Thursday 20 September 2012

DeeExpus and Manning–The Duchess, 08/09/12

What’s my favourite type of music? That’s easy – prog-rock. OK, but what is prog-rock? Well, it’s…. errrm.

The thing is, it’s probably easier to say that a piece of music isn’t prog-rock than to is to say that one is. According to the BBC’s three part documentary on the genre, prog died in the 80’s, it’s endless noodling, strange sensibilities and twenty-minute songs about Hobbits killed off by the three-minute madness, pogoing and spitting of the punk revolution. Except that it didn’t disappear and is now enjoying a revitalised wave of popularity exemplified by both chart success (album chart, obviously), magazine coverage and, recently, an inaugural awards ceremony. The concept albums are still around, although these days they are less concerned with fantasy tropes, but prog, while still revelling in its roots, is as it’s full name suggests still moving with (or past) the times and there are many varieties. Take tonight’s double-header gig, which featured two Northern-based bands that, although I had heard of, I hadn’t previously heard anything by.

DeeExpus are from the North-East and have been around since 2007, originally as a duo of Tony Wright and Andy Ditchfield and now as a full band, although Tony has had to take a leave of absence from the band. Coming on stage to an unintelligible voice-over, the band immediately burst into song which had a very heavy opening but which, in true prog style, included multiple changes of style and a keyboard-drenched instrumental section. This was followed by King Of Number 33, which started off quietly with acoustic guitar and keyboard before introducing a grinding electric riff and almost growled vocals and then leading into a second enthralling instrumental section. I didn’t realise at the time, but this was at least part of the half-hour long title (and concept) track of the band’s second album, proving at least one of my points above. The variation continued with the next track. A short instrumental introduced as a bedtime story, it once again opened in heavy fashion but with a jangly sound which evoked images of nursery rhymes in the background. After a false start with an unplugged guitar Greed featured keyboards which were slightly reminiscent of Genesis while Memo was introduced by Ditchfield as “I was going to sing this on the album but Nik Kershaw wanted to, so I let him…” I thought it was some kind of joke until I checked the album credits and found that the 80’s alternative to Duran Duran had indeed provided vocals for the slightly folky track. After another false start, due to what seemed to be a malfunctioning backing track, which nearly saw Maybe September being ditched from the set, we were treated to a different version of the song that Ditchfield introduced as “the most beautiful thing Tony has written” which open with just vocals and keys but, once again, led into a much heavier section which included “parping” keyboards. DeeExpus have a very modern-styled prog sound and it became obvious why with the final song of the set. PTtee is Ditchfield’s homage to his favourite band, written after he saw them live for the first time. And there are definite comparison’s to Porcupine Tree in DeeExpus’ output, although it has to be said that the recorded versions (yes, this was another gig where I bought a band’s full back catalogue – thankfully, this time, just two albums) aren’t quite as heavy as the live ones. A really enjoyable hour-long set, even with the slight problems.

Leeds-based Manning, on the other hand, are more reminiscent of the older style of prog. I usually find it difficult to make comparisons between bands – my musical knowledge simply doesn’t stretch that far – but the first thing that struck me about this set was how, physically anyway, it reminded me of Focus, with Guy Manning lording it over the band even while sitting behind a keyboard, stage left. This is a big band – two guitars, and three sets of keyboards, as well as the usual rhythm section and Domicile was delivered in a wall-of-sound style. The introduction of a flute for the second song inevitably invoked comparisons with Jethro Tull and Guy Manning’s vocals also had more than a hint of Ian Anderson in their delivery. I wasn’t to know it but Charlestown was about to blow me away (and, ultimately, decide one of the Manning albums I would purchase tonight). Another twenty-minute epic, delivered after a somewhat lengthy delay during which an acoustic guitar string was nearly replaced, it featured vocals suited to reciting a fantasy-story (or, indeed, on of the aforementioned concept albums) as it told a story inspired by the eighteenth century tall-ship voyages from Cornwall to Liverpool and back. The band were promoting their latest release, Akoustik – a kind of acoustic Best Of… – so a number or tracks were being played in acoustic style, if slightly rocked-up for the live set. This gave some of them a more folky sound, especially the likes of Margaret Montgomery, the story of a Scottish Witch, and its thematic sequel Revelation Road, which also managed to incorporate a more funky sound, while Lost In Play was a superb mixed bag of somehow medieval sound, hard rock and bottle-neck guitar-playing. Like a growing number of bands, Manning don’t perform encores but ended their set (“that was our last song and here’s another…”) with another brilliant track about finding love in the strangest of places. If I’d had more cash on me, I would almost certainly have bought whichever album that was from as well… This tour is the last time that the current line-up will be seen together, as guitarists Chris Catling and Kevin Currie are leaving the band (to be replaced by former member David Million). There was a remarkable camaraderie on stage, with both departing members joking with the audience and the rest of the band during breaks in playing. Strangely, most of the tonight’s audience seemed to be there to just see DeeExpus and the crowd (if it could be called that in the first place) felt a lot smaller while Manning were on stage. That was a shame because, of the two, I slightly preferred Manning. But then, I’ve been a prog fan for a very long time…

Thursday 13 September 2012

Charlotte Church–Fibbers, 28/07/12

I’m going to start this post with a caveat – due to a) being at a beer festival during the afternoon before this gig and b) forgetting to write it up until over six weeks afterwards (I blame the onset of the Olympics, during which I barely moved from in front of the TV, immediately followed by a two week holiday) my memories of the event aren’t quite as sharp as when I normally do these reviews. However, as this blog is primarily a personal record of who I have seen perform rather than any serious attempt at music journalism, I’m going to give it a go anyway.

Despite York being a relatively small city, with small music venues, every so often an advertised act will catch my eye in an “I can’t believe he/she/they are playing York” way. Even more rarely, said acts will also stir an “I’ve got to be there” feeling. Tonight was one such and, despite the fact that I knew I was probably opening myself up to more than a fair amount of abuse and mickey-taking, there was little chance of me missing this gig.

Support tonight came from Nico Cara who plays acoustic guitar and sings in a somewhat strange style – staccato, with every few syllables highly pitched. He seemed more than a little nervous, mumbling through the introductions to his four songs and the set came to an abrupt end just when I noted that he appeared to be growing in confidence. I picked up that one song was about suffering from writer’s block but that’s about all. His guitar playing varied from minimal to something much deeper but I’m afraid that, on this performance, the young lad didn’t do too much for me.

Maybe things would improve with Pony And Trap, a post-punk/alternative duo consisting of guitarist Tom Meyer and singer/percussionist Sally Rafferty, resplendent tonight in sparkly top and blue-dyed hair. The vocals are described as distinctive. I would say more “quirky” and the first song, John Green I think, seemed to consist less of lyrics than just the title repeated over and over with a few other words thrown in every so often. Tom switched between acoustic and electric guitars and at least one song had percussion added by a backing track. Unfortunately, like the first act, they did nothing for me. This time, however, it was more due to the fact that I just don’t get on with this type of music. Too quirky for my tastes, I’m afraid.

Jonathan Powell was an impromptu third support act, playing just three songs because the evening was running fast (maybe due to Nico’s rather short, abrupt set?) Charlotte Church’s guitarist, musical partner and, perhaps, boyfriend played acoustic guitar and his vocals seemed a lot more natural that the previous acts, although his first song was difficult to hear above the sound of the crowd who were, perhaps, getting a bit impatient by now. Upping the power slightly on the remaining songs he showed how good support acts can be and provided a pleasant, unbilled surprise.

After a short break Powell and the rest of the band took to the stage. As did Charlotte Church, with a wide smile and without any hint of showboating, shaggy-cut blonde hair giving the impression that she is slowly morphing into Debbie Harry. Playing a tour of small venues to promote her latest musical reinvention, brought immediately to the fore by the big drum and indie-guitar sound of the opening song, the former “voice of an angel” and tabloid-hounded teenage “hell raiser” (although, out of the spotlight, are many teenagers that different?) seemed genuinely pleased to be performing in front of a small but definitely appreciative audience. Indulging in medicinal honey between songs Charlotte and band performed a ten song set, none of which I remember hearing before (although, admittedly, I only have the pop of 2005’s Tissues and Issues in my CD collection) and many of which have been written as a result of recent events -  including her battles with the press and subsequent testimony at the Leveson Enquiry – and her apparent dislike of the mainstream as she hinted that the “suits in the music industry have shit for ears”. Sadly, although I know that I enjoyed her performance on the night, nothing has remained stuck with me musically (except for the opening of one song which I found memorable more for the annoying use of a loop to repeat an almost-shouted “Eh, eh, eh” than anything else). There wasn’t anything wrong with the performance and, it has to be said, Charlotte gave a nicely varied vocal performance and the songs themselves ranged from indie rock to disco. On the night I noted that Come To Me was the best song of the set, but I can’t remember any of it now. If there had been an album available on the night I would almost certainly have bought it but the only mention of a new release was the EP One. Although I wouldn’t have liked to miss this gig, I find that it has faded all to quickly from my mind, in a musical sense anyway. After all, that genuine smile and the fact that Charlotte doesn’t do encores because she “feels like a twat” (imagine it being said in a Welsh accent…) are going to be hard to forget.