On the 6th May 2016, ten years to the day since he died, the Bush Hall hosted a fantastic night in tribute to the late Go Between, Grant McLennan. Featuring sets from the Left Outsides, Bill Botting and the 2 drink Minimums, the Wolfhounds (2 of them), the Wave Pictures, Pete Astor and band and Gerry Love for Teenage Fanclub with some friends in a great band put together for the night. The whole night was MC-ed by Stewart Lee who admitted the problem of doing standup at a rock and roll gig, doubly compounded by the fact of commemorating someone he clearly admired and whose music he loved.
He did a great job and who knew he’d had a hand in writing one of the greatest songs of all time? He closed the night with a great story about how he persuaded Grant to change the lyrics of Cattle and Cane for the better and switch to acoustic from punky electric to fit the mood of the song. Sadly, he was let down by a lack of thanks on the sleeve when Before Hollywood actually came out.
It’s hard to pick highlights from the music. The award for most obscure cover goes to the Left Outsides who gave us the Civil War Lament from a Jack Frost album. Stewart Lee threatened to top this later with the Tuff Monks single B side. Each band manage to channel the spirit of the Go Betweens and there were a couple of Robert Forster covers too so that it was almost like an evening with them during the eighties. Certainly, Bill Botting and the 2 Drink Minimums took me back to the Boston Arms in the mid-eighties in Tufnell Park. That night the Go Betweens had played many of the songs that ended up on arguably their finest album, Libery Belle and the Black Diamond Express, including Apology Accepted, performed at Shepherds Bush by Bill and members of his family (and watched by them too!). A great version. In the Boston Arms Robert and Grant were on fine form having just been dropped by Sire Records (one of many typical such happenings to them) but then taken up by Beggars Banquet. That night they gave us a stirring Bow Down and a magnificent Twin Layers of Lightning and encored with Jimmy Osmond’s Knock on Your Door…At the Bush Hall last night the Wave Pictures played a spellbinding set, including 8 pictures with epic drumming from Johnny. David Tattersall is such a great guitar player and he introduced some Wave P magic to Magic in Here. They conlcued with a raucous version of Karen, again reminding me of a night in the Town and Country Club when the original Go Betweens tore it up with an encore of epic proportions. Some people assoicate them with quiet acoustic numbers but Lindy, as well as being a senstive player, was a ferocious drummer on occasion and they weren’t above improvising and stretching out the song about the librarian! Anyway, respect to the Wave Pictures who are clearly big fans. David’s own song about childhood, Before This Day, is at least the equal of the great Cattle and Cane for that mix of childhood moments and reflection!
All the bands were great (I loved the Wolfhounds belting through Unkind and Unwise; Pete Astor and friends doing Boundary Rider) but so that this doesn’t turn into a biblically long post I should just finish by mentioning Gerry Love and his friends who closed the whole thing beautifully with a joyous East Come Easy Go/ Mrs Morgan / Going Blind and an epic Bye Bye Pride. As Gerry said from the stage, “Let’s hear it for the great man…”
Thanks to all the bands and Stewart Lee for their efforts in putting this together. And to the Bush Hall, a beautiful venue.
In the hot and dark basement of the Sebright Arms on a Thursday evening, three people take the stage: the Weather Station, led by Canadian songwriter and guitar player, Tamara Lindeman. She is joined tonight by a bass player providing tuneful and sensitive support and the subtlest, quietest drummer ever to give accompaniment to a song. That is some skill in a small place. Anywhere really. But the centre of attention is the singer, delivering a lovely set that draws on “Loyalty” her new release but includes the wondrous “Came so Easy” and many other early songs. Many people in the audience – me included – have clearly been in love with these pieces for a while but have not had the chance to see her. This is playing, singing and writing of the very highest quality. Skilful, moving, honest. Not the usual chords or structures and not the usual lyrical ways and means. Earlier in the evening, the support band, Oh Sister, were at the beginnings of this kind of journey. They will learn a lot from watching and listening to this playing and this writing. Tamara is very possibly tired of the Joni Mitchell comparison, in fact I know she is because of the interview on the excellent Line of Best Fit site. But the tone and sweep of her voice does bear that weight. And yet the lyrics are not easily comparable to anyone – they have a highly original depth and range with an eye for the intimate detail and strangeness of particular moments. This is a wonderful talent who will not be playing places of this size for much longer. In fact, she is supporting the Mountain Goats in the cavernous (by comparison) Shepherds Bush Empire in November. The songs the singing and the playing are an easy match for the space. I hope The Weather Station come back soon in their own right…
Laura Veirs was playing a short series of dates to promote Tumble Bee, the collection of children's songs she released last year, and to test a couple of new songs out and dip into the back catalogue. Some of the stops on the tour inlcude free concerts exclusively for children and carers; there's been some toddler moshpits around the bubble machine along the way, she informs us from the stage – like a miniature version of the punk bands she played in previously. But tonight the children's songs are limited to two – including one with full audience participation – through they fit seamlessly in and make sense, even in the formal QEH setting. Most of the audience are here to see what she will do with the back catalogue again. Many are people, like us, who have seen her many times before. And every time I think I might not be able to make it, afford it, should I see someone new…I always end up going and I always end up completely entranced. Every time is subtly different yet always effortlessly good. She takes the song – form to some new places. She uses chords and riffs, time signatures and strange arrangements that you don't hear anywhere else. This is a performer who is really genuinely not easy to categorise. You could say "folk-Americana" and you wouldn't get it. You could say "singer-songwriter" and you wouldn't get it. Though with both you would be heading vaguely in the right direction. It's possible that whoever you are talking to would just mentally file LV under the same label as a thousand or more people who are currently standing there with an acoustic guitar and singing their songs. It's possible they would be thinking, like most people do, of a particular template. They may even yawn. And yet what she does lyrically and musically is so much more. There's a way she has of wrapping music and word up in warmth (and steeliness too) that is unusual and hugely involving. Something to do with the concentration and focus and enthusiasm in there. She looks like she is interested and that this is not just another gig but that it is a privilege to be making music of her own in these times and playing it for you.
Tonight she is really well served by musical collaborators Alex Guy (violins, loops, keyboards, vocals) and Tim Young (guitar and vocal). She's had some great bands down the years including the classic Tortured Souls line up with partner/producer Tucker Martine, Steve Moore and the Karl Blau. Alex and Tim provide a great mix of sensitive backing and playing, making these complex and beautiful songs and harmonies look easy. Laura treated us to a dip and spin through some wonderful back catalogue moments (Riptide, Ether sings) a lovely Neil Young cover (Unknown Legend) and a selection from last year's great July Flame. A couple of new songs (Shapeshifter, 10 Bridges) rounded out the evening, one of which written only the week before, both of which sounded like they could take their place alongside any of the back catalogue. She got a rapturous response and seemed a little stunned, as she put it, to travel all that way and find an audience on the other side of the ocean. She always will, I think.
Now on tour in the UK then some more dates in the US before settling down to write a new album.
The setlist was grabbed by a diehard fan who had seen Laura play many times. He allowed the picture – thank you!
When you give your heart
Sun is king
Life is good blues
Little lap dog
Lonely angel dust
Make something good
I can see your tracks
To my shame I’d never seen the Unthanks play before (except on the tele) and this in spite of being quite awestruck by their music. And the fact that in their album released this year, “Last” they have produced an extraordinary set of songs. The title track just haunts you and stays in your head long after the notes have died away. They were great on Later in April doing that. But, but, but…it’s not the same as being in the presence of people singing right there for you, or indeed with you…
I had this feeling of having already missed out on many stupendous gigs featuring their own material down the years and I still don’t know how that happened when I do have folk on my musical radar (and I usually agree with Paul Morley who lavished such praise on the spine-tingling Bairns album and its even better follow-up Here’s the tender coming). Anyway, that was the feeling as I approached a sold out St James Church in Piccadilly last Friday night for the start of their tour singing the songs of Antony and the Johnsons and Robert Wyatt. And, as it turns out, a lovely New Year’s song written by Rachel and Becky’s dad. I would like to hear their material but these cover versions might be quite good, I was thinking…
And I’m sure the purists would have preferred the things they usually do but…I needn’t have worried; the arrangements of these songs by other people (including Robert Wyatt, one of my heroes) were gorgeous and the sound of the sisters’ voices hung beautifully in the air. Never mind the lack of beer or the very restricted view, this was great music from first to last, soothing our slightly weary souls. Compelling music played by people with real heart. It’s the sisters, for sure, but it is also the tremendous arrangements of Adrian and the sensitive playing of the whole band that it all comes together. If you can get in anywhere to see them play these songs, you really should. From the first songs, through the stories, the small snippets of clog dancing, the feeding of the baby (whilst the band played Alfie), the jokes, the childhood stories, the mentions of the fabulous sounding singing weekends ( I wish for one of those), the gorgeous playing, right up to the New Year’s singsong at the end, it was a healing evening, great company and great music. They just create an atmosphere full of the warmth and mystery of great music and song. We arrived in a bit of a state, after one of those weeks. We left much, much happier.
Rickie Lee Jones is sometimes wrongly associated with a certain lazy, easy listening late 70s west coast sound – perhaps owing to the pristine nature of her first two immaculately produced albums, the eponymous first and the second, Pirates. But dig deeper into these albums and you find songs which are little worlds in themselves, the slow drift along a night road of Last Chance Texaco, the childhood memories of Saturday Afternoons in 1963 and so many others. Even the song which made her famous, Chuck E’s in Love, has a richness to the storytelling absent in many of its contemporaries on the atrophying LA scene of the time, a love of the details of dialogue and scene-setting. And in Night Train, she may have written one of the great songs of the late twentieth century, a portrait of a single mother threatened with losing her child to the social worker, set to the most beautiful, slight, almost not-there musical backing.
So here we were thirty years after the events at the Royal Festival Hall to see her perform the two first albums in their entirety, mixed in the running order as it turned out. And there she was – now into her fifties performing these songs of her youth and recalling troubled times, break-ups and the long strange road to recovery from heroin abuse. If this description makes you think the music itself was anything less than uplifting, then I’m sorry – that’s not at all what I mean. Backed by seven musicians of outstanding quality and sensitivity (showy solos were allowed sparingly only during those numbers which most approached the potentially indulgent jazz area), she gave a fantastic performance. Whether it really was some kind of final exorcism of bad times long ago (As she hinted by the end) or not, there was an intensity to this singing and dancing by this strange un-categorisable performer which was moving in the extreme. You simply don’t get this from the hundreds of hastily reformed acts from years gone by who are going through the motions. Every line was delivered like it was written yesterday and not all that time ago…By the end she was tearful in the face of the standing ovation something really special in the way of live music had just happened.
Sorry – no photos were allowed so here’s one I took on the phone from the bridge walking back from the Southbank to Charing Cross.
See www.rickieleejones.com too – there’s more than just the old songs going on for her
I'm not sure who these fans are. How do you define a wave pictures fan?There's one in the picture taking a picture on her Blackberry.
Until last year I was only dimly aware of them. But my friend Neil dragged me along to see them at the Borderline. I've been hooked ever since. Darren from Hefner produced the new album Beer in the Breakers and he knew exactly what to do about that. Basically roll the tapes and let them play. This is a band who are completely simpatico and telepathic with one another. Maybe it's a feature of three-piece bands. But the playing, and the writing, and the performing find them all locked into their own little world. The guitar player and main songwriter David draws much of the attention. His playing is just beyond belief and his singing, and writing with lots of images of ordinary life sketched and held up for a closer look are just great. Allied to wonderful tunes and heartfelt playing. There's an atmosphere of celebration and warmth and you come out from a wave pictures show feeling better somehow. The drummer Johnny and the bass player Franic are just as good and deliver the spine of the music on which David Tattersall's words and playing dance. I do not understand how it is possible for this band not to be so much better known. Greatness beckons. Hopefully.
With King Creosote having provided the most amazing live music moment of the previous year, it was going to be difficult to beat that. He played at the Union Chapel with John Hopkins. Performing their diamond mine album in its entirety and a bunch of gorgeous encores. The atmosphere was intense and reverential because here whether real hard-core fans hanging on every note and every smile and every gesture from Kenny, John Hopkins and the guest players from geese. His most ardent fan was there as before calling out and whooping after each song. We had seen this guy last year in the slaughtered Lamb. But here the sense of occasion and the overwhelming atmosphere of wanting to hear the music overcame even his most fanatical follower. He played everything I wanted to hear and more, including a lovely version of nothing compares 2U which has been helpfully uploaded to you Tube. He played Leslie and he played And the racket they made.
There was nothing else I could have asked for.Atmospheric, unrepeatable and wonderful.