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(10) Live Reviews October 2005
Quick-links to sub-sections:
The Wrens and The Favours - Rescue Rooms, Nottingham - 27th October 2005
Nils Lofgren - Shepherds Bush Empire - 28th October 2005
The Kills with Be Your Own Pet - Manchester Academy 2 - 27th October 2005
Christy Moore - Liverpool Philharmonic Hall - 24th/25th October 2005
Athlete with Gemma Hayes and Magnet - Manchester Apollo Theatre - 25th October 2005
Deadstring Brothers with The Redlands Palomino Company - Bar Academy Islington - 23rd October 2005
Brakes + Chris TT - Birmingham Barfly - 24th October 2005
John Hiatt and The North Mississippi Allstars - ABC, Glasgow - 22nd October 2005
Morning Runner with The Race - Night & Day Café Manchester - 24th October 2005
Engineers with Magnet - Manchester Academy 3 - 19th October 2005
Morning Runner with The Race - Night & Day Café Manchester - 24th October 2005
Laura Veirs - ABC 2, Glasgow - 13th October 2005
James Blunt - Shepherds Bush Empire, London - 11th October 2005
Richmond Fontaine - Darvel Town Hall, Ayrshire - 9th October 2005
Leaves with The Fallout Trust - Night & Day, Manchester - 7th October 2005
3rd Dan with Geiger - WA1 Bar, Warrington - 7th October 2005
The Believers - State Bar, Glasgow - 5th October 2005

October 2005 Live Reviews include:
The Wrens and The Favours, Nils Lofgren, The Kills with Be Your Own Pet, Christy Moore, Athlete with Gemma Hayes and Magnet, Deadstring Brothers with The Redlands Palomino Company, Brakes + Chris TT, John Hiatt and The North Mississippi Allstars, Morning Runner with The Race, Engineers with Magnet, Laura Veirs, James Blunt, Richmond Fontaine, Leaves with The Fallout Trust, The Believers.

The Wrens and The Favours - Rescue Rooms, Nottingham - 27th October 2005
Review by Patrick Wilkins

Seemingly out of nowhere, the Wrens make a convincing bid for show of the year. So it can happen. You can go see a band you've hardly heard and never seen, supported by a band you didn't know existed, and come out buzzing, thrilled, eager to tell anyone and everyone how bloody marvellous it all was. The Wrens are one of those under the radar bands, from New Jersey, they have been around since the late 80s, but only made three albums, the last, 'Meadowlands' appeared in the US in 2003, to much critical acclaim. They have been mentioned alongside the likes of Pavement, Built To Spill, Weezer and Spoon. 'Meadowlands' has just been released in Europe, hence their first visit to the UK. Opening band were the Favours, a young English band who played revved up garage-rock-pop along the lines of the more popular, but less interesting, Subways. Though their songs varied in quality, the Favours raucous rifferama onslaught was really easy to love because pop hooks lurked not far beneath the racket. Singer and second guitarist Sara is the focus of the band, her voice added to the thundering guitars, called to mind the likes of the Donnas and Sahara Hotnights, but there was enough pop-punk in there to also think early Blondie. The memorable 'I Don’t Need Anything From You' was still going round my head the next day. The Favours were strikingly good, if they can get this thumping live energy on to a record they will win big.

The Wrens started almost unnoticed, just two of them on stage one moment setting up gear, the next, quietly beginning to play, as the sounds built the remaining two band members joined them. Several Wrens songs had a tendency to do this, starting at a low key level, some soft vocal like Elliott Smith or the Pernice Brothers, over distant background noises, sometimes keyboard, not always conventionally musical, but momentum slowly built, guitars joined in, soon heads were nodding, then hands clapping above them, and then we're tearing down hill at full pelt with no brakes, 'Happy' and 'She Sends Kisses' from 'Meadowlands' were among the songs that fitted this bill. Bass player Kevin Whelan is band spokesperson and has more energy and enthusiasm than anybody has a right to have. As early as the second song his bass was flying ten feet in the air or swinging wildly over the crowd. Apparently a little disappointed with the big city coolness of the audience in London the previous night, when greeted with passionate appreciation by this crowd, which, though small was almost all uberfans, Kevin announced 'All right! Now THIS is a fuckin' Wrens show!'. 'Faster Gun' bucked the slow start trend, the helter skelter rhythm kicking in right from the start, a song, like many of the evening, packed with a quite indecent number of big fat hooks. Another number had several audience members, and band associates, on stage for percussion duties, beating and thumping and shaking anything they could lay their hands on, everyone grinning and laughing. 'You've made some old men from New Jersey very happy' we were told, and by the end of the night the Wrens had made a decision 'That's it, we're moving to Nottingham!'. The band seemed genuinely touched to receive such a fervent reception, and the mutual appreciation definitely added to the atmosphere, band and audience egging each other on as the show progressed. After such a great night it's likely the Wrens will be back, and if they do return, you'll need a spectacularly good excuse not to be there!

Nils Lofgren - Shepherds Bush Empire - 28th October 2005
Review by Andy Riggs

Nils Lofgren's CV is the envy of most musicians, and a brief resume serves to remind us that Nils has been in amongst some of the finest music from the last 30 plus years. In 1969 aged 17, Nils played on the first Crazy Horse record with the original CH line up plus Ry Cooder, Jack Nitzsche & Danny Whitten - by his 18th birthday Nils had played on Neil Young's 'After the Goldrush' and formed his own band 'Grin', and has now played with the E Street Band for many years. In amongst all that Nils has carved out a solo career that seems have been overlooked, which tonight's show really underlines. In addition, whether playing acoustic or electric guitar Nils is a virtuoso guitarist. Tonight's show emphasises the fact that whilst Nils has played with Neil Young and Bruce Spingsteen for many years, his solo work and Grin back catalogue has served up some fine songs - mostly self penned. The set list for tonight took us back to his first recordings with Grin on 'Like Rain' right up to 'Black Books' which was featured on the Sopranos. Without a record contract Nils is recording a new record due for release in Spring of next year, and after the show tonight I'm left scratching my head as to why such a talented songwriter and musician can be left on the periphery of the 'music business'.

Nils could spend the whole evening telling us of stories of his life on the road with Bruce & Neil, and recording with Lou Reed & Al Kooper. But Nils restricts it to one story, from his first visit to the UK in 1973 with Neil Young on the 'Tonight's the Night' tour - where Neil proceeded to play the whole record straight through, now all the songs being new the audience got very rowdy - Nils retold that at the encore Neil stood at the mic' and said 'Ok I'll play some songs you've heard before' and went ahead and played 'Tonight's the Night' again! Highlights from tonight's show included 'You', 'Mud in Your eye', 'No Mercy', 'Cry Tough' plus several covers which included a version of 'Because the Night' and Nils on piano for a song that he's really made his own despite Dusty & Byrds covering it over 30 years ago, Goffin/Kings' 'Going Back'- it's left to one of Terry Wogan's favourites 'Shine on Silently' to close the show - with a standing ovation from Shepherds Bush audience the 'Sun Hasn't Set On This Boy Yet'!

The Kills with Be Your Own Pet - Manchester Academy 2 - 27th October 2005
Review by David Adair

Three young musical bucks excitedly made their way onto the stage and patiently waited for the buoyant entrance of singer Jemina Pearl. The singer’s provocative, exuberant and confident stage and vocal manner brought to mind a young Katie Jane Garside, as these gruff Nashville upstarts dove into a post punk pearl of a set with a sound that has caught the attention of Caleb Followill (Kings Of Leon). The cutting and fiery ‘Adventure’ satisfied appetites of an intrigued, compelled and expectant crowd. The band invited everyone to join the party, although maybe it is just a tad early in their career for full on mosh pit action, as guitarist Jonas’ ill-fated stage dive implied, with him falling to the floor quicker than the Backstreet Boys will plummet down the charts. Previous single ‘Fire Department’ washed gatherers with a refreshing spirit, being built upon abrasive guitars and Jemina’s deep vocal style that belies her youth and sent out a warning that Be Your Own Pet have just started firing.

The second album of The Kills; ‘No Wow’ was not the only evidence of the growing nature of the British and American crossed outfit on show, as VV’s luxurious mop is creeping further and further down her back with each visit to Manchester. A forward looking set started off with title track from the second album and saw focused looking Jamie Hince producing a rumbling guitar riff, to underline VV’s P.J. Harvey and slice of Patti Smith vocals. Matters became more laid back when the bluesy ‘The Way You Love’ revealed a slightly more tender side to the vocals. VV prowled the stage in a cat-like fashion and seemed, at one point, to be scratching her back on an amp to the side of the stage.

The first album huggers had to wait until nigh on mid-set for the first airing of a ‘Keep On Your Meanside’ Track. However, it was definitely worth the wait, when the pair’s microphones were crossed to make for the lateral mind; a heart shape that could me only one thing; ‘Kissy Kissy’. This was performed with the usual intense gusto by the pair and is surely now on the way to becoming a theme tune for modern relationships? The popular ‘Fried My Little Brains’ and the snappy ‘Cat Claw’ saw the tempo build up neatly for an insurgent finale by way of ‘Fuck The People’. The Kills demonstrated tonight that their ability to daze, amaze and confuse people is only growing.

Christy Moore - Liverpool Philharmonic Hall - 24th/25th October 2005
Review by Andrew Glover

Halfway through Christy Moore’s second of two gigs performed as part of The Liverpool Irish festival he tells the audience how playing in Liverpool is like playing a hometown gig .Many artists would say this regardless of what city they happened to be playing but it’s apparent from the welcome that Moore receives before he even plays a note, and by the conviction with which he performs, that his affinity with the town is genuine. The problem with such an enthusiastic following is that occasionally one or two over step the mark and good humoured banter can quickly become a constant irritation .The first night is close to being marred by a heckler who refused to take the hint from Moore’s good humoured rebukes of his constant witless offerings. Eventually when both artist and audience are loosing patience , Moore comes up with a devastating put down containing the necessary mix of venom and humour that gets one of the biggest cheers of the weekend and renders the heckler speechless for the remainder of the evening .

The atmosphere for the second night is electric .By the final encore ,a haunting ‘Burning Times‘, this becomes a little too literal when a fuse shorts in the soundboard and sparks literally fly .Moore and guitarist Declan Sinnett carry on regardless -artist and audience immersed in the power of the song . The highlights over the two nights ,a fierce and passionate ‘Smoke &Strong Whiskey’ from the first night ,the opening three songs of the second night (‘Go Move Shift’ ,‘Brown Eyes’ and ‘All For the Roses’) that seemed like a statement of intent for the rest of the evening and left Moore and his audience needing to take a deep breath .The material from the new album that has been part of Moore’s repertoire for the past year shone too. Interpretations of The Handsome Family’s ‘Butterfly( So Much Wine)’ , Natalie Merchants ‘Motherland’ and Morrissey ‘America I Love You’ all done with the same sincerity and imagination as any of Johnny Cash’s American Recordings (incidentally Moore does a killer version of ‘Hurt‘ which doesn’t feature this weekend).

Halfway through the second night Moore confesses to having to abandon his policy of not taking requests over the past year as a response the overwhelming demand and sincerity of the letters and messages he had received prior to these gigs. It would appear this is the key to the atmosphere created over the weekend .Both artist and audience equally reliant on each other’s response to the music and giving it’s all and then some ,and in the process creating something extraordinary, that one expects will live long in the memory and hearts of both.

Athlete with Gemma Hayes and Magnet - Manchester Apollo Theatre - 25th October 2005
Review by David Adair & Stewart Brookman

The ebullient and gregarious Bergen born Even Johansen, brainchild of the outfit was compactly supported by his connected backing group to make up Magnet; the early bird crafted indie risers. They proudly produced a stirring and pulsating set that unashamedly paraded numbers from recent Class A album; 'Tourniquet'. Highlight offering 'Peacemaker', had a Turin Brakes performing on a tumble dryer with backing from Sigur Ros feel to it, enchanting those jostling for a decent spot for the main act. The people gazed on enthralled in the carefree musical journey whose destination is anywhere you want to go. Maybe it is the year spent Bristol that has provided a bit of steel to Even's music? He built solidly from a show that raised eyebrows and opened mouths a few years back at the Night & Day Cafe in this self same city. The staunch Man Utd fan; Johansen skilfully played the crowd with his charming yet troubled songs and cheeky between song banter. He draws energy for his other love of football from a striking orange puma (the brand, not the predator) tattoo, but tonight his songs and drive came from a sincere but troubled heart.

The retiring and relaxing Irish soul searcher; Gemma Hayes found this hallowed hall a perfect place to tease out her caressing Carole King voice that was cushioned by a gripping folk tainted, backing band. Hairs on the back of the neck raised like Manchester United season ticket prices in the soft and seductive, solo acoustic ode 'Easy On The Eye' that had every male in the house thinking "Imagine if I were the person she is singing about!" Gemma’s pulsating pop side came out in the troubled 'Gotta Low' that demonstrated her thought provoking nature. A retiring disposition made it difficult for her to get her point across between songs. This just made Gemma all the more endearing, as her self deprecatory side came out when she derided herself for being the antithesis of Rock & Roll by sipping camomile tea. Given the pleasing reception she received on closing the set, there was probably a rush for this product in the bar later on.

After an energetic tour to the USA, the friendly and yearning Londoners Athlete told an expectant crowd how much they had longed for another UK tour. This lit the fuse of an already keen and knowledgeable crowd to spark off an explosive set that opened with the frisky "YTEAM'. It was the buoyant 'Half Light" that brought out the party spirit out in a Tuesday night crowd. Front man Joel Pott paid homage to the hardcore support that had followed them right from the start at their humble Academy gigs. It was at these gigs that the now favourite and the polished; 'Westside' sounded raw and very much like a work in progress, but tonight it was turned from an uncut diamond into a jewel.

The politically poignant 'You Got The Style' shone out for its catchiness and brazen honesty, as the political nettle of the Burnley & Bradford race riots was grasped; you won't hear Cameron & Davis discussing this in the near future. The ever popular 'Wires' and new single '24 Hours' ended respective sets, this epitomised Athlete's growing catchiness. They took time out to get some respect for tonight's support acts, but the respect must go them, as they picked them. Their musical tastes and stage presence has obviously flowered in the shining limelight over the last year. They made sure that everyone was involved in the experience before them and even in the dying notes of the evening Joel was up close and personal with the lucky few at the front, before leaving a satisfying grin on most who embarked upon this leg of Athlete's run.

Afterwards I was lucky enough to catch up with bassist; Carey Willetts. After such a storming gig back in the UK I asked him how the year had gone and what highlights there were from the tour so far? "I think Leeds was amazing and the response we got was incredible". Tourist has further developed the Athelete machine and fine tuned all the great points from classic debut "Vehicles And Animals". The newly recorded b side to "24 hrs" that was played live tonight, showed a different side and gave us a glimpse of third album prospects; "The next album would have to be better than the last" Replied Carey to my inquisitive appetite for more of the same melancholic tunes they produce without effort it seems. How long will we have to wait I wanted to know? His response only instilled hope indeed for another blinder to complement the last two offerings from such an up and coming band with much more to give, I’m sure before the finish line.

Deadstring Brothers with The Redlands Palomino Company - Bar Academy Islington - 23rd October 2005
Review by Jenny Alder

Before I start, I must own up to the fact I hadn’t heard The Redlands Palomino Company before this gig, but I was mightily impressed by their excellent show. Hannah’s fabulous Gram Parsons T-shirt brought home what their fans must have always known – they’re London’s answer to the Fallen Angels! The Redlands played a tight set of their great country rock numbers, complete with Alex and Hannah’s fine display of male/female harmonising in the great country tradition. One of the highlights was their clarion call “Doing It for the Country”, received with whoops and smiles, and all through the performance the audience was generally digging the great singing and the happy down at home feel. This lovely atmosphere was marred only by the crowd’s strange unwillingness to go beyond an invisible semi circle about 10ft from the stage through the first two thirds of the set!

Such a fabulous start left the Sunday night crowd full of anticipation, looking forward to a knockout performance from Detroit’s Deadstring Brothers. They certainly didn’t disappoint - coming on stage all cool in black (and one pink ruffled shirt!) the band played a glorious set. Leaping straight out of the blocks with “27 Hours”, other highlights included the angry Dylanesque of “Talkin’Born Blues”, “Blindfolded”, “Sacred Heart” and a blistering version of perhaps their best song “Entitled”, which definitely cranked up the proceedings. Tonight the Deadstrings brought the stories on their records to life with loud blues and rock, and with some great pedal steel playing supplying the country. Songs from their eponymous debut album definitely got the most enthusiastic reaction from the hardcore fans dancing at the front, but goodwill was generally overflowing from the crowd and every song was greeted as a favourite. For some of the set singer Kurt Marschke was frustrated with the sound as seemingly he couldn’t hear himself, but it all sounded pretty good from where we were standing. Fantastic vocalist and percussionist Masha Marijeh seemed to take over as the main focus, making up for his slight grumpiness by smiling and laughing with the crowd. This gig was certainly great fun, and a perfect way to make the most of the dying hours of the weekend and prepare for the week ahead.

Brakes + Chris TT - Birmingham Barfly - 24th October 2005
Review by Patrick Wilkins

Short attention span issues? Brakes are your band! Brakes are an interesting alt.supergroup featuring most notably Eamon Hamilton usually keyboard player with British Sea Power, here on guitar and lead vocals, as well as bassist Marc Beatty of Tenderfoot, and brothers Tom and Alex White on guitar and drums, both of the Electric Soft Parade. Brakes recent record,'Give Blood', is an eclectic mix of quirky indie guitar pop, equally adept whether wandering into punk or country, with occasionally political lyrics, and some songs so brief that they are little more than punchlines, such as the self explanatory closing line of the 37 second 'Hi How Are You', 'Wont you shut the fuck up Im just trying to watch the band'! The band made the decision at this show, to play through their entire album in the same sequence as on the CD. This naturally detracted from the spontaneity, but they attacked the songs with such fire and intensity that it didn't diminish the overall impact at all. Eamon as a front man is as wiry and taut as the songs, neither has an ounce of fat on them. Three songs got played twice, the 7 second 'Cheney', which has the astutely observed lyric, over a punk backing, 'Cheney, Cheney, Cheney, Cheney, Stop being such a dick!', similarly for 'Comma Comma Comma Full Stop', which also clocks in under 10 seconds, and 'Non Stop Disco Party', which was first played in the album run through and then again as the show closer, Eamon justified its second appearance by describing it as 'the redux version'. This song did inspire some horrific attempts at dancing in parts of the respectably sized crowd.

The covers, 'Jackson', as in Nancy Sinatra/Lee Hazelwood or Johnny Cash/June Carter Cash, and Jesus and Mary Chain's 'Sometimes Always’, both gained in a live performance by not being the rather saccharine loaded duets that feature on the record, Eamon's anxious lone vocal making them anything but sweet. A couple of b sides were also played to pad out the album's 16 songs (the album is a mere 29 minutes) including another cover, Camper Van Beethoven's 'Shut Us Down'. Best song of the night, was 'Cant Stand to Stand Beside You' a fierce Pixies like, riff laden, work out, particularly incendiary was Tom White's guitar, this one clocks in at almost Freebird-esque 3 and a half minutes! The glory of this did highlight the slightly frustrating nature of some of Brakes work, when they stretch out the result is thrilling, it really made you wish they'd stray past the two minute barrier more often! An entertaining and powerful set. Opener Chris TT is an acoustic folky/early Bragg type troubadour, with a left leaning political agenda, his set included, impressively, a song about the pointlessness of acoustic folky/early Bragg type troubadours with left leaning political agendas! Also a sharp and funny song about the pro hunt lobby and the Countryside Alliance, explaining that on certain protest marches surely police brutality was more than justified! Well worth seeking out.

John Hiatt and The North Mississippi Allstars - ABC, Glasgow - 22nd October 2005
Review by Mike Ritchie

Neil has Crazy Horse, Steve’s got The Dukes, Buddy Holly had his Crickets and Gerry his Pacemakers. So John Hiatt, if he displays the sense he had when he enlisted The North Mississippi Allstars to back him on his latest release “Master of Disaster” and go tour with him, will make sure they’re not left behind when he next hits the road, or the recording studio. He would be a master of disaster otherwise - the combination of these young bucks and the 53-year-old with 21 CDs to his name is simply electrifying. The biggest difficulty in this review is making sure I spell Mississippi correctly because praising the show couldn’t be easier. This was one helluva performance, a two-hour surge of grease joint country-rock, blues that came flying through the air with a surge and swagger that was simply the best.

Hiatt’s latest CD may be patchy, but this show could never be described in such terms as he and the Allstars gelled and stomped with style and shade as if they were made for each other. He clearly got a kick from a band doing such justice to his fine songs, which are so much better live, before a captivated Saturday night, Glasgow audience who lapped up every minute of it. The brilliant, truly fabulous band - Chris Chew (sublime electric bass and constant smiles,) Cody Dickinson (immense on drums and probably constant smiles although hidden by drum kit) and his brother, Luther Dickinson (utterly brilliant on lead guitar and constant smiles) – pushed the material on with a tempo and an eagerness like The Dukes, The Allman Brothers or The Band to name but an imperious few. And Hiatt, never seeking to hog the spotlight, got swept along, too, letting Chris and Luther josh about like naughty boys at the back of the church on his gentle gospel, keyboard led Is There Anybody There? which was taken from his 1989 “Slow Turning” album. Hiatt claims he never joined or formed a band because he’s egocentric, but here he was the tolerant, jolly adult giving the youngsters their head while joining in the fun as well. They were his songs and everyone got to share.

The opening and title track of his new album cranked the show into gear immediately: a couple of verses, a couple of choruses then, whoosh, an achingly good Luther solo slot repeated, thankfully, on many other numbers. This was followed by the Springsteen-like Thunderbird, which never gets above OK on CD, but here was transformed into a welcome slab of road rock. He hit the brakes on the mean and moody Ain’t Ever Going Back from the latest release and it was a triumph with gravelled vocals and Luther’s swooping slide guitar. Have A Little Faith In Me, a 1994 song, was the first encore with Hiatt on keyboards. Here his voice was commanding as the lyrics demanded, showing a poetic feel, that he’s been able to create over his career. He plucked Real Fine Love from 1990’s “Stolen Moments” and the reggae-tinged Cry Love that appears on “Walk On” from ten years ago to great cheers from long-time fans. Back on The Corner, the final track on “Master….” came complete with memorable washboard (electrified) percussion while one of the roadies took over on drums. Hiatt and the Allstars were shining examples of rootsy, rockin’ and rousing music…and if we gave stars for reviews this show would get five, deservedly.

Morning Runner with The Race - Night & Day Café Manchester - 24th October 2005
Review by Dave Adair

The Race strode onto the stage to set the pace for an evening of exploration into the more hurried end of the indie genre that came out in the thrilling 'Raising Children’. Front man Dan Buchanan and his four musical musketeers, possessed vitality and made a stern effort to shake off their Monday blues and everybody else’s for that matter, especially with their disco kick. A stirring sound whipped around the cosily rustic surroundings and was on full show in the resounding and bolstering; ‘Amersham Road’. Buchanan’s yearning vocals trundled along on the back of strolling guitars to pull off a contemplative offering that gave some depth to the set. The crowd huddled together towards the front like cold trick or treat players, as they were keen to catch a prolonged peek at the band that has wooed Coldplay gatherers and added oil to the expectant, indie rumour mill. The epitome of the no thrills, but straightforward and honest ethos; Morning Runner hit off with the crashing keyboard catapulted; ‘Work’. Mathew Greener’s presence was intriguing, as his powerfully commanding vocals were juxtaposed by shy and retiring between song utterances. Whereby, he struggled to splutter out his message to the crowd to discard all that they had heard about the band and to judge them on tonight’s performance. However, it was a message well heeded going by the rousing reception given to the fourth number and previous single ‘Gone Up In Flames’. Greener’s voice became deeper and possessed a nasal approach for this worried tale that is an anthem for the lacklustre. Bassist Tom was the navigator in this band’s musical journey of self discovery; playing with boldness and focus all evening, reaching a highpoint in a wandering offering; ‘The Great Escape’. Considering that this band formed under two years ago; they display compactness and a great understanding to produce captivating numbers like the pleading new single ‘Be All That You Want Me To Be’. Those seeking some good old fashioned Rock & Roll featuring a throbbing jam, were duly indulged in set ender; ‘Burning Brides’ that will be just one of the tracks to look out for when the debut album hits the public domain. The air of expectancy is rising like fog on a November morning around this Berkshire outfit, but on tonight’s performance they are more than ready for it.

Engineers with Magnet - Manchester Academy 3 - 19th October 2005
Review by Dave Adair

Wandering Norwegian rock, built from the solid base of the earnest; Even Johansen heartbased vocals that take a trip through Lennon country passed the border of Ollie Knights to the final destination of Bruce Springsteen. Crisp and crafted instrumentals from a talented and hardworking backing group made Magnet a masterful centrepiece. The stirring ‘Peacemaker’ from latest offering ‘Tourniquet’, set a soaring yet sombre and thoughtful tone, as Johansen was focused and forceful during songs, yet personable and fun spirited between them. The bolting ‘Believe’ sent positivity charging around the venue, as Magent connected with the crowd and instilled self belief into them with this power ballad.

Previous set closer and self-titled debut album final track ‘One in Seven’, featuring a haunting and troublled beginning that built up to a stirring rock jam, was made into an opener tonight. This introduced the baggy renaissance promoting sound of the part Manchester and other half London group; Engineers. The deeply personal debut album was mingled in neatly with more universal and brit pop skirting new numbers. The humble and unassuming singer and guitarist Simon Phipps with help from deft accompaniments, including the drilling percussion of Sweeny, pulled off a gripping and feeling packed version of ‘Come In Out Of The Rain’. This took those gathered in these close knit surroundings along on the journey to the redemption of a moral-less person.

Another cathartic jam fuelled offering; ‘A Given Right’ meant that the main set ended in a similar way to its commencement. This obviously took a great deal out of the band, as a coy Simon Phipps returned alone for the encore clutching his guitar for comfort. He lost himself and the crowd in an endearing and intimate rendition of the pleading ‘Forgiveness’. This number pushed home the personal nature of the self-titled album. While the new songs will draw more people into the intriguing web of the Engineers, it is to be hoped that the debut album is not overlooked; being a vital construction in the career of the bunch of candid musicians.

Laura Veirs - ABC 2, Glasgow - 13th October 2005
Review by Mike Ritchie

In pigtails and dark-rimmed glasses the young female steward at the door to the venue was obviously of a fan but the star of the night herself went for the flowing locks look – only guitarist, Karl Blau had plaits in his hair. Before an enthusiastic audience, including some chaps sporting John Peel T-shirts, Laura Veirs was in fine form on her third visit to the city in twelve months, this time with excellent new album “Year Of Meteors” to plug. It’s intriguing how she can be low-key yet crank up the action with a set that included the occasional (and a bit needless on Fire Snakes, I thought) Wilco-like squall, albeit at a lower decibel level. Rockier she definitely was and no bad thing as the brasher approach, generally, didn’t detract from the haunting sense of space, icy wonder or natural landscapes her songs create so effectively and uniquely. I’ve used the description “sparse yet full bodied” before in reviews of her shows, but they apply, probably even more on this occasion.

Live, Laura’s dreamy vocals have always struck me as no more than a semi tone away from punk. On the lyrics from Galaxies, the second track on “Meteors,” she sang “when we kiss, when we kiss/bears and boulders vibrate through the air…” and her voice never wavered from a memorable, almost disinterested delivery tone that worked so well with the sounds from her formidable band, The Tortured Souls. This was the star track of the night, with notable shades of Nirvana crunchy guitars, swirling keyboards and perfectly-laden drums – a great CD track transmitted to a live setting. If she ever puts out a live CD, this song and the treatment here should be the opener, or maybe the final effort of the night, Lake Swimming, also from “Meteors” should get that spot. This was a glorious finale from a confident, warm band in full flow which, my gig-going companion for the evening, the self-styled child of technology and younger son, Martin, declared to be “absolutely brilliant” and he gets no argument from me. Naturally, Laura concentrated on the new songs but “Carbon Glacier” was not ignored. Lonely Angel Dust was soothing, comforting and really, well, just lovely. We also had clap-along moments, an Orbital moment when the band strapped small lights to their heads and struggled to get the engineer to lower the lights, and request moments that Laura took as queue to do her own thing. The Tortured Souls are playing better than ever – Steve Moore was superb on keyboards providing us with the briefest of Tears for Fears moments, Tucker Martine’s drumming was so effective and cleverly understated to underpin the fragile songs while Blau, who was inventive and solid as ever, deserves praise for an outstanding support set. Seattle-based Laura said the new album was a road record, so we’re pleased she diverted here for a couple of hours.

James Blunt - Shepherds Bush Empire, London - 11th October 2005
Review by Phil Edwards

Posh boy and housewives fave makes good ? Ex Harrow schoolboy Blunt opened his first (of three) London gigs with a new song. Problem is he didn't say what it was called, and this lack of audience interaction stayed for a lot of the night. Maybe it was nerves or a lack of live experience, but Blunt never totally engaged us all. The place was packed of course with adoring admirers but somehow at times it all felt well, too rehearsed and sterile. It took the best part of an hour for the five piece band to loosen up and start to enjoy themselves as opposed to merely going through the motions. But then it was all over. Not surprising seeing as he readily acknowledged he's currently only got "40 minutes of material to play", plus some b-sides (Sugar Coated) and the occasional new song. Blunt has no doubt got oodles of talent. This is demonstrated by his ability to make the audience resonate with his songs. The fact that they sounded exactly like they do on the album doesn't matter. Or does it ? Whilst its admirable that he can easily recreate the same sound on stage as he can on CD without the option of lots of studio overdubs and production, live performances should not merely replicate what we can listen to at home should they ? Surely when artists play live they should add an extra dimension to the album sound?

Unfortunately this only happened on a few occasions tonight. Most notably during 'So Long Jimmy' when he allowed each band member to detract from the script slightly. And ironically this was one of the best songs of the set. We must all remember those days when we were "digging how the guitar goes". As you'd expect from an artist at the beginning of his career all the numbers were here, but he really shone when he detracted from the formulaic album approach. 'Goodbye My Lover' was just him and a piano and this was another highlight of the evening. He wanted to play us "something miserable" (there he is with his tongue in cheek humour again) as we were all having such a good time. What a fiend.

The guitar licks in 'Tears and Rain' emphasised his hurt as he contemplated running "far far away". This is more like it. Lots of pain and angst with the music emphasising the songs' narrative. We all like to live vicariously through someone else's pain. Makes us feel better. Sad songs are supposed to be exactly that - sad. So whack in a whining guitar - a master stroke. 'No Bravery' (probably one of the best anti-war songs ever) was supported by the appropriate imagery that helps to describe how futile and un-necessary war is. And as an ex soldier who's done a tour of duty in Kosovo, Blunt knows what he's on about.

He waited until the end to play You're Beautiful' which lets be honest is what most people turned up for. Not the first artist to tease his audience in this way, but at least it gave them all ample opportunity to take lots of photos on their trendy Nokias' to show off to their posh mates when back in the wine bar. Whatever happened to good old lighter waving ? No doubt we'll all be brandishing iPods that record (when they've been invented) at future gigs. Elton John has favourably compared 'You're Beautiful' with 'Your Song'. But we all know one song a career does not make. Lets hope Blunt will be able to deliver the goods with his next album and also deliver that inevitable difficult third album in due course. I think he will. And by then he will have gained in touring experience and he may feel it's ok to take a lot more risks when playing live. We can then come along and enjoy him much more as a live artist and also leave listening to the CD for when we get home.

Richmond Fontaine - Darvel Town Hall, Ayrshire - 9th October 2005
Review by Mike Ritchie

A year ago I wrote my very first live review for this website – the band covered was Richmond Fontaine, the venue was this one and I declared then, as an enthusiastically, “gigs don’t come much better than this…” On this first anniversary occasion I will repeat, without hesitation, that view as RF have done it again, yet another special show from these four guys whose time on stage was a sheer joy. Can you get any better than brilliant? Their alt.country moods, swerving through the rock-based songs to minimalist lyrical offerings, are effective on CD but here they are equally compulsive listening. They were the final act of this year’s Darvel Music Festival – no-one could surely follow them - and had readily added the town (population 3,700) to their latest tour simply because they know how the locals love their music – and music generally - and they needed another dose of hospitality at the home of Festival organisers, Neil and Sheila McKenna. They took to the stage well fed and we then gorged on a captivating performance that kept an appreciative and knowledgeable crowd transfixed throughout.

Composed, confident and warm, they opened the door to the losers and loners who populate their latest CD “The Fitzgerald” with Willy Vlautin’s fine vocals carried by acoustic guitar and hints of muted bass notes. These are songs to listen to and the crowd hushed in case any of the storylines were missed. Exit 194B, Casino Lights, Warehouse Life, Black Road are bleak but compelling, as dark as the sky over Darvel, and drenched with Willy’s sincerity as he makes every word register. At one stage he apologised for the songs gloomy nature but the applause showed no-one objected. These are not easy songs to perform but they were carried off memorably. Of course, the up tempo tracks were bursting to be released and when they were you look around the hall to see smiling faces, nodding heads, total contentment. Richmond Fontaine rock with a civilised swagger and an impish, sweet-sounding grind that seems to tickle them as well as their fans. They breezed joyously through the rollicking Always on the Ride while Post To Wire and Polaroid were standouts as always. I reckon if this tight band did a three or four-night run you’d never tire of their offerings, which are varied, inventive, just great - a bit like story-telling Springsteen jamming with ass-kicking maestro Steve Earle. They work damn hard and it’s paying off, although Willy admitted that he still hadn’t given up his painting job back home yet. Indeed, a recent job was made a bit easier as he was listening to songs from the excellent Endrick Brothers, who provided a tender acoustic support set here. Two years on the trot RF have graced this festival and boosted the numbers who enjoy their music - so who’s to say how far they can go? On this form and, based on the strength of their CDs, I’d suggest they’ll go from strength to strength. Another question is who will be on the bill for the fifth festival next year? At the moment it’s anyone’s guess but we’re looking forward to it already.

Leaves with The Fallout Trust - Night & Day, Manchester - 7th October 2005
Review by David Adair

Brisk sounding and earnest Bowie type vocals proffered by Joe Winter were powerfully ejected from the stage to grab the attention, as the Bristol born, violin featured indie/rock n roll of The Fallout Trust created a stir. Their sound that has evidently been polished by a trip to Berlin’s Hansa studios was noticeable for its compactness, standing out in ‘Before The Light Goes Out’. The sextet certainly had understanding, with each musician being locked in their own performance, but the music the created would meet like old friends, with the throbbing percussion of Matt Watson seemingly guiding the way through a disco tainted set. The cushioning and thoughtful instrumental heavy approach of Icelandic outfit; Leaves offered music to accompany the obvious conjecture of the gatherers, whose mind was churning over the issue of the fact that there was a guitarist missing. Drummer Noi Starn Einarsson commented at the end of the gig that this was merely a temporary arrangement. However, with the Leaves having playing the same venue a few months back, their new look provided a fresh aspect to their sound, illuminating the keyboard element and giving off an even more relaxed feel. This shone out in first album highlight ‘Breathe’, with the roving instrumentals echoing around the sound concealing café. Of the newer numbers extracted from the ‘Angela Test’ album; ‘The Spell’ stood out, combining the yearning vocals of Arnar Gudjonsson to bring to mind Radiohead with an undercurrent of Sonic Youth. The wandering instrumentals produced in set ender; ‘Shakma’ demonstrates a bolder and more experimental approach to this temporary quartet, bravely sailing into the territory of The Fridge, Four Tet and to a lesser extent M83. This ensured that the band left to a rousing response and more importantly, when they return with a full strength squad they will be welcomed like as though it is return of the prodigal son.

3rd Dan with Geiger - WA1 Bar, Warrington - 7th October 2005
Review by Dave Adair

Heart on sleeve rock with traces of emo was fired out with precision and passion to provide an honest and no artificial additives start to the evening. The piercing and harrowing opener ‘Alone To Say’, along with the personal follow up ‘Ten Feet Small’, underlined the lucid and longing vocals of Dan Harding. His style drew a line between Paul Rodgers and Josh Homme with bits of Trent Reznor appearing through the cracks. The endearing indie side of this outfit came out later on in the crisp; ‘South Side Of Me’ that helped along a well polished and heart rending half an hour from a powerful Warrington quartet. Despite the modest crowd size, tonight’s headliners 3rd Dan threw everything into an earnest post rock set that spilled over into elements of punk and even metal, as they let rip with abrasive bass lines and scything guitars. The careering opener; ‘Coffee’ was delivered with pride and belief, with the gruff and troubled vocals of lead man and keyboardist Rory Nellis, demonstrating the correct dose of gritty rawness and heartfelt power.

The band would often use slow and creepy musical interludes, akin to those that would often accompany an axe yielding maniac’s ascent up the stairs to its prey, in an old fashioned horror film. This would provide perspective from the rambunctious and biting bits that would grab hold of you and stood out in; ‘Guess I Wanted More’ and ‘Flux’. This Liverpool based quartet confronts life’s contradictions and stands up to them with robustness. They produce entertaining numbers that grow out of the roots of their gripping post rock sound. 3rd Dan is ready strike and you would be advised to watch out.

The Believers - State Bar, Glasgow - 5th October 2005
Review by Mike Ritchie

No one could possibly have left this exquisite gig without having become an instant convert to the music according to The Believers as Cynthia Frazzini and Craig Aspen demonstrated that we can all have faith and trust in what they do. Having owned a copy of current CD “Crashyertown” for some time I’d been looking forward to the gig – yet another winning promotion through Kevin Morris’ Fallen Angels Club – and it turned out to be a cracker with no loss of impact as an acoustic set. That was because their marvellous take on country rock is nice’n’mellow, tinged with a ragged glory edginess. The Nashville-based duo are also blessed with great voices, either solo or in absolutely glorious, heartfelt close harmonies, first-rate guitar playing and songs that journeyed with a free spirit from alt. country to gospel, blues to foot-stomping, hillbilly porch-style. Their performance was a testimony to their love and interest in the musical heritage of their homeland. On every song, they were in captivating form while, between tunes, their sparkling chat built a great rapport with an enthusiastic crowd in this city centre pub venue.

They split the songs on offer almost equally between “Crashyertown” and earlier CD “Row” to form an impressive set list. From my own personal point of view, they sadly left out the brilliant Nobody’s Business but it would be churlish to linger on the omission as there was so much to enjoy in this intimate, 80-minute songfest. The rocky single, Railroad Spikes and Shotgun Shells and title track Crashyertown plus That’s Alright, Get Started and a truly gorgeous Fast Train where Cynthia’s crystal-clear vocals were caressed by Craig’s caring harmonies, shone that little bit more but there was no lack of sparkle from the bluesy Pour Down, the close harmonies of Daddy’s Gone, the swing of Get Started or fiery White Trash Queen, dedicated to promoter, Kevin. They nurtured an achingly tender Love Hurts and a vibrant version of Dylan’s Subterranean Homesick Blues, covers that sat perfectly alongside their own songs. They had to pay His Bob-ness to cover the song, maybe he should slip them a few dollars for the memorable way they treated it. Craig’s meaty playing gave bulk and a base to their songs and his harmonica backing was perfectly muted. The delectable Cynthia’s singing deserves to be recognised on its own merits although Emmylou comparisons are hard to ignore. But, The Believers are standing up to be counted on their own and, on this showing, they’re easily one of the best duos recording and touring at the moment. To a loud cheer they promised they would return with their band - so book your tickets now.