opener.

As a concept, the space explores the idea of

culture as a manufacturable, albeit intangible,

product. Much like Motown, drawing influence

from the assembly line production of Detroit's

motor city, The Vision Commission draw influence

from Liverpool's industrial past. Utilising the

space to combine disparate artistic endeavours

– music, lights, sculpture – on a scale impractical

elsewhere in the city, the possibilities opened

up by the space are evidenced by the headline

act DOGSHOW, to mind-boggling e�ect.

Taking to the custom-built stage, suspended

by a winch and flanked by an army of light-

emitting accomplices, the punk techno two-

piece defy explanation. The show looks like

something straight out of Glastonbury's Arcadia,

a fusion of wrought metal, energy and anarchy.

The collision of lights and music, all centred

on the stage suspended twenty feet above

the ground, are all beyond impressive. This is

something special. More than anything this

night o�ers reassurance that no matter where

it moves to, or gets pushed out of, Liverpool's

creative spirit will always have a home. If only

all of them are as unique as this one.

Dave Tate

THE VOYEURSHarvest Sun @ The Shipping Forecast

Touring on the back of their new album,

Rhubarb Rhubarb, released on Heavenly

Records, NME darlings THE VOYEURS roll

into town on this nippy evening to warm

the basement here at the Shipping Forecast.

Looking impossibly and annoyingly cool, the

London-based five-piece swagger through a set

with peaks and troughs a-plenty.

The hype train has long been stationed at

Voyeur central but has clearly not accompanied

them tonight, and it appears that the band are

to perform to a room full of photographers.

Given their highly stylised appearance (think

The Horrors) this is a prospect I imagine the

group will not find at all daunting, and their



Reviews

DOGSHOWJacques Malchance

The Invisible Wind Factory

In a city where the Krazyhouse proclaims

itself as the ‘biggest alternative venue’, it

is perhaps understandable that the threat

of losing The Kazimier was felt with such

acute dismay amongst Liverpool's creative

community. Coming only months a¤er the

closure of MelloMello – itself a victim of the

increasing rents in the area – it felt for many

like another symptom of a city that, for all its

creative spirit and endeavour, could no longer

shield its cultural hubs against the influence of

a commercially minded property market. That a

venue with such popularity and regard as The

Kazimier could – despite its integral place in

the Liverpool music scene – even be under the

threat of closure exemplifies just how di�cult

it is to run a creative business in the heart of

the city. In amongst all the doom and gloom,

however, what many people seemed to forget is

that the creative spirit that defines these places

transcends bricks and mortar. To paraphrase Je�

Goldblum's iconic words, creativity finds a way.

Tonight, that ‘way’ manifests itself as The

Invisible Wind Factory. A space devised by a

group known as The Vision Commission, The

Invisible Wind Factory is billed as an assembly

line of light and sound set in the heart of

Liverpool's docklands, away from the prying

eyes of property developers. Trudging down

the dock road into the wind and rain, signs of

life slowly start disappearing – buildings turn

into warehouses, warehouses into even bigger

warehouses – and it is only the queue outside,

buzzing with anticipation, which indicates that

we've found the place. The space is cavernous.

Cold and industrial, it has echoes of some

underground Kreuzberg nightspot.

Upon entering the Wind Factory revellers

are greeted by a strange yet welcome sight:

keyboardist JACQUES MALCHANCE, elevated

above the throng, exhibiting his own brand

of krautrock-esque soundscapes like some

deranged hotel lobby pianist. It is perhaps

indicative of the atmosphere at this much-

anticipated opening that a crazed-looking

man playing cosmic keyboards on a platform

can serve as background music but, given the

spectacularly odd nature of the night, it merely

serves as opener.

As a concept, the space explores the idea of

culture as a manufacturable, albeit intangible,

product. Much like Motown, drawing influence

from the assembly line production of Detroit's

motor city, The Vision Commission draw influence

from Liverpool's industrial past. Utilising the

space to combine disparate artistic endeavours

– music, lights, sculpture – on a scale impractical

elsewhere in the city, the possibilities opened

up by the space are evidenced by the headline

act DOGSHOW, to mind-boggling e�ect.

Taking to the custom-built stage, suspended

by a winch and flanked by an army of light-

emitting accomplices, the punk techno two-

piece defy explanation. The show looks like

something straight out of Glastonbury's Arcadia,

a fusion of wrought metal, energy and anarchy.

The collision of lights and music, all centred

on the stage suspended twenty feet above

the ground, are all beyond impressive. This is

something special. More than anything this

night o�ers reassurance that no matter where

it moves to, or gets pushed out of, Liverpool's

creative spirit will always have a home. If only

all of them are as unique as this one.

Dave Tate

THE VOYEURSHarvest Sun @ The Shipping Forecast

Touring on the back of their new album,

Rhubarb Rhubarb, released on Heavenly

Records, NME darlings THE VOYEURS roll

into town on this nippy evening to warm

the basement here at the Shipping Forecast.

Looking impossibly and annoyingly cool, the

London-based five-piece swagger through a set

with peaks and troughs a-plenty.

The hype train has long been stationed at

Voyeur central but has clearly not accompanied

them tonight, and it appears that the band are

to perform to a room full of photographers.

Given their highly stylised appearance (think

The Horrors) this is a prospect I imagine the

group will not find at all daunting, and their

Dogshow (Antonio Franco / antonionfranco.net)

Rae Morris+ Fryars

The Kazimier, LiverpoolSunday 1st February 2015

Richard Dawson+ Pete Smyth (Mugstar) + Dave Owen

The Shipping Forecast, LiverpoolWednesday 18th February

JP Cooper+ Amique + Sophia Ben Yousef

The Magnet, LiverpoolSunday 22nd February

Gretchen PetersThe Epstein Theatre, Liverpool

Sunday 29th March 2015

Blue Rose Code+ Only child + Yarbo

Leaf, LiverpoolWednesday 15th April 2015

Hue & CryO2 Academy, LiverpoolSunday 19th April 2015

LauThe Epstein Theatre, Liverpool

Saturday 16th May 2015

Peggy Seeger+ Neill MacColl & Calum MacCollThe Epstein Theatre, Liverpool

Saturday 13th June 2015

Ceremony Concerts Present

TicketQuarter / See Tickets / WeGotTickets / Gigantic

Rae Morris+ Fryars

The Kazimier, LiverpoolSunday 1st February 2015

Richard DawsonRichard Dawson+ Pete Smyth (Mugstar) + Dave Owen+ Pete Smyth (Mugstar) + Dave Owen

The Shipping Forecast, LiverpoolThe Shipping Forecast, LiverpoolWednesday 18th February February

JP CooperJP Cooper+ Amique + Sophia Ben Yousef+ Amique + Sophia Ben Yousef

The Magnet, LiverpoolThe Magnet, LiverpoolSunday 22nd February February

Gretchen PetersGretchen PetersThe Epstein Theatre, LiverpoolThe Epstein Theatre, Liverpool

Sunday 29Sunday 29th March 2015 March 2015

Blue Rose CodeBlue Rose Code+ Only child + Yarbo+ Only child + Yarbo

Leaf, LiverpoolLeaf, LiverpoolWednesday 15Wednesday 15th April 2015

Hue & CryHue & CryO2 Academy, LiverpoolO2 Academy, LiverpoolSunday 19th April 2015

LauThe Epstein Theatre, Liverpool

Saturday 16th May 2015

Peggy Seeger+ Neill MacColl & Calum MacCollThe Epstein Theatre, Liverpool

Saturday 13th June 2015

Ceremony Concerts Present

TicketQuarter / See Tickets / WeGotTickets / Gigantic

performance does little to refute this thought.

Sounding a bit like a more studio-polished

Television, their songs are packed with disjointed

guitar ri�s and minimalist percussion. Indeed,

front man Charlie Boyer's lyrics show more than

a splattering of Tom Verlaine's seedy, twilight

ramblings. In no place is this more evident than

on catchy single Stunners, a song apparently

penned about a notorious transvestite strip club

in the east end.

Undoubtedly, the songs are entertaining

and interesting, having clearly been cultivated

by a collective theatrical/art-school mind-set.

However, whilst creating an image and aesthetic

for a musical project is a well-tested formula,

as the set rumbles on it becomes hard not to

adopt a jaded attitude to the overly a�ected

expressions and movements on-stage. Yes, Lou

Reed wore a turtleneck and yes, it was cool.

But he also wrote some of the best albums in

popular music. It is becoming clear why the NME

has taken such a liking to them.

Music-world-weariness aside, there are some

genuinely good songs on display, and second

single England Sings Rhubarb Rhubarb is

probably the highlight. Essentially a microcosm

of what this band are about, it encapsulates

the raw musical elements and buried pop

sensibilities that have been present throughout

the show. With a synthesised string section just

below the jagged ri�s and popping bass lines,

the track has a gloomy, cabaret quality that

would not sound out of place in aforementioned

transvestite strip club.

While the rest of the members are content

to examine their shoes, Boyer makes for an

engaging front man. Clearly this is his band but

it must be taken into consideration that their

name used to be Charlie Boyer and The Voyeurs,

and was shortened to its current length for their

latest release, signalling a shi¤ perhaps in the

songwriting dynamic.

All in all it has been a fairly forgettable

gig, overshadowed by a�ectation. Image and

branding in music is of course not always a

negative, and some of the greatest and most

inventive acts have embraced it wholeheartedly

and successfully. It is, however, a trope that

some fall into a little too deeply and eagerly,

drawing attention away from their music when

it is supposed to do exactly the opposite. A quick

glance at The Voyeurs' list of upcoming shows

suggests that they have a bright immediate

future. Tonight's performance just makes you

wonder for what aspect of their appeal the

audiences will be applauding.

Alastair Dunn

RØDHÅDMr Paul – Lauren Lo Sung

Waxxx @ Camp And Furnace

Having made his name as an a¤er-hours

specialist in the confines of Berlin’s legendary

Berghain, RØDHÅD can now count himself as a

member of the techno big league. Though he

has been part of the fabric in his home city’s

nightlife scene since the turn of the millennium,

it was not until 2012, with the launch of his

own label, that the rest of the world began to

take notice. Dystopian Records has released

tracks from newcomers like Alex Do and an

established name in Recondite but, importantly,

has been the key imprint for Rødhåd himself,

whose brand of tough, hypnotising techno has

seen his productions garner significant praise

and support from his fellow DJs.

Last year, Rødhåd debuted in Resident

Advisor’s respected Top 100 DJs list at #38,

above the likes of Je� Mills and Levon Vincent.

In this year’s poll, the results of which were

released on the eve of his Liverpool debut,

he sits at #9, testament to the way in which

his deep, atmospheric sets have hypnotised

people across the continent. Known to play for

up to ten hours on home turf, the man himself

has insisted on playing for at least three hours

for Waxxx tonight, in their new home, the

reincarnated HAUS, now situated upstairs at

Camp And Furnace.

As we enter, Waxxx resident DJ MR PAUL has

just launched into his warm-up set. Showcasing

a diverse selection of tracks from across the

techno spectrum, he e�ortlessly swings from

the groove of Alan Fitzpatrick’s Skekis to the

frantic assault of Surgeon’s Magneze.

Rødhåd’s set over the next three hours makes

it clear why he is such a universally respected DJ.

Relying less on big hitters, the focus is drawn

to his flawless, machine-like mixing and the

ease with which he creates and modulates the

atmosphere in the rave.

Though not as frantic as a set from UK acts

such as Surgeon or Dave Clarke, his sound is

tougher than many of his fellow Berghain-

dwellers such as Ben Klock or Marcel Dettmann,

but, while the kick drums hit hard, Rødhåd is

known for cra¤ing and playing techno built

around hypnotic, looping melodies. Tonight he

rolls them out with a clear mastery of his art,

on a number of occasions mixing three tracks

at once. Forget Tiësto, Castles In The Sky and

Kevin & Perry, this is real trance music, drawing

you in, lulling you, allowing a sudden change

in dynamic to hit you all the harder when he

decides it is time to move things in a di�erent

direction.

Moments that stand out as clear highlights

are notable in that they involve tracks released

through his own label, Dystopian; ø[phase]’s

remix of Rødhåd’s own Haumea, with its

juddering halt halfway through, is a perfect

example of the kind of dynamic switch-up

mentioned above but, ten minutes before the

end, it is the menacing tones of Recondite’s

EC10 that really spills drinks. Throughout the

night, despite the atmospherically cold and dark

sounds he pushes, the red-haired giant grins

from ear to ear. Seemingly lost in the music

performance does little to refute this thought.

Sounding a bit like a more studio-polished

Television, their songs are packed with disjointed

guitar ri�s and minimalist percussion. Indeed,

front man Charlie Boyer's lyrics show more than

a splattering of Tom Verlaine's seedy, twilight

ramblings. In no place is this more evident than

on catchy single Stunners, a song apparently

penned about a notorious transvestite strip club

in the east end.

Undoubtedly, the songs are entertaining

and interesting, having clearly been cultivated

by a collective theatrical/art-school mind-set.

However, whilst creating an image and aesthetic

for a musical project is a well-tested formula,

as the set rumbles on it becomes hard not to

adopt a jaded attitude to the overly a�ected

expressions and movements on-stage. Yes, Lou

Reed wore a turtleneck and yes, it was cool.

But he also wrote some of the best albums in

popular music. It is becoming clear why the NME

has taken such a liking to them.

Music-world-weariness aside, there are some

genuinely good songs on display, and second

single England Sings Rhubarb RhubarbEngland Sings Rhubarb Rhubarb is

probably the highlight. Essentially a microcosm

of what this band are about, it encapsulates

the raw musical elements and buried pop

sensibilities that have been present throughout

the show. With a synthesised string section just

below the jagged ri�s and popping bass lines,

the track has a gloomy, cabaret quality that

would not sound out of place in aforementioned

transvestite strip club.

While the rest of the members are content

to examine their shoes, Boyer makes for an

engaging front man. Clearly this is his band but

it must be taken into consideration that their

name used to be Charlie Boyer and The Voyeurs,

and was shortened to its current length for their

latest release, signalling a shi¤ perhaps in the

songwriting dynamic.

All in all it has been a fairly forgettable

gig, overshadowed by a�ectation. Image and

branding in music is of course not always a

negative, and some of the greatest and most

inventive acts have embraced it wholeheartedly

and successfully. It is, however, a trope that

some fall into a little too deeply and eagerly,

drawing attention away from their music when

it is supposed to do exactly the opposite. A quick

glance at The Voyeurs' list of upcoming shows

suggests that they have a bright immediate

future. Tonight's performance just makes you

wonder for what aspect of their appeal the

audiences will be applauding.

Alastair Dunn

RØDHÅDMr Paul – Lauren Lo Sung

Waxxx @ Camp And Furnace

Having made his name as an a¤er-hours

specialist in the confines of Berlin’s legendary

Berghain, RØDHÅD can now count himself as a

member of the techno big league. Though he

has been part of the fabric in his home city’s

nightlife scene since the turn of the millennium,

it was not until 2012, with the launch of his

own label, that the rest of the world began to

take notice. Dystopian Records has released

tracks from newcomers like Alex Do and an

established name in Recondite but, importantly,

has been the key imprint for Rødhåd himself,

whose brand of tough, hypnotising techno has

seen his productions garner significant praise

and support from his fellow DJs.

Last year, Rødhåd debuted in Resident

Advisor’s respected Top 100 DJs list at #38,

above the likes of Je� Mills and Levon Vincent.

In this year’s poll, the results of which were

released on the eve of his Liverpool debut,

he sits at #9, testament to the way in which

his deep, atmospheric sets have hypnotised

people across the continent. Known to play for

up to ten hours on home turf, the man himself

has insisted on playing for at least three hours

for Waxxx tonight, in their new home, the

reincarnated HAUS, now situated upstairs at

Camp And Furnace.

As we enter, Waxxx resident DJ MR PAUL has

just launched into his warm-up set. Showcasing

a diverse selection of tracks from across the

techno spectrum, he e�ortlessly swings from

the groove of Alan Fitzpatrick’s Skekis to the

frantic assault of Surgeon’s Magneze.

Rødhåd’s set over the next three hours makes

it clear why he is such a universally respected DJ.

Relying less on big hitters, the focus is drawn

to his flawless, machine-like mixing and the

ease with which he creates and modulates the

atmosphere in the rave.

Though not as frantic as a set from UK acts

such as Surgeon or Dave Clarke, his sound is

tougher than many of his fellow Berghain-

dwellers such as Ben Klock or Marcel Dettmann,

but, while the kick drums hit hard, Rødhåd is

known for cra¤ing and playing techno built

around hypnotic, looping melodies. Tonight he

rolls them out with a clear mastery of his art,

on a number of occasions mixing three tracks

at once. Forget Tiësto, Castles In The Sky and

Kevin & Perry, this is real trance music, drawing

you in, lulling you, allowing a sudden change

in dynamic to hit you all the harder when he

decides it is time to move things in a di�erent

direction.

Moments that stand out as clear highlights

are notable in that they involve tracks released

through his own label, Dystopian; ø[phase]’s

remix of Rødhåd’s own Haumea, with its

juddering halt halfway through, is a perfect

example of the kind of dynamic switch-up

mentioned above but, ten minutes before the

end, it is the menacing tones of Recondite’s

EC10 that really spills drinks. Throughout the

night, despite the atmospherically cold and dark

sounds he pushes, the red-haired giant grins

from ear to ear. Seemingly lost in the music

FEBRUARYCLUB

RAE MORRIS £11

Womenfolk Tour 2015 KATHRYN WILLIAMS, MAZ O’CONNOR, GEORGIA RUTH £10

ABANDON SILENCE 5:3 w/ FCL (SAN SODA & RED D) £14

SPEAKEASY SPEAKEASY feat. THE DUB PISTOLS £13

THE WAVE PICTURES £9

ITCHY FEET £8

KATE TEMPEST £12.50

THE SUNDOWNERS £8

BLOSSOMS w/THE VRYLL SOCIETY £7

LIVERPOOL INTERNATIONAL JAZZ LIVERPOOL INTERNATIONAL JAZZ FESTIVAL - GOGO PENGUIN £11

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Bido Lito! February 2015 23Reviews

as if he were one of the crowd, tonight those

assembled can count themselves lucky he’s the

one behind the decks.

Rob Syme / @rsx1989

THE CRAIG CHARLES FUNK AND SOUL SHOW

Chibuku @ The Shipping Forecast

Perhaps better known by some as “that bloke

from Robot Wars” or, even more likely, “that

Scouser from Red Dwarf”, to the enlightened

Craig Charles is now, and has been for some

time, better known for his reinvention as “THE

bloke for funk and soul”. Thanks to his weekly

BBC 6Music slot and his quasi-legendary club

night, his name has turned into a byword for a

good night out. Indeed, amongst certain friends

of mine THE CRAIG CHARLES FUNK AND SOUL

SHOW has become something of an inescapable

tradition. Even for those who prefer their beats

mechanised and their vibes decidedly darker,

there's something undeniable about the joy

Charles manages to bring to dancefloors that

keeps bringing them back. Maybe it's his

well-documented (just have a quick YouTube)

enthusiasm behind the decks, maybe it's his

encyclopaedic knowledge of the genre or

maybe it's just his knack for pulling out just the

right song at the right moment. Whatever the

case is, it's not o¤en an opportunity gets passed

up to see him perform.

Despite Charles being a frequent fixture on

the club circuit in Liverpool and Manchester, the

popularity of his night is unwavering and they

usually sell out well in advance – many is the

time I've been le¤ ruing my slow trigger finger.

Fortunately tonight, armed with my reviewer’s

credentials, I've managed to wangle a spot

aboard the funk and soul express.

The Shipping Forecast is packed to the ra¤ers

by the time we arrive but, thanks to the space

o�ered by both floors, never feels overcrowded.

Allowing the occasional breather when things

get a bit too hot on the dancefloor is much

appreciated, unlike many of the sold-out nights

in the underground stage. This being Boxing

Day, the atmosphere is decidedly festive from

the get-go but that certainly doesn't stop Charles

trying to turn it up a notch or two. Armed with

his collection of well-known favourites, rare

edits and remixes, the dancefloor is in the thrall

of his bass-heavy set. Mixing things up between

the more familiar – Marvin Gaye, Jackson 5 –

while throwing in a few more obscure choices

means there's enough to keep everyone happy,

from the ardent fan to the casual listener. It

may not be DJ Harvey, dropping obscure psych-

disco from Japan, but Charles has a way of

wringing something new out of even the most

overplayed classics, making them sound fresh

and enjoyable to even the most cynical of ears,

keeping people coming back year on year. If he

keeps up his enthusiasm, I certainly know I'll be

back for more.

Dave Tate

JEAN JEAN Chasing Traits - We Could be

Astronauts - Singapore StrategyMonster Sound Collective @ Maguire’s Pizza Bar

Mathcore fans rejoice! Toxteth-born

promoters Monster Sound Collective aim to

promote alternative, experimental and hungry

new sounds in Liverpool, and their regular

night Chaos goes a long way to achieving this.

The group are fast earning recognition from a

new legion of fans of anything from metal to

mathcore, prog to post-hardcore. There could be

no better place for this gig than the basement-

party-esque confines of the backroom in

Maguire’s Pizza Bar. With a line-up that boasts

artists from across Europe, what new noises are

we about to be treated to?

First up are SINGAPORE STRATEGY, fresh from

a twelve month hiatus. These guys can be

regarded as one of the very finest of their genre

in Liverpool, and many in the crowd are here

to see what changes have come about since

their break. It has to firstly be said that they are

much, much tighter than a band should be a¤er

such a long absence from the live scene. They

manage to expertly switch between blasting

Maybeshewill and Colour post-rock ri�s with

the belting math-core beats we’d expect on the

night, and delicate, glittering moments of echo-

arpeggio guitar bliss. Emilio Pinchi’s admirable

ability to play bass with one hand and keyboard

with the other gives their sound a depth that

couldn’t necessarily be expected from a three-

piece. Drummer Nathan Price deserves special

praise as one of the best live drummers we’ve

seen in a good while- and he clearly enjoys

every moment of the set as he drips with sweat

by the end.

Next on are the Leicester, Leeds and Liverpool-

based quartet WE COULD BE ASTRONAUTS.

Immediate comparisons to Blackened Sky

and Vertigo Of Bliss-era Bi�y Clyro are obvious,

with tightly-tearing guitar and shrieking vocals

combining to give the unique and solid style

they describe themselves as having. Slightly

more embryonic and a little less fully-formed

than the previous act, these guys nonetheless

deliver a powerful and enjoyable dose of

alternative post-prog that keeps the crowd lively

and the heads banging.

Final support comes from CHASING TRAITS,

who take to the stage to much anticipation.

Arguably a more recognisable name than

Bido Lito! February 2015 23Reviews

as if he were one of the crowd, tonight those

assembled can count themselves lucky he’s the

one behind the decks.

Rob Syme / @rsx1989

THE CRAIG CHARLES FUNK AND SOUL SHOW

Chibuku @ The Shipping Forecast

Perhaps better known by some as “that bloke

from Robot Wars” or, even more likely, “that

Scouser from Red Dwarf”, to the enlightened

Craig Charles is now, and has been for some

time, better known for his reinvention as “THE

bloke for funk and soul”. Thanks to his weekly

BBC 6Music slot and his quasi-legendary club

night, his name has turned into a byword for a

good night out. Indeed, amongst certain friends

of mine THE CRAIG CHARLES FUNK AND SOUL

SHOW has become something of an inescapable

tradition. Even for those who prefer their beats

mechanised and their vibes decidedly darker,

there's something undeniable about the joy

Charles manages to bring to dancefloors that

keeps bringing them back. Maybe it's his

well-documented (just have a quick YouTube)

enthusiasm behind the decks, maybe it's his

encyclopaedic knowledge of the genre or

maybe it's just his knack for pulling out just the

right song at the right moment. Whatever the

case is, it's not o¤en an opportunity gets passed

up to see him perform.

Despite Charles being a frequent fixture on

the club circuit in Liverpool and Manchester, the

popularity of his night is unwavering and they

usually sell out well in advance – many is the

time I've been le¤ ruing my slow trigger finger.

Fortunately tonight, armed with my reviewer’s

credentials, I've managed to wangle a spot

aboard the funk and soul express.

The Shipping Forecast is packed to the ra¤ers

by the time we arrive but, thanks to the space

o�ered by both floors, never feels overcrowded.

Allowing the occasional breather when things

get a bit too hot on the dancefloor is much

appreciated, unlike many of the sold-out nights

in the underground stage. This being Boxing

Day, the atmosphere is decidedly festive from

the get-go but that certainly doesn't stop Charles

trying to turn it up a notch or two. Armed with

his collection of well-known favourites, rare

edits and remixes, the dancefloor is in the thrall

of his bass-heavy set. Mixing things up between

the more familiar – Marvin Gaye, Jackson 5 –

while throwing in a few more obscure choices

means there's enough to keep everyone happy,

from the ardent fan to the casual listener. It

may not be DJ Harvey, dropping obscure psych-

disco from Japan, but Charles has a way of

wringing something new out of even the most

overplayed classics, making them sound fresh

and enjoyable to even the most cynical of ears,

keeping people coming back year on year. If he

keeps up his enthusiasm, I certainly know I'll be

back for more.

Dave Tate



JEAN JEAN Astronauts - Singapore Strategy

Monster Sound Collective @ Maguire’s Pizza Bar

Mathcore fans rejoice! Toxteth-born

promoters Monster Sound Collective aim to

promote alternative, experimental and hungry

new sounds in Liverpool, and their regular

night Chaos goes a long way to achieving this.

The group are fast earning recognition from a

new legion of fans of anything from metal to

mathcore, prog to post-hardcore. There could be

no better place for this gig than the basement-

party-esque confines of the backroom in

Maguire’s Pizza Bar. With a line-up that boasts

artists from across Europe, what new noises are

we about to be treated to?

First up are SINGAPORE STRATEGY, fresh from

a twelve month hiatus. These guys can be

regarded as one of the very finest of their genre

in Liverpool, and many in the crowd are here

to see what changes have come about since

their break. It has to firstly be said that they are

much, much tighter than a band should be a¤er

such a long absence from the live scene. They

manage to expertly switch between blasting

Maybeshewill and Colour post-rock ri�s with

the belting math-core beats we’d expect on the

night, and delicate, glittering moments of echo-

arpeggio guitar bliss. Emilio Pinchi’s admirable

ability to play bass with one hand and keyboard

with the other gives their sound a depth that

couldn’t necessarily be expected from a three-

piece. Drummer Nathan Price deserves special

praise as one of the best live drummers we’ve

seen in a good while- and he clearly enjoys

every moment of the set as he drips with sweat

by the end.

Next on are the Leicester, Leeds and Liverpool-

based quartet WE COULD BE ASTRONAUTS.

Immediate comparisons to Blackened Sky

and Vertigo Of Bliss-era Bi�y Clyro are obvious,

with tightly-tearing guitar and shrieking vocals

combining to give the unique and solid style

they describe themselves as having. Slightly

more embryonic and a little less fully-formed

than the previous act, these guys nonetheless

deliver a powerful and enjoyable dose of

alternative post-prog that keeps the crowd lively

and the heads banging.

Final support comes from CHASING TRAITS,

who take to the stage to much anticipation.

Arguably a more recognisable name than


bidolito.co.uk

Reviews

the previous acts due to the success of their

debut EP, Enigma, their sound is distinctly

ambient, addictively melodic and swimming in

dreamscape reverb. Luke Scrivens' vocals have a

distant echo, whilst James Taylor’s smooth bass

collides and swirls with well-placed xylophone

chimes and powerful half-time beats. Born from

the ever-expanding alternative Stoke scene, the

band’s Liverpool debut leaves a lasting e�ect on

an audience torn between melancholy sadness

and pumped-up excitement in equal measure.

The Northern-France based JEAN JEAN

immediately burst into the ri�-heavy and

crescendo-laden sound that has rightly led to

acclaim from Musical Mathematics and many new

fans across Europe. This is their first UK tour, and

it becomes immediately apparent that, although

entirely instrumental, their songs have deep

passion and meaning behind them. The absence

of vocals lets their instruments do the talking.

Emotions are evoked according to the title and

theme of each song, a bizarre and unusual feeling,

but Jean Jean achieve it with their instruments as

a painter does with his brush. Crunching guitar

and fuzzy bass dances with bubbly keyboard

hooks and euphoric moments of synthesised

bliss. Inspired by And So I Watch You From Afar,

and reminiscent of something between Converge

and Dona Confuse, this show displays much

promise from a band who are doing more than

their fair share to firmly put the alternative-rock

scene back on the UK musical map.

Chris Hughes

JOHN GRANT AND THE ROYAL NORTHERN SINFONIA

Philharmonic Hall

Say what you want about JOHN GRANT (he’s

probably said worse), but the man does not

lack ambition. A¤er disbanding The Czars, the

Canadian worked as a backing musician with

Midlake and Flaming Lips before launching

into a critically lauded solo career producing

inventive and candid baroque pop with synth-

driven confessionals to rival 80s Cohen or

any contemporaries. The latest gauntlet that

the restless songwriter has thrown down for

himself is to amplify his sterling back catalogue

with a full orchestra.

Liverpool has always welcomed Grant with

open arms, from an intimate gig at Static

Gallery, to a sell-out show at the Arts Club in

2013, and he receives an equally warm reception

tonight at the newly refurbished Philharmonic

Hall. Backed by Gateshead’s Royal Northern

Sinfonia, Grant’s challenge tonight involves re-

arranging some of his old favourites as well as

showcasing four songs prepared especially for

this evening’s occasion.

The first few songs slightly struggle in a tug of

war between the intimate and the epic. Grant’s

frank lyrics delivered in his trademark baritone

are at times swallowed by the Sinfonia’s soaring

sound, although the synth solo on Pretend To

Care and the brass parts of It’s Easier promise

much.

Everything soon falls into place for Marz. This

early set highlight excels thanks to a key change

to display Grant’s impressive range but some

glitches with the lights still prove distracting.

However, we see the event’s raison d’être in the

deeply personal moments being enlarged to the

universal via building, elevated arrangements.

The bar is raised further with the dramatic,

stringed intro to the title track from 2013’s

stellar album, Pale Green Ghosts. The song

really benefits from the theatrical bombasticity

of the setting and from here Grant’s legend

is further established. New tracks No More

Tangles and Geraldine are more than worthy of

the ambitious set-up but it is the atmospheric

Black Blizzard which proves to be the pick of the

bunch, perfectly utilising the climactic ascents

of the Sinfonia and keyboard wizardry of Chris

Pemberton.

Predictably, GMF gets one of the best

receptions of the night and deservedly so. A song

of rare self-belief rather than flagellation from a

man who has clearly got some committed fans,

two of whom travelled from the States for this

evening’s show and gi¤ed Grant a Sigourney

Weaver doll. Encores Queen Of Denmark and

the wonderfully poetic Glacier end the night on

a high; a near-two hour set without intermission

is engaging throughout and forces one to

excitedly wonder what Grant is capable of next.

Sam Turner / @samturner1984

MYTHOPOEIA IIThe Kazimier

Deciding what to do on New Year’s Eve is

o¤en a contentious issue: going out, staying

in, midnight kisses and resolutions... all that

nonsense equals too many decisions to make,

right? Wrong, because like an upmarket musical

travel agent, STEALING SHEEP have made those

hard decisions easy for you and it comes in the

form of Mythopoeia II, the second instalment

of the group’s wonderfully creative psychedelic

club night. The theme this year is Galaxies

and Tapestries and, as people start to filter

into The Kazimier, it is still pretty hard to really

understand what that truly entails. Fairy lights

are draped around heads, glitter hangs in the air

like morning fog and face paint drips into sweat

as the night and music begin.

What’s brilliant about The Kazimier is its scope

for variety. With its nooks and crannies aplenty it

is perfect for an event like this. Before midnight

the small stages inside and outside the venue

awaken. ENGINE DJs bring the Garden’s Rat

Alley to life and Leeds-based afrobeat outfit

AZORES pave the way for a fantastic evening

in the club’s main space. Without time for us to

catch a breath and with only just enough time

to get another pint in, the party hosts Stealing

Sheep take to the stage blasting through their

new album. Their music is perfectly placed in

the surreal, colourful and vibrant surroundings



Reviews

the previous acts due to the success of their

debut EP, EnigmaEnigma, their sound is distinctly

ambient, addictively melodic and swimming in

dreamscape reverb. Luke Scrivens' vocals have a

distant echo, whilst James Taylor’s smooth bass

collides and swirls with well-placed xylophone

chimes and powerful half-time beats. Born from

the ever-expanding alternative Stoke scene, the

band’s Liverpool debut leaves a lasting e�ect on

an audience torn between melancholy sadness

and pumped-up excitement in equal measure.

The Northern-France based JEAN JEAN

immediately burst into the ri�-heavy and

crescendo-laden sound that has rightly led to

acclaim from Musical Mathematics and many new

fans across Europe. This is their first UK tour, and

it becomes immediately apparent that, although

entirely instrumental, their songs have deep

passion and meaning behind them. The absence

of vocals lets their instruments do the talking.

Emotions are evoked according to the title and

theme of each song, a bizarre and unusual feeling,

but Jean Jean achieve it with their instruments as

a painter does with his brush. Crunching guitar

and fuzzy bass dances with bubbly keyboard

hooks and euphoric moments of synthesised

bliss. Inspired by And So I Watch You From Afar,

and reminiscent of something between Converge

and Dona Confuse, this show displays much

promise from a band who are doing more than

their fair share to firmly put the alternative-rock

scene back on the UK musical map.

Chris Hughes

JOHN GRANT AND THE ROYAL NORTHERN SINFONIA

Philharmonic Hall

Say what you want about JOHN GRANT (he’s

probably said worse), but the man does not

lack ambition. A¤er disbanding The Czars, the

Canadian worked as a backing musician with

Midlake and Flaming Lips before launching

into a critically lauded solo career producing

inventive and candid baroque pop with synth-

driven confessionals to rival 80s Cohen or

any contemporaries. The latest gauntlet that

the restless songwriter has thrown down for

himself is to amplify his sterling back catalogue

with a full orchestra.

Liverpool has always welcomed Grant with

open arms, from an intimate gig at Static

Gallery, to a sell-out show at the Arts Club in

2013, and he receives an equally warm reception

tonight at the newly refurbished Philharmonic

Hall. Backed by Gateshead’s Royal Northern

Sinfonia, Grant’s challenge tonight involves re-

arranging some of his old favourites as well as

showcasing four songs prepared especially for

this evening’s occasion.

The first few songs slightly struggle in a tug of

war between the intimate and the epic. Grant’s

frank lyrics delivered in his trademark baritone

are at times swallowed by the Sinfonia’s soaring

sound, although the synth solo on Pretend To

Care and the brass parts of It’s Easier promise

much.

Everything soon falls into place for Marz. This

early set highlight excels thanks to a key change

to display Grant’s impressive range but some

glitches with the lights still prove distracting.

However, we see the event’s raison d’être in the

deeply personal moments being enlarged to the

universal via building, elevated arrangements.

The bar is raised further with the dramatic,

stringed intro to the title track from 2013’s

stellar album, Pale Green Ghosts. The song

really benefits from the theatrical bombasticity

of the setting and from here Grant’s legend

is further established. New tracks No More

TanglesTangles and Geraldine are more than worthy of

the ambitious set-up but it is the atmospheric

Black Blizzard which proves to be the pick of the

bunch, perfectly utilising the climactic ascents

of the Sinfonia and keyboard wizardry of Chris

Pemberton.

Predictably, GMF gets one of the best gets one of the best

receptions of the night and deservedly so. A song

of rare self-belief rather than flagellation from a

man who has clearly got some committed fans,

two of whom travelled from the States for this

evening’s show and gi¤ed Grant a Sigourney

Weaver doll. Encores Queen Of DenmarkQueen Of Denmark and Queen Of Denmark and Queen Of Denmark

the wonderfully poetic Glacier end the night on

a high; a near-two hour set without intermission

is engaging throughout and forces one to

excitedly wonder what Grant is capable of next.

Sam Turner / @samturner1984

MYTHOPOEIA IIThe Kazimier

Deciding what to do on New Year’s Eve is

o¤en a contentious issue: going out, staying

in, midnight kisses and resolutions... all that

nonsense equals too many decisions to make,

right? Wrong, because like an upmarket musical

travel agent, STEALING SHEEP have made those

hard decisions easy for you and it comes in the

form of Mythopoeia II, the second instalment

of the group’s wonderfully creative psychedelic

club night. The theme this year is Galaxies

and Tapestries and, as people start to filter

into The Kazimier, it is still pretty hard to really

understand what that truly entails. Fairy lights

are draped around heads, glitter hangs in the air

like morning fog and face paint drips into sweat

as the night and music begin.

What’s brilliant about The Kazimier is its scope

for variety. With its nooks and crannies aplenty it

is perfect for an event like this. Before midnight

the small stages inside and outside the venue

awaken. ENGINE DJs bring the Garden’s Rat

Alley to life and Leeds-based afrobeat outfit

AZORES pave the way for a fantastic evening

in the club’s main space. Without time for us to

catch a breath and with only just enough time

to get another pint in, the party hosts Stealing

Sheep take to the stage blasting through their

new album. Their music is perfectly placed in

the surreal, colourful and vibrant surroundings

John Grant (Keith Ainsworth / arkimages.co.uk)


bidolito.co.uk

Reviews

and the tracks they play are tighter and much

more mature than anything heard from them

previously. The crowd check their watches as the

set leads into the main event.

Mythopoeia is a creation of fictional

mythology and tonight in The Kazimier we

are truly engrossed and submerged into

the narrative of the evening. Planets hover

overhead and painted bodies dance across

the stage as music blasts out into the sea of

limbs. The Mythopoeia show takes us by the

hand and guides us through time and space

before seamlessly moving into an obligatory

countdown as the night and the year evolve

into something very special. Whilst hugs and

kisses die down, the music continues to thrive

with Liverpool’s very own BARBEROS providing

a wall of sound that truly welcomes The

Kazimier into 2015.

Tonight’s festivities show that Liverpool needs

The Kazimier. With rumblings of the venues

closure staying firmly in 2014, Stealing Sheep

and The Kazimier have moved forward, providing

an evening of sheer psychedelic delight. As the

houselights come up at four in the morning,

smudged faces smile and lipsticked mouths

holler out for more. Stealing Sheep and friends

have created a legendary narrative that will

live on. This evening is living proof that there is

nowhere better in Liverpool to welcome in the

New Year.

Paddy Hughes / @paddyhughes89

MELLOWTONE 10Leaf

It doesn’t seem possible that Mellowtone

have been “quietly creating a stir” for all of a

decade now, but Dave McTague and the tight-

knit, dedicated team that form the nucleus of

Mellowtone have been doing just that with

their moveable feast of events promoting the

more laid-back, acoustic side of the city’s music

scene.

To mark the occasion they have assembled

a line-up of Mellowtone luminaries tonight

for a celebratory performance that goes hand

in hand with the Mellowtone 10 compilation

album. The first half of the show is designed to

showcase as many of these artists as possible,

with each playing a two-song set. This on-o�,

on-o� scenario works really well in a party

atmosphere, allowing the partygoers a chance

to enjoy some fabulous live music whilst not

being restrained from revelry for too long.

The live acts themselves are suitably varied,

from the more traditional singer/songwriter

storytelling of DAVE O’GRADY, whose rich vocal

soars over a punchy acoustic rhythm, through

the southern rock/gospel-infused stomp of

KAYA, beautifully backed by Jazamin Sinclair and

Jodie Schofield, to the sublime vocal and guitar

playing of NICK ELLIS, whose second song,

St. David’s Day, provides the highlight of the

evening. The song gradually rises to a crescendo,

fading and soaring along the way, the vocal and

guitar drenched in echo and reverb, which lends

a depth and texture that carries the song above

and beyond the traditional, propelling it into

the realms of a psych soundscape. Ellis ends

the song on his knees, adding a final flourish

of guitar e�ects as the sound fades, but this is a

towering performance.

SILENT SLEEP round o� the first half and

appear a little distracted by the level of

background noise in the room, Chris McIntosh

introducing their second song as “the quietest

song we’ve ever written, so please listen”. I

can’t say the level of noise drops any, but they

appear unperturbed and the song they deliver,

Everything I Own, is shot through with lovely

Fleet Foxes harmonies, strong melody and

nimble fretwork.

The room buzzes with conversation and

laughter, even during a brief technical delay,

before Mellowtone ‘supergroup’ THE PRELUDE/

ATLANTIC MASSEY hit the stage running, with the

Pogues-like A Drunken Death followed by the

song Butchers Son, which is a thinly disguised

version of Steve Earles Copperhead Road, but

none the worse for it.

A¤er jokingly haranguing Mellowtone for

always putting them on on a Wednesday

night (not good for drinking, apparently!) they

quieten things down with a few Irish-inflected

ballads, which sees one young couple indulging

in a “last chance at the disco” clinch on the

dancefloor. The interplay between guitarists

Garvan Cosgrove, Charlie Mullan and Aidan

McTeer is exquisitely balanced and is beautifully

embellished by Marian Bonner’s fiddle-playing

and passages of delicate mandolin. The set

builds back up to a rousing, raucous finale that

has the crowd clapping and singing along.

Beaten Tracks carry the party on into the night,

dance moves breaking out all over the room.

Don’t let the name fool you – a Mellowtone

party isn’t THAT mellow.

Perhaps the legacy of Mellowtone’s first ten

years can best be summed up by Paul Straws,

whose beautifully performed song, You’ve

Always Got A Home, contains the repeated

refrain “you’re always wanted here”.

Glyn Akroyd

BILL RYDER-JONESSaint Saviour

Harvest Sun @ The Kazimier

I definitely know what I want for next

Christmas now: a flat-pack orchestra. Preferably

one I can fold out for parties serving

champagne over spritzer, then seal back up

Bido Lito! February 201526 Reviews

and the tracks they play are tighter and much

more mature than anything heard from them

previously. The crowd check their watches as the

set leads into the main event.

Mythopoeia is a creation of fictional

mythology and tonight in The Kazimier we

are truly engrossed and submerged into

the narrative of the evening. Planets hover

overhead and painted bodies dance across

the stage as music blasts out into the sea of

limbs. The Mythopoeia show takes us by the

hand and guides us through time and space

before seamlessly moving into an obligatory

countdown as the night and the year evolve

into something very special. Whilst hugs and

kisses die down, the music continues to thrive

with Liverpool’s very own BARBEROS providing

a wall of sound that truly welcomes The

Kazimier into 2015.

Tonight’s festivities show that Liverpool needs

The Kazimier. With rumblings of the venues

closure staying firmly in 2014, Stealing Sheep

and The Kazimier have moved forward, providing

an evening of sheer psychedelic delight. As the

houselights come up at four in the morning,

smudged faces smile and lipsticked mouths

holler out for more. Stealing Sheep and friends

have created a legendary narrative that will

live on. This evening is living proof that there is

nowhere better in Liverpool to welcome in the

New Year.

Paddy Hughes / @paddyhughes89

MELLOWTONE 10Leaf

It doesn’t seem possible that Mellowtone

have been “quietly creating a stir” for all of a

decade now, but Dave McTague and the tight-

knit, dedicated team that form the nucleus of

Mellowtone have been doing just that with

their moveable feast of events promoting the

more laid-back, acoustic side of the city’s music

scene.

To mark the occasion they have assembled

a line-up of Mellowtone luminaries tonight

for a celebratory performance that goes hand

in hand with the Mellowtone 10 compilation compilation

album. The first half of the show is designed to

showcase as many of these artists as possible,

with each playing a two-song set. This on-o�,

on-o� scenario works really well in a party

atmosphere, allowing the partygoers a chance

to enjoy some fabulous live music whilst not

being restrained from revelry for too long.

The live acts themselves are suitably varied,

from the more traditional singer/songwriter

storytelling of DAVE O’GRADY, whose rich vocal

soars over a punchy acoustic rhythm, through

the southern rock/gospel-infused stomp of

KAYA, beautifully backed by Jazamin Sinclair and

Jodie Schofield, to the sublime vocal and guitar

playing of NICK ELLIS, whose second song,

St. David’s DaySt. David’s Day, provides the highlight of the St. David’s Day, provides the highlight of the St. David’s Day

evening. The song gradually rises to a crescendo,

fading and soaring along the way, the vocal and

guitar drenched in echo and reverb, which lends

a depth and texture that carries the song above

and beyond the traditional, propelling it into

the realms of a psych soundscape. Ellis ends

the song on his knees, adding a final flourish

of guitar e�ects as the sound fades, but this is a

towering performance.

SILENT SLEEP round o� the first half and

appear a little distracted by the level of

background noise in the room, Chris McIntosh

introducing their second song as “the quietest

song we’ve ever written, so please listen”. I

can’t say the level of noise drops any, but they

appear unperturbed and the song they deliver,

Everything I OwnEverything I Own, is shot through with lovely

Fleet Foxes harmonies, strong melody and

nimble fretwork.

The room buzzes with conversation and

laughter, even during a brief technical delay,

before Mellowtone ‘supergroup’ THE PRELUDE/

ATLANTIC MASSEY hit the stage running, with the

Pogues-like A Drunken Death followed by the

song Butchers Son, which is a thinly disguised

version of Steve Earles Copperhead Road, but

none the worse for it.

A¤er jokingly haranguing Mellowtone for

always putting them on on a Wednesday

night (not good for drinking, apparently!) they

quieten things down with a few Irish-inflected

ballads, which sees one young couple indulging

in a “last chance at the disco” clinch on the

dancefloor. The interplay between guitarists

Garvan Cosgrove, Charlie Mullan and Aidan

McTeer is exquisitely balanced and is beautifully

embellished by Marian Bonner’s fiddle-playing

and passages of delicate mandolin. The set

builds back up to a rousing, raucous finale that

has the crowd clapping and singing along.

Beaten Tracks carry the party on into the night,

dance moves breaking out all over the room.

Don’t let the name fool you – a Mellowtone

party isn’t THAT mellow.

Perhaps the legacy of Mellowtone’s first ten

years can best be summed up by Paul Straws,

whose beautifully performed song, You’ve

Always Got A HomeAlways Got A Home, contains the repeated

refrain “you’re always wanted here”.

Glyn Akroyd



BILL RYDER-JONESHarvest Sun @ The Kazimier

I definitely know what I want for next

Christmas now: a flat-pack orchestra. Preferably

one I can fold out for parties serving

champagne over spritzer, then seal back up

Dave O'Grady (Glyn Akroyd)

BOOK NOW: 0161 832 1111facebook.com/manchesteracademy @MancAcademy

www.manchesteracdemy.net www.gigantic.com

Oxford Road, Manchester M13 9PR • Tel: 0161 275 2930For full listings check out: www.manchesteracademy.net

King Creosote Tuesday 27th January

Gus G (Firewind/Ozzy Osbourne) Saturday 21st February

Hardcore Superstar Saturday 14th March

Orphan Boy Saturday 14th March (at The Ruby Lounge)

Tragedy All Metal Tribute to The Bee Gees Sunday 15th March

Gun Friday 27th March

Laibach Friday 3rd April

Evil Blizzard Saturday 18th April (at The Ruby Lounge)

Sleaford Mods Friday 15th May

Sugarhill Gang + Grandmaster Flash Saturday 8th August

BidoLito.148x117.MASTER.indd 1 15/01/2015 10:26

Sunday 1st at the Kazimier

RAE MORRIS plus special guest support - FRYARS A collaboration with Ceremony Concerts & Harvest Sun,14+ gig, Doors 8pm, £11adv.

Friday 6th at the Scandinavian Church

RED SAILS (release party)NICK ELLIS JOHN CANNING YATES (EX ELLA GURU)DJ BERNIE CONNOR (THE SOUND OF MUSIC) Plus visuals & stage design by LAURA LOMAX & KIERAN MAGUIRE Doors 8pm, Limited £7adv tickets available, £10 on the door. Bring your own drinks.

Wednesday 18th at the Shipping Forecast Mellowtone & Ceremony Concerts present

RICHARD DAWSON PETE SMYTH (MUGSTAR)DAVE OWEN plus BEATEN TRACKS DJS

Doors 8pm, £8adv

Sunday 22nd at the Magnet Mellowtone & Ceremony Concerts present

JP COOPERAMIQUE

SOPHIA BEN YOUSEF plus BEATEN TRACKS DJS Doors 8pm, £7adv

M E L L O W T O N E

@mellowtoneclub mellowtoneclub mellowtone.infowadvance tickets on sale at skiddle.com and seetickets.com

F E B R U A R Y L I S T I N G S

BOOK NOW: 0161 832 1111facebook.com/manchesteracademy @MancAcademy

www.manchesteracdemy.net www.gigantic.com

Oxford Road, Manchester M13 9PR • Tel: 0161 275 2930For full listings check out: www.manchesteracademy.net

King Creosote Tuesday 27th January

Gus G (Firewind/Ozzy Osbourne) Saturday 21st February

Hardcore Superstar Saturday 14th March

Orphan Boy Saturday 14th March (at The Ruby Lounge)

Tragedy All Metal Tribute to The Bee Gees Sunday 15th March

Gun Friday 27th March

Laibach Friday 3rd April

Evil Blizzard Saturday 18th April (at The Ruby Lounge)

Sleaford Mods Friday 15th May

Sugarhill Gang + Grandmaster Flash Saturday 8th August

Sunday 1st at the Kazimier

RAE MORRISplus special guest support - FRYARYAR RS

A collaboration with Ceremony Concerts & Harvest Sun,14+ gig, Doors 8pm, £11adv.

Friday 6th at the Scandinavian Church

RED SAILS (release party)NICK ELLIS

JOHN CANNING YATES (EX ELLA GURU)DJ BERNIE CONNOR (THE SOUND OF MUSIC) Plus visuals & stage design by LAURA LOMAX & KIERAN MAGUIRE

Doors 8pm, Limited £7adv tickets available, £10 on the door. Bring your own drinks.

Wednesday 18th at the Shipping Forecast Mellowtone & Ceremony Concerts present

RICHARD DAWSONPETE SMYTH (MUGSTAR)DAVE OWEN

plus BEATEN TRACKS DJS

Doors 8pm, £8adv

Sunday 22nd at the MagnetMellowtone & Ceremony Concerts present

JP COOPERAMIQUE

SOPHIA BEN YOUSEF

plus BEATEN TRACKS DJS

Doors 8pm, £7adv

M E L L O W T O N E

@mellowtoneclub mellowtoneclub mellowtone.infowwadvance tickets on sale at skiddle.com and seetickets.com

F E B R U A R Y L I S T I N G SF E B R U A R Y L I S T I N G S


bidolito.co.uk

Reviews

before the hosts suss I’m from Newcastle

and check/destroy my forged invitation. SAINT

SAVIOUR knows the perks of pocket-sized class,

and it’s kind of cute to see her four-piece string

section pluck away on the balcony above her,

as dignified as crows on a telephone wire. She

must’ve shi¤ed her entourage around every

stage on this tour (of which tonight is the grand

finale) di�erently, packing her Late Quartet, the

backing singers, and Mr BILL RYDER-JONES

himself into the crannies of smaller venues.

The joint headliners collaborated recently

on Saviour’s In The Seams, and BR-J gives

fine, amiable support to a set of measured

stereoscopy. Our leading lady is impressive

but hamstrung by atmosphere, gliding just

below rote melodies, maybe sti� with emotion.

She holds her young band together without

dominating them, though there’s a sense

she’s conforming too much to the stateliness

of her music. She stands up for Devotion a¤er

showing some self-deprecation in Sad Kid¸

which lampoons NME cover photos. The former

track is her best so far until she unleashes a

scream at the end of Just You and a�rights the

stately crawl she’s been keeping up.

Bill Ryder-Jones isn’t in a hurry either. “A

bad wind blows in my heart” he sings again

and again, resignedly, in his opening number,

hood disclosing a sliver of his incredibly boyish

face. It’s a languid opening complimented by

the swathe of family members and Coral fans

that’ve turned out tonight. As he fends o�

his rowdy audience with the air of someone

who knows just how popular he is, the gig

becomes a love-in, a spectacle of appreciation

for one of the men oiling the city’s musical

gears. This kind of familiarity could be no fun

at all – exposure isn’t exactly something BR-J is

lacking these days. But the hour really picks up

as a homecoming and an ode to his ongoing

passion for all things Liverpool. He indulges a

request for Lemon Tree, teases his dad for not

coming to a show since he last played with

Arctic Monkeys, and premiers a new song about

Catharine Street, fitting in a fi¤een-minute,

acoustic detour to boot. By The Moonlight

draws attention to how his delivery hangs o�

chords like an a¤erthought, a quietly tragic

song that finds a perfect mate in Seabird. One

of his lyrics asks whether we’ll be there to catch

him if the band plays too fast; this must be a

joke, since even Keane are more pyrotechnic,

though nowhere near as honest or interesting.

And that’s how the minutes pass: a parade of

asides and e�acement, deflecting the residual

feelings for a bygone pack of teens into the

trembling light of the future; a heart-warming

salute to Bill Ryder-Jones’ impact on the simple

pleasures of good music.

Josh Potts / @joshpjpotts

THE SILVER APPLESStrange Collective – Whyte Horses – Sankofa

EVOL @ The Kazimier

SANKOFA arrive on stage to kick-start this

evening’s trip through psychedelia’s various

phases. Not the most outlandish outfit,

considering what’s to come, but still definitely

a strong start. Their aesthetic is direct (with no

disrespect intended) and could be interpreted

as slightly innocuous. This is powerful, but safe,

rock music. Nevertheless, their set is delivered

by a band of enthused young chaps who each

have a wealth of talent. A solid start to the

proceedings.

Next up come STRANGE COLLECTIVE with their

energetic onslaught of grunge-infused head

music. The bandmates have a live chemistry that

verges on the telepathic as they plough through

a slew of relentlessly catchy and accessible

tracks. This is an exhilarating set with all the zeal

of warring soldiers; the crowd is truly captured.

The live six-limbed beast that is WHYTE

HORSES displays itself across the stage as the

third act of the night. This is the traditional

quartet: drums, guitar, bass and guitar/vocals,

with the addition of two female backing

vocalists and percussion players. Whyte Horses

are very definable indeed; their sound neatly

fits within the categorisations of dream pop

and psychedelia, which unfortunately proves

their undoing. Everything about this group fits

this persona: the decorative stage adornments

of floral patterns and colourful stage wear, the

tripped-out mesh of visuals above the stage, the

melancholic and over-all simplistic, tame songs –

all contributing factors to what makes the band

resemble, almost too closely, a dropout project

from the 1960s. They receive a warm reception

from the crowd and play a strong set of songs

but the problem - for me at least - is that the very

heart of psychedelic music is supposedly pinned

upon lateral wanderings and breaking through

accepted musical boundaries. Whyte Horses,

unfortunately, aren’t breaking any boundaries.

They’re playing out a fitting stereotype of 60s

dissident hippies.

Finally, we have SILVER APPLES. Simeon Coxe,

looking like an extra from a Clint Eastwood

western, strolls onto the stage and helms his

monstrous, stacked collection of synthesisers

and drum machines. From the outset, the

performance is unyielding: a cacophony of

feedback and fevered beats certainly makes for a

unique spat of tracks. Silver Apples are notorious

for having been one of the first groups, in the

1960s, to fuse minimalistic electronic music

with accepted rock trends. It’s now gone forty

years since their inception and they still sound

unlike anything anyone has heard before. Misty

Mountain is the first in the set and throughout

the performance we are treated to a glut of true

strangeness, with songs such as Oscillations,

The Silver Apples (Glyn Akroyd)

Bill Ryder-Jones (Glyn Akroyd)



Reviews

before the hosts suss I’m from Newcastle

and check/destroy my forged invitation. SAINT

SAVIOUR knows the perks of pocket-sized class,

and it’s kind of cute to see her four-piece string

section pluck away on the balcony above her,

as dignified as crows on a telephone wire. She

must’ve shi¤ed her entourage around every

stage on this tour (of which tonight is the grand

finale) di�erently, packing her Late Quartet, the

backing singers, and Mr BILL RYDER-JONES

himself into the crannies of smaller venues.

The joint headliners collaborated recently

on Saviour’s In The Seams, and BR-J gives

fine, amiable support to a set of measured

stereoscopy. Our leading lady is impressive

but hamstrung by atmosphere, gliding just

below rote melodies, maybe sti� with emotion.

She holds her young band together without

dominating them, though there’s a sense

she’s conforming too much to the stateliness

of her music. She stands up for Devotion a¤er

showing some self-deprecation in Sad Kid¸

which lampoons NME cover photos. The former

track is her best so far until she unleashes a

scream at the end of Just YouJust You and a�rights the and a�rights the

stately crawl she’s been keeping up.

Bill Ryder-Jones isn’t in a hurry either. “A

bad wind blows in my heart” he sings again

and again, resignedly, in his opening number,

hood disclosing a sliver of his incredibly boyish

face. It’s a languid opening complimented by

the swathe of family members and Coral fans

that’ve turned out tonight. As he fends o�

his rowdy audience with the air of someone

who knows just how popular he is, the gig

becomes a love-in, a spectacle of appreciation

for one of the men oiling the city’s musical

gears. This kind of familiarity could be no fun

at all – exposure isn’t exactly something BR-J is

lacking these days. But the hour really picks up

as a homecoming and an ode to his ongoing

passion for all things Liverpool. He indulges a

request for Lemon Tree, teases his dad for not

coming to a show since he last played with

Arctic Monkeys, and premiers a new song about

Catharine Street, fitting in a fi¤een-minute,

acoustic detour to boot. By The MoonlightBy The Moonlight

draws attention to how his delivery hangs o�

chords like an a¤erthought, a quietly tragic

song that finds a perfect mate in Seabird. One

of his lyrics asks whether we’ll be there to catch

him if the band plays too fast; this must be a

joke, since even Keane are more pyrotechnic,

though nowhere near as honest or interesting.

And that’s how the minutes pass: a parade of

asides and e�acement, deflecting the residual

feelings for a bygone pack of teens into the

trembling light of the future; a heart-warming

salute to Bill Ryder-Jones’ impact on the simple

pleasures of good music.

Josh Potts / @joshpjpotts

THE SILVER APPLESStrange Collective – Whyte Horses – Sankofa

EVOL @ The Kazimier

SANKOFA arrive on stage to kick-start this

evening’s trip through psychedelia’s various

phases. Not the most outlandish outfit,

considering what’s to come, but still definitely

a strong start. Their aesthetic is direct (with no

disrespect intended) and could be interpreted

as slightly innocuous. This is powerful, but safe,

rock music. Nevertheless, their set is delivered

by a band of enthused young chaps who each

have a wealth of talent. A solid start to the

proceedings.

Next up come STRANGE COLLECTIVE with their

energetic onslaught of grunge-infused head

music. The bandmates have a live chemistry that

verges on the telepathic as they plough through

a slew of relentlessly catchy and accessible

tracks. This is an exhilarating set with all the zeal

of warring soldiers; the crowd is truly captured.

The live six-limbed beast that is WHYTE

HORSES displays itself across the stage as the

third act of the night. This is the traditional

quartet: drums, guitar, bass and guitar/vocals,

with the addition of two female backing

vocalists and percussion players. Whyte Horses

are very definable indeed; their sound neatly

fits within the categorisations of dream pop

and psychedelia, which unfortunately proves

their undoing. Everything about this group fits

this persona: the decorative stage adornments

of floral patterns and colourful stage wear, the

tripped-out mesh of visuals above the stage, the

melancholic and over-all simplistic, tame songs –

all contributing factors to what makes the band

resemble, almost too closely, a dropout project

from the 1960s. They receive a warm reception

from the crowd and play a strong set of songs

but the problem - for me at least - is that the very

heart of psychedelic music is supposedly pinned

upon lateral wanderings and breaking through

accepted musical boundaries. Whyte Horses,

unfortunately, aren’t breaking any boundaries.

They’re playing out a fitting stereotype of 60s

dissident hippies.

Finally, we have SILVER APPLES. Simeon Coxe,

looking like an extra from a Clint Eastwood

western, strolls onto the stage and helms his

monstrous, stacked collection of synthesisers

and drum machines. From the outset, the

performance is unyielding: a cacophony of

feedback and fevered beats certainly makes for a

unique spat of tracks. Silver Apples are notorious

for having been one of the first groups, in the

1960s, to fuse minimalistic electronic music

with accepted rock trends. It’s now gone forty

years since their inception and they still sound

unlike anything anyone has heard before. Misty Misty

Mountain is the first in the set and throughout

the performance we are treated to a glut of true

strangeness, with songs such as Oscillations,

The Silver Apples (Glyn Akroyd)

Bill Ryder-Jones (Glyn Akroyd)

// LUKE-AVERY.COM// [email protected]// 07729 308307

I DESIGNBIDO LITO!

CURTISSTIGERSTUE 10th FEB 7:30pm

JEFFERSON STARSHIPTHU 29th JAN 8:00pm

JOE MCELDERRYTHE EVOLUTION TOUR 2015 SAT 14th MAR 7:30pm

MOTHERSHIPA TRIBUTE TOLED ZEPPELINSAT 21st FEB 8:00pm

NATHAN CARTERTUE 17th MAR 7:30pm

FOCUSSUN 22nd MAR 8:00pm

IANMCCULLOCHTHU 19th MAR 8:00pm

MARC ALMONDIN CONCERTTHU 16th APR 7:30pm

JOHN RENBOURN & WIZZ JONESSAT28th MAR 8:00pm

CURVED AIR 2015 FRI 17th APR8:00pm

// LUKE-AVERY.COM// [email protected]// 07729 308307

I DESIGNBIDO LITO!

CURTISSTIGERSTUE 10th FEB 7:30pm

JEFFERSON STARSHIPTHU 29th JAN 8:00pm

JOE MCELDERRYTHE EVOLUTION TOUR 2015 SAT 14th MAR 7:30pm

MOTHERSHIPA TRIBUTE TOLED ZEPPELINSAT 21st FEB 8:00pm

NATHAN CARTERTUE 17th MAR 7:30pm

FOCUSSUN 22nd MAR 8:00pm

IANMCCULLOCHTHU 19th MAR 8:00pm

MARC ALMONDIN CONCERTTHU 16th APR 7:30pm

JOHN RENBOURN& WIZZ JONESSAT28th MAR 8:00pm

CURVED AIR 2015FRI 17th APR8:00pm


bidolito.co.uk

Reviews

You & I and Ruby still bending the minds of all

in attendance. Any fans of krautrock artists such

as Neu or Harmonia should already be familiar

with Silver Apples, them being considered

progenitors of the genre. Perhaps the younger

members of the audience do not know quite

how to react to some of the music, but each

and every crowd member cannot help but be

mesmerised. This is true psychedelia: beautiful,

strange and captivating.

Christopher Carr

PETER GABRIELJennie Abrahamson

Echo Arena

Open entering the cavernous Echo Arena, as

someone who only has a cursory knowledge

of PETER GABRIEL’s classics, I am filled with

niggling, stadium-rock forebodings. This does

not seem a likely venue for a road to Damascus

experience.

The Arena is pretty much full and there is a

gentle but unmistakable buzz of anticipation

generated by the predominantly middle-aged

audience. My misgivings are not eased by a

pre-show announcement: “This concert will be

recorded from the soundboard; you can buy a

copy at www...” etc, etc.

Support act JENNIE ABRAHAMSON and Linnea

Olsson perform songs of Nordic mysticism: tales

of horses, lakes and snowfall. The combination

of glockenspiel, cello and their airy, fragile voices

provides the perfect musical setting for such

musings.

Abrahamson and Olsson remain to provide

backing vocals and Gabriel outlines the concert

format: an acoustic hor’s d’ouvre, a main course

of new and familiar material, and, for dessert, his

most commercially successful album, So, in its

entirety.

A gentle piano, bass and cello opens What

Lies Ahead, and Gabriel’s voice is immediately

both familiar and somehow comforting. This is

a man who has been quietly producing cutting-

edge recordings, video and live spectacle

for over four decades, not to mention his

championing of music from around the globe

via Real World Records and WOMAD, and his

dedicated contribution to humanitarian causes.

Even to a self-confessed doubter his place in

contemporary musical legend cannot be denied.

And he is in fine voice, e�ortlessly sounding as

he did on those aforementioned eighties hits.

The lights in the house stay up during the

first few numbers, which, without that twilight

anonymity that aids the bonding of individual

and performer, gives a slightly odd, exposed feel

to the proceedings. However, it quickly becomes

obvious that we are in the presence of some very

fine musicians indeed and, fittingly for such a

musical polymath, the acoustic section is varied:

Come Talk To Me features David Sanctious’

swirling accordion, Shock The Monkey highlights

David Rhodes’ acoustic ri�, and, during the piano-

led Family Snapshot, Gabriel’s plaintive tone

perfectly articulates the song’s raw emotion.

The house lights go down for the main

course, only stark white light penetrating

the darkness. Lights are mounted on several

hammer-headed booms, each one operated

by two technicians who push them around the

stage. The band’s utilitarian, black jumpsuits

and the manual operation of the lighting

evoke an Orwellian dystopia as filmed by Fritz

Lang, and Gabriel tackles issues of control,

authority, and alienation in songs such as

Secret World, Darkness and No Self Control. If

this all sounds very serious, Gabriel exhibits a

dry wit. “This song is about God, sex and drugs,”

he announces, prompting huge applause. “I’m

glad to see there are fans of all three in the

house.” The song in question, Why Don’t You

Show Yourself, again uses piano and cello

over a sparse bassline, with Gabriel’s spoken

vocal contrasting perfectly with Abrahamson

and Olsson’s exquisite backing. There is also

a playful visual element to the proceedings

with Gabriel, Rhodes and bassist Tony Levin

spinning into a perfectly choreographed dance

routine, like a prog Temptations, during Secret

World, and Gabriel skipping down Salisbury

Hill like a five-year-old during a joyful version

of the hit.

So kicks o� the dessert with the pounding

Red Rain, the stage drenched in red light and

drummer Manu Katche making full use of his kit

to drive the song along. The next two songs are

amongst Gabriel’s best known. Sledgehammer

is delivered to rapturous applause and packs

a slinky bassline from Tony Levin that has the

crowd on their feet. Don’t Give Up, the much-

anticipated Gabriel/Kate Bush tearjerker, sees

Jennie Abrahamson take centre stage to deliver

a poignant and sensitive interpretation of the

Bush vocal. Gabriel provides a nod to earlier

theatricality, temporarily exiting the stage,

suitcase in hand. The crowd are on their feet

giving Abrahamson wild, “you nailed it”, acclaim.

As with the main course, the So section

continues to deliver a pleasingly varied set of

musical styles and emotional content, not just

between songs but within them. Mercy Street

sees Gabriel perform the entire song lying on

his back, the encircling lighting booms gently

lowered above him as a haunting, ethereal vocal

sweeps over the crowd. Big Time delivers a funky

guitar sing-along before the lighting booms

stand erect, like gallows, as the doom-laden ri�

of We Do What We’re Told threatens the ra¤ers.

OK, this is very well performed rock music, and

it is in an arena, but there is something about

this performance that elevates it above its own

levels of technical excellence, an intelligence

and humanity that shine through in the lyrics of

Gabriel’s songs and in his alternately plaintive

and angry delivery.

He ends a short encore with Biko, a song

which tonight transcends its original focus on an

individual to become a universal tribute to the

oppressed and has the audience chanting along,

fists raised in solidarity. “As always,” concludes

Gabriel, “what happens next is up to you”, and

he walks o� stage. A tour de force.

Glyn Akroyd

Peter Gabriel (Mike Sheerin / michaelsheerin.photoshelter.com)



Reviews

You & I and RubyRuby still bending the minds of all still bending the minds of all

in attendance. Any fans of krautrock artists such

as Neu or Harmonia should already be familiar

with Silver Apples, them being considered

progenitors of the genre. Perhaps the younger

members of the audience do not know quite

how to react to some of the music, but each

and every crowd member cannot help but be

mesmerised. This is true psychedelia: beautiful,

strange and captivating.

Christopher Carr

PETER GABRIELJennie Abrahamson

Echo Arena

Open entering the cavernous Echo Arena, as

someone who only has a cursory knowledge

of PETER GABRIEL’s classics, I am filled with

niggling, stadium-rock forebodings. This does

not seem a likely venue for a road to Damascus

experience.

The Arena is pretty much full and there is a

gentle but unmistakable buzz of anticipation

generated by the predominantly middle-aged

audience. My misgivings are not eased by a

pre-show announcement: “This concert will be

recorded from the soundboard; you can buy a

copy at www...” etc, etc.

Support act JENNIE ABRAHAMSON and Linnea

Olsson perform songs of Nordic mysticism: tales

of horses, lakes and snowfall. The combination

of glockenspiel, cello and their airy, fragile voices

provides the perfect musical setting for such

musings.

Abrahamson and Olsson remain to provide

backing vocals and Gabriel outlines the concert

format: an acoustic hor’s d’ouvre, a main course

of new and familiar material, and, for dessert, his

most commercially successful album, So, in its

entirety.

A gentle piano, bass and cello opens What

Lies Ahead, and Gabriel’s voice is immediately

both familiar and somehow comforting. This is

a man who has been quietly producing cutting-

edge recordings, video and live spectacle

for over four decades, not to mention his

championing of music from around the globe

via Real World Records and WOMAD, and his

dedicated contribution to humanitarian causes.

Even to a self-confessed doubter his place in

contemporary musical legend cannot be denied.

And he is in fine voice, e�ortlessly sounding as

he did on those aforementioned eighties hits.

The lights in the house stay up during the

first few numbers, which, without that twilight

anonymity that aids the bonding of individual

and performer, gives a slightly odd, exposed feel

to the proceedings. However, it quickly becomes

obvious that we are in the presence of some very

fine musicians indeed and, fittingly for such a

musical polymath, the acoustic section is varied:

Come Talk To Me features David Sanctious’

swirling accordion, Shock The MonkeyShock The Monkey highlights

David Rhodes’ acoustic ri�, and, during the piano-

led Family SnapshotFamily Snapshot, Gabriel’s plaintive tone

perfectly articulates the song’s raw emotion.

The house lights go down for the main

course, only stark white light penetrating

the darkness. Lights are mounted on several

hammer-headed booms, each one operated

by two technicians who push them around the

stage. The band’s utilitarian, black jumpsuits

and the manual operation of the lighting

evoke an Orwellian dystopia as filmed by Fritz

Lang, and Gabriel tackles issues of control,

authority, and alienation in songs such as

Secret World, Darkness and No Self Control. If

this all sounds very serious, Gabriel exhibits a

dry wit. “This song is about God, sex and drugs,”

he announces, prompting huge applause. “I’m

glad to see there are fans of all three in the

house.” The song in question, Why Don’t You Why Don’t You

Show Yourself, again uses piano and cello Show Yourself, again uses piano and cello Show Yourself

over a sparse bassline, with Gabriel’s spoken

vocal contrasting perfectly with Abrahamson

and Olsson’s exquisite backing. There is also

a playful visual element to the proceedings

with Gabriel, Rhodes and bassist Tony Levin

spinning into a perfectly choreographed dance

routine, like a prog Temptations, during Secret

World,World, and Gabriel skipping down and Gabriel skipping down Salisbury Salisbury

Hill like a five-year-old during a joyful version

of the hit.

So kicks o� the dessert with the pounding

Red Rain, the stage drenched in red light and

drummer Manu Katche making full use of his kit

to drive the song along. The next two songs are

amongst Gabriel’s best known. SledgehammerSledgehammer

is delivered to rapturous applause and packs

a slinky bassline from Tony Levin that has the

crowd on their feet. Don’t Give UpDon’t Give Up, the much-

anticipated Gabriel/Kate Bush tearjerker, sees

Jennie Abrahamson take centre stage to deliver

a poignant and sensitive interpretation of the

Bush vocal. Gabriel provides a nod to earlier

theatricality, temporarily exiting the stage,

suitcase in hand. The crowd are on their feet

giving Abrahamson wild, “you nailed it”, acclaim.

As with the main course, the So section

continues to deliver a pleasingly varied set of

musical styles and emotional content, not just

between songs but within them. Mercy Street Mercy Street

sees Gabriel perform the entire song lying on

his back, the encircling lighting booms gently

lowered above him as a haunting, ethereal vocal

sweeps over the crowd. Big TimeBig Time delivers a funky

guitar sing-along before the lighting booms

stand erect, like gallows, as the doom-laden ri�

of We Do What We’re Told threatens the ra¤ers.

OK, this is very well performed rock music, and

it is in an arena, but there is something about

this performance that elevates it above its own

levels of technical excellence, an intelligence

and humanity that shine through in the lyrics of

Gabriel’s songs and in his alternately plaintive

and angry delivery.

He ends a short encore with Biko, a song

which tonight transcends its original focus on an

individual to become a universal tribute to the

oppressed and has the audience chanting along,

fists raised in solidarity. “As always,” concludes

Gabriel, “what happens next is up to you”, and

he walks o� stage. A tour de force.

Glyn Akroyd

Peter Gabriel (Mike Sheerin / michaelsheerin.photoshelter.com)

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Y O U S E F P R E S E N T S . . .

3 1 . 0 1 . 1 5

LAURENT GARN IER (4HR SET)

YOUSEF

APOLLON IA (DYED SOUNDOROM, DAN GHENACIA, SHONKY)

LAURA JONES / LEWIS BOARDMAN

SCOTT LEWIS / DAVID GLASS

SATURDAY 24TH JANUARYRESIDENTS PARTY

SG LEWIS HOLLY LESTER

JOHN McANDREW ANDREW HILL

Documents

Issue 52 / February 2015