Cold Specks @ LEAF

TONIGHT a candlelit Leaf is given an intimate jazz club feel with most of tonights audience sat round tables or chilling on Chesterfields sipping wine or espresso.

Neville Skelly - New material

NEVILLE SKELLY opens proceedings looking decidedly casual in jeans, leather jacket and a beanie hat, yet there is nothing casual about his performance.

Going solo tonight he treats the crowd to some new material, which highlight a more troubadour folk direction, reminiscent of JOHN MARTYN and at times TIM BUCKLEY.

The Love You Gave is the standout track of a short but sweet set, his honeyed murmurings are soft yet powerful, his brow constantly furrowed as he pours his heart and soul into his craft.

Richard Warren - apocalyptic blues

Memphis influenced RICHARD WARREN is up next, and an intensely lit stage sets the tone for a grim apocalyptic display that rumbles along but ultimately fails to impress.

Warren’s records show good potential, but his stage persona and show lacks imagination, failing to find the spark that will bring his stories to life.

He shows some finesse with both guitar and harmonica, particularly when he switches to electric, but it misses accompaniment, not strong enough to hold its own alone.

COLD SPECKS open with solo vocal number The Mark, which offers a first exquisite taste of the unique vocal talent that is singer Al Spx.

She is both powerful and gently soothing all at once, her husky tones comparable with JANIS JOPLIN and NINA SIMONE, yet still entirely her own.

She is a shy presence on stage, but gives a sweet and genuine smile after each song, and even cracks a joke that is actually funny ("Two cannibals are eating a clown one day. One cannibal turns to the others and says, does this taste funny to you?").

If she remarkable the band too are impressively talented bunch.

All Flesh Is Grass and Blank Maps show the subtle and skilled instrumentation of cello, keys, sax, electric guitar and drums, all honed to melt beautifully into Spx’s stunning vocal.

For want of a better genre title, this unique blend has been championed as ‘Doom Soul’, and the subject matter is indeed blunt and often apocalyptic, reflecting on death at every turn.

Heavy Hands is a slow builder that steers from delicate to powerful gradually, like the swelling of a tidal wave that then breaks and washes over your senses.

Recent single Holland is simplistic in message and delivery, poignantly reflecting on how we all return to dust.

The uncomplicated and perfectly crafted nature of this music makes it so emphatic that it is impossible to ignore it.

What is impossible to ignore however is the increasing intrusion from Leaf’s ground floor, where DJ’s entertain its non gig-going throng.

It is a shame, as despite promoter HARVEST SUN’s persistent attempts to quell the bass-heavy beats filtering up the stairs, the intimacy being created between this thrilling group and its captivated audience is occasionally ruined.

It is particularly noticeable on their final two numbers Lay Me Down and Old Stepstone.

The former is simply guitar and voice in beautiful tandem before being joined by sax and cello and haunting backing vocal for a chilling finale.

Old Stepstone simply shows the power, emotion and raw passion that can be found in the human voice.

Thankfully it would have taken more than some thumping bass to spoil what is an incredible performance, and as they make their way from the stage and through the crowd, they are cheered and applauded all the way.

  

Michael Kiwanuka @ The Kazimier

WHATEVER you’ve been up to over the weekend Sunday’s should not be taxing, in fact they should be thoroughly pleasant to be honest.

So whether you’ve been working too hard or playing too hard (both in my case), what better way to shake off the lethargy than with a gig from one of Britain’s most talked about, up and coming vocal sensations.

His name is MICHAEL KIWANUKA and if you’ve not heard him yet, you soon will have.

Comparisons to Bill Withers

Since supporting vocal powerhouse ADELE on tour in 2011 the hype surrounding this 24 year old North Londoner has grown and grown.

Performances on Later With Jools Holland have helped, comparisons with BILL WITHERS can have done no harm either.

His debut Liverpool show at The Kazimier sold out early last month, so arriving early I stand firm in a prime spot while every nook and cranny of this theatrical space gradually fills.

The crowd, which by the sounds of it have come from all over the North West are made to wait until the place is packed to the rafters before support band THE STAVES appear, who quickly justify the wait.

The Staves - gorgeous harmonies

There is a flicker of movement behind the curtain just before 9pm before three striking folk psirens make their way cautiously down the steep and narrow steps from the lofty heights of The Kazimier’s backstage.

They appear both charming and witty, complimenting the venue and its crowd, seeming breath-taken by what they describe as an “amazing place”. Quietly one of the three adds “glad none of us stacked it down those stairs.”

The crowd immediately warms to them, and they have the crowd’s full attention from the moment these three songbirds open their mouths - no mean feat for a support band.

Their harmonies are sumptuous and they rarely hit a note out of place.

There is a natural accord between them comparable to a female CROSBY, STILLS & NASH and connections to LAURA MARLING are both inevitable and justified.

Mexico, written in Liverpool is particularly Marling-esque, and is beautifully heartfelt.

You could hear a pin drop, or rather a Red Stripe can clunk to the ground as they open up their hearts to a crowd in raptures.

Icarus shows real quality with beautifully mapped out and clever harmonies and melodies, while the wistful I Try draws another impressive comparison, this time to legend JONI MITCHELL. 

Wisley And Slowly is an unaccompanied three-part harmony that really shows off their vocal interplay beautifully, while final number White Trees has everyones attention and they rightly receive a rapturous applause.

MK & band, getting along just fine

And so to the man himself, or should I say the men. Michael Kiwanuka brings a large entourage down the steep steps, including Hammond & Rhodes, Congas, drums, bass and an electric guitarist with an Afro that dwarfs Kiwanuka’s neat effort.

The set gets off to a light-hearted start, I’ll Get Along is warm and soulful and very easy on the ear while Need Your Company is similarly effortless.

The opening two tracks share an affinity with another rising star on the other side of the pond in ALOE BLACC, and although they aren’t mind blowing, Kiwanuka’s effortless vocals are seriously admirable.

Importantly he seems to be enjoying himself too, pausing between songs to admire his surroundings, stating “what a cool venue” before adding “and so full”, with a big grin.

It’s not all easy-going and laid back and he admits having a ‘love hate relationship with I’m Getting Ready, the song that for many launched his rise.

He respects it’s importance and plays it beautifully, seemingly genuinely pleased with it.

Tell Me A Tale ushers us away from soulful folk towards more jazz soul vibes.

It has a real GIL-SCOTT HERON feel and a really special groove.

It isn’t long before they break off into an instrumental that really allows the band to show of their talents; the jam between Hammond, electric and drums takes off and really soars, the result being a real set highlight.

Worry Walks Beside Me brings the tempo down again, the vocal truly moving, before Bones, with swing elements that show VAN MORRISON has influenced this eclectic blend of vintage sounds.

Rest provides another highlight, a reverb-laden beauty that haunts as much as it warms.

Then without warning the band leave the stage, Michael feints surprise before going on to do “a couple of songs just me and the guitar”, how all his songs are first envisioned.

Michael goes it alone "just me and the guitar"

These include his personal favourite I Won’t Lie, a touching tribute to a friend, both solo tracks best showing of his stunning vocal talents.

The band return for two more numbers and the crowd are really spoilt by versions of Home Again and one of his biggest inspirations, BILL WITHERS and a version of I Don’t Know, complete with crowd sing-a-long which he professes sounds lovely- the charmer.

He really is a delightful character, who despite obvious talent and rising hype remains cool and calm yet without any sense of ego beyond confidence in his voice and those around him.

After risking the stairs again they quickly return for an encore that includes a first, in taking on JIMI HENDRIX’s May This Be Love, which they only played in sound check for the first time.

It has breathtaking layers, and is joyful on so many levels.

It is a truly special gig for both crowd and performers, and a real plus for The Kazimier, which accommodated this performance perfectly and is surely making its way towards cult venue status.

The Kazimier - top venue, admired by Michael Kiwanuka

Friday @ Threshold Festival

AS a Threshold virgin I didn't really know what to expect from tonight. Scanning through the line-up my first impression is of the sheer volume of acts on the bill. And this is just for one day, there are two more to go!

It seems ambitious, which there is nothing wrong with, but whether it can live up to expectations is another thing.

This year it moves from the sadly now defunct CUC, to fresh pastures mere yards down the road to what was formerly known as The A-Foundation. Now it goes by the title The Blade Factory, a maze of several rooms which lead to Camp & Furnace, a huge disused warehouse that has recently housed WAXXX parties and Chibuku since the closure of The Barfly. 

Here is my pick of Friday's musical highlights from the festival's main arenas.

The Furnace

FONETIKS

Are a lively three piece of guitar, drums and what can only be described as a smorgasboard of effects.

What these guys lack in technical ability they make up for in high octane energy and raw potential, which to a degree allows us to turn a blind eye to some slightly unimaginative guitar and drum patterns and weak vocals.

Tracks build slowly to a peak that threatens to erupt but never quite does.

Fonetiks

SCIENCE OF THE LAMPS

Festival co-organizer Kaya’s latest project, which sounds like Silence Of The Lambs when spoken with her Norwegian lilt, is yet another impressive outlet for her prodigious talent.

She may be small but she has a big voice, and is flanked by three backing singers whose harmonies perfectly compliment it and are a joy to hear.
Each song tells its own story, such as 27 For A Reject about Kaya surpassing the ill-fated age for rock stars, delivered with a light-hearted hue that crack plenty of smiles and warm hearts in the chilly warehouse.

Silence Of The Lamps

MUTO LEO

Math-rockers who on first inspection seem unlikely to bring anything new to a well-populated genre other than the fact that they don’t sing.

They are an incredibly tight unit and as the set wears on it becomes both pulsating and mesmeric, some of the interplay between the group simply enchanting.

The two guitarists stand facing each other as if entering into a music duel, while the rhythm section pounds on, keeping them in check.

It’s an effortless display that is both open and frank and it rightly draws one of the biggest crowds of the night.

Muto Leo

MINION TV

Set behind a background of TV static the band set off on what can only be described as an epic space rock adventure.

Pink Floydian at times, the musical landscapes and textures they create are fascinating and blissful.

But by equal measure it is a hugely self-absorbed performance, and this type of introspection doesn’t transfer well to a gig of this ilk, making it difficult to maintain audience focus for long.

If these guys aren’t involved in making film scores, that is surely where they belong.

Minion TV

CAROUSEL

Are an intriguing and exciting young prospect, professing complex, introspective alternative Indie and some impressive quiffs.

The Charm Offensive is gorgeously open, the band not afraid to leave spaces in the music, allowing the song to resonate around Camp & Furnace’s vast chasms.

Searing vocals haunt the bleak electronics of Mere Idea, whilst final number Lets Move In builds slowly and methodically into a belter with a vocal hook that is reminiscent of Noel Gallagher’s Talk Tonight; instantly catchy and infectious. Carousel are a real highlight and ones to watch.

Carousel

SHONA FOSTER

In terms of sheer talent Shona Foster steals the show tonight.

She oozes class and beauty, cutting a striking figure flanked by two dapper chaps on guitar and keys.

From the moment she opens her mouth those watching are transfixed.

The music has a dark, sinister quality akin to Portishead, and despite her sweetness there is a steely look in her eye.

Her voice fills the space, carrying gorgeously, drawing in more of the crowd as the other stages close.

Her music firmly set in the 1940s/50s era yet with a contemporary edge, she is sure to soon join the female folk elite.

Shona Foster - show stopper

Clap Your Hands Say Yeah - o2 Academy

IT is somewhat of a tragedy that it has taken CLAP YOUR HANDS SAY YEAH seven years to make their Liverpool debut, but all the signs pointed towards it being a worthwhile wait.

They arrive to promote Hysterical, their third and most accessible album to date.

This production-heavy release is somewhat of a departure for a band famed for their subtle and quirky sound.

 2005’s critically acclaimed self-titled debut was a real stand out album amidst the plethora of Indie drivel that populated the mid-noughties music scene.

Latest album Hysterical

Yet two albums later and they haven’t managed to push on or even recapture the magic that surrounds their debut, yet have remained a cult favourite.

After a mediocre reception to 2007’s Some Loud Thunder their latest effort is a far more polished and direct affair, in places more akin to a record by THE KILLERS.

It may lack some of the warmth of their previous releases, yet on this showing it transfers well to the live stage and when weaved amongst their previous material it all equates to a hugely agreeable showing.

The good news for those who have patiently waited for CYHSY’s first Liverpool appearance is that the show is littered with tracks from their debut album, in equal measure to those showcased from the new record.

In addition, it is as much a surprise as it is a treat to see them in the smaller of the Academy’s room, with the intimate setting suiting them down to the ground and allowing those diehards to see them up close.

Meursault - grandiose Scottish Rock

It is not full for support band MEURSAULT, and as I catch their last two tracks they seem to have warmed the crowd up nicely with some grandiose alternative Scottish rock.

The Edinburgh group boast two drummers, though it seems to be purely for effect as it offers little extra to the sound.

They churn out a big sound that sadly is lacking in the quality to really back it up and drop any jaws. That said, Biffy Clyro should perhaps be watching their backs with these guys on the rise.

Stage is set

As the stage gets set for the headliners there is a good buzz of anticipation as the Academy starts to fill, the one barman suddenly becoming inundated with custom.

Amidst the clamour at the bar CYHSY slip on stage unannounced, led by the diminutive figure of Alec Ounsworth, whose cap and glasses make him look like a cartoon Elvis Costello.

New tracks Same Mistake and latest single Hysterical are thrown in early, sandwiched between crowd pleasers Satan Said Dance and Gimmie Some Salt.

Laden with strings, Same Mistake floats along driven by pounding drums while Hysterical is a frantic number again driven by the rhythm section while swirling guitars and synth overtones show CYHSY’s beefed up new stadium rock sound.

The sound is strong, singer Ounsworth’s shrill vocals are not dwarfed by this powerful new direction, yet it feels a little forced and cold. Reading between the lines, perhaps this is a direction shift that feels necessary rather than desirable.

However, if the new tracks don’t really hit the spot it seems the band have just been warming up. The second half of this set is pure magic and is a real reminder of just how good this band can be.

Details Of The War and Lost And Found are sublime, new track Misspent Youth is a haunting beauty, with reverb-laden guitar washing over Ounsworth’s strikingly beautiful vocal that is reminiscent of Thom Yorke at his sublime best.

Hitting their stride

Maniac is a lively new number which is well received before the band hit top gear rattling off classic favourites Is This Love and Upon This Tidal Wave Of Young Blood, which really get the crowd dancing and worked up into a furor before an emphatic rendition of The Skin Of My Yellow Country Teeth provides a the highlight of the entire set, and is rightly met with rapturous applause from a breathless crowd.

A Barnstorming finale

From a slightly shaky start, confidence really grew as this epic set wore on. It is clear that the love felt for those early songs still resonates here and the reception for them seemed to really spur the band on and deliver their new material with greater confidence.

They return for a short encore, finishing on a barnstorming, bring the house down version of Heavy Metal complete with pogoing from the crowd.

The overriding feeling by the end is that this is a triumphant, and long overdue debut in Liverpool that will not be forgotten soon. Let's just hope it's not another six years before they return.