It was an up and down day really for the Gaslight gig. After seeing a band play as hard as Hot Water Music just days before, it’d be hard for any band to impress me. This wasn’t helped by the exchange Ian and I had with Brian Fallon pre-gig either. All that aside, I’d been told to expect a good show from the New Jersey boys and that’s what we got – a good show. Nothing amazing, but it was far from bad.

Now I don’t want people thinking I’m hating on the band, the music they make is really good and they showed that on stage at Manchester’s Academy 1. A place I’ve not seen that packed in quite some time. The crowd was ready and the band were definitely up for it. The thing is, something was missing. There wasn’t that spark that’s needed to take over a room. There was no energy to the performance. Musically the band were great, but they seemed static throughout. Not to say that they’re lazy, but Brian barely moved throughout the whole set and even had a bit of a moan about his setlist.

Speaking of the setlist, it was great. There was something for everyone in there and, honestly, it was everything a Gaslight fan would want. A good mix of songs from each of their albums, and a lot of them too. There was even a cover of The Who classic ‘Baba O’Reilly’ in there for the older members of the audience. The highlights came in the form of ‘Great Expectations’, ‘Boxer’ and ‘The Spirit Of Jazz’. Three great songs played really well. However, the band seemed fairly sloppy for the most part. Then again, when compared to Chuck Ragan and Co., that seems inevitable.

Overall the show was good and I’d definitely recommend that you go and see them live. However their live show is just that – a show. I couldn’t really call this a performance def. They played ok and the crowd loved it, but I know, and I think they know, they can do better. They’re back touring the UK in October.

We thought it would never happen, after break ups and semi-make ups, Hot Water Music have finally touched U.K shores and are blasting the hell out of some, or what seems like, some old mans social club in the middle of fuck knows where known only as, the Irish Centre. Okay, I’ll do a little run down first, because it’s me writing this and it’s never a straight forward day is it?

In Leeds, we meet up with the fourth member of our usually 2 strong team, Mr Joe Brownridge. So far we have Anthony Barlow, Danny Rayner, Mr. Joe and myself. Being the ultimate arsehole I am, I decide it’ll be a good idea to walk to the Irish Centre, with not an ounce of knowledge of where it is, after an hour or so of walking through Leeds council estates (big fun) we decide to rely on the bullshit technology that is the iPhone.

So we get to the Centre, eventually get an interview with the lovely Jason Black and as we return to the venue Milloy are part way through their set. They play with such intensity I have to take a moment to think back to when I saw a support band play so well, can’t think of any right now. Next up is the Magnificent, who supported the Lawrence Arms on their Leeds venture, the crowd do not seem interested in the bands songs or on stage banter, but I do not think they played bad. At the end of their set, Chuck Ragan joins them for a full band cover of Alkaline Trio’s “Bleeder” which frankly, was the perfect start to what everyone had been waiting for…

Hot Water Music take to the stage and the crowd, frankly, go ape shit. A brief introduction and we’re straight in there. They open with ‘A Flight And A Crash’ (check the title duh!) and the place explodes. Before anyone can take a breath we’re followed by ‘Remedy’, a fan favourite and the last single (to my knowledge) to be released by the boys. The set continues with other well known songs such as ‘Wayfarer’, ‘Giver’ and the song that gave the album ‘Caution’ it’s title ‘I Was On A Mountain’ (such a tune).

The intensity of the band cannot, or has not been matched by any band I have ever seen. Chuck Ragan’s hard rocking antics, Chris Wollard’s borderline cocky crowd smiles and the deep concentration of the face of one of punk rocks best bassists, Jason Black. I’d say it is unfortunate, and I guess it is, but due to joining Against Me! George Rebelo is not on the drum kit tonight, luckily, Lagwagon drummer Dave Raun, who does exceedingly well (Oh Mr. Kipling!), playing songs that he didn’t write.

The set is a brilliant blend of new and old, featuring old classics such as ‘Free Radio Gainesville’, ‘Just Don’t Say You Lost It’ and ‘Alachua’. After and intense non stop perpetual boner of a setlist, the band retire, leaving the crowd anxious and almost riot bent on just a few more songs, and like fuck they’re not gonna give them to us! The band return to stage, and give a shout out to their good friends, a band called “The Bouncing Souls,”  they tear into a rendition of “True Believers” (much to Sarah Hadfields regret as she was not there) which rivals the original in a way that I’m sure shocked a few BS fans.

A couple more songs, Kerrang! favorite, ‘Choked And Seperated’ and finally ‘Turnstyles’ and the best night of my life comes to a close. Well kind of….

We ring a taxi under the pseudonym  Sebastian DeBlanc, and head towards Santiago’s, the best pub in the world. A lot of Against Me!, Nofx and Black Flag and then a lovely train ride home. Fuck yeah!

© 2010 Abbie MacDonald

I first saw Against Me! in September 2008 in Toronto at V Fest playing to an intense number of thousands, the open air, Lego haired Oasis crowd didn’t seem too appreciative of them and Against Me! appeared a little fish out of water at the indie dominated festival.

They were awesome back then and so I got really excited when I found out one of their three headlining UK tour dates (after playing three dates with Slam Dunk) was at the 250 people capacity Manchester Academy 3 to promote their upcoming album White Crosses, and all for a tenner. Ace!
Getting there at half seven, an hour and a half before the first (and only) support band came on, gave us plenty of time to take advantage of the Student’s Union’s cheap beer as the crowd filtered in.

Instantly bouncing upon stage, Canterbury revved up the crowd within the first couple of songs (dedicated to people who have ever ridden in an ambulance and to anyone who has ever been lost in a basement…yep!) and the academy was soon bopping along to the songs of the pop-rock fivesome, which was pretty hard not to do, they were brilliantly catchy and synced together perfectly; the guitarist’s dancing was particularly special.
All in all, good music, brilliant stage presence and genuinely lovely chaps! Their album is available to download for free at canterburythankyou.com; definitely check them out! Prepped and hyped up, the crowd pushed forward and, pints in hand, lined the stage for Against Me!

The lights dimmed and the sold out Academy roared as they welcomed on the eagerly anticipated headliner. Strolling on stage to Nancy Sinatra’s These Boots are Made for Walking, the crowd erupted and a pit followed seconds later as the Floridian punk rockers jumped straight into High Pressure Low.
Characteristically all dressed in black, Against Me! wasted no time as they rolled straight into song after song, pouring every single ounce of built up energy into the gig upon a crowd of beer-drenched, shouting-along-to-every-single-lyric fans, who had been waiting three years for their return since their last album, New Wave.
The adoring Academy is even treated to a bit of Gabel’s solo stuff, Amputations, which sounded awesome with the full band behind him, a definite highlight of the night!
Against Me! received lashings of sweaty, fist in the air praise throughout the night as they introduced new songs from their unreleased upcoming album White Crosses, including I was a Teenage Anarchist, High Pressure Low, Bamboo Bones and White Crosses.
Marching along to Don’t Lose Touch, maintaining a full blown pit and clapping in unity where applicable throughout, the Academy 3 welcomed back Against Me! leaving the crowd chanting for more at the end of the set.
Introducing the three song encore with a huge grin plastered over his face, telling the fans “this is the best feeling in the world I’m tellin’ ya!” (Tom Gabel) Against Me! dived into Ocean, closely followed by Rapid Decompression, closing the action packed set with “Baby, I’m An Anarchist” and bid Manchester farewell!
Bursting on stage with energy from the support straight on to the encore, the intimacy of the Academy 3 offered a much more personal experience, for both bands and fans, compared to when I first saw them in Toronto. Overall, an amazing gig, worth every penny of my tenner!

White Crosses is released on the 7th/8th June described by Tom Gabel (singer and guitarist) as a “new start” for the band, brimming with devotion, well received by the Manchester crowd and (if this gig was anything to go by) undoubtedly the rest of their European tour.
They’re playing Leeds and Reading festival’s Lock Up Stage too, so if you’re going, check them out! With their energy and raw performance, if you’re an Against Me! fan, you won’t be disappointed!

Leeds rock band Sound Of Sirens were the first support act of the night, and with a audience of 10 it can’t have been the easiest show to play. After a few songs the band loosen up and attempt some rather desperate crowd interaction, however it’s an awkward atmosphere and the bands rather static stage presence doesn’t help. Not that the small stage doesn’t help, this is cockpit 3 after all and not known for its spacious qualities. Music wise it’s a very average feeling performance, there isn’t anything amazing about it, the lack of visible energy in the performance being very notable and a real hold back.

Then next band up are a sharp contrast to Sound of sirens, Soul circus (http://www.soulcircus.co.uk/) are an alternative pop group. The first very noticeable thing is the music, its catchy, infectious and its sung by an amazing vocalist, Lloyd. The performance has so much energy and goes suitably with the music, its difficult to not be amazed by these guys.  Its difficult to overstate how much potential these guys have, and they’re still unsigned. Definitely a band I look forward to hearing more from.

Airship (http://www.myspace.com/airshiptheband) were the final act of the night. The start of the set has some sound problems but they’re soon cleared up. The most striking thing about the set is the unreleased material that is being played, its entirely unexpected from a band that has just released a Single/ EP but enjoyable. Algebra is well received and the best knowns of Airships songs but newer songs such as spirit party are also enjoyable. Airships are upstaged by their support Soul circus in the energy department but they have their moments. The most distinctive moment was when an extra drum was used in the final song, just a little touch, albeit very memorable.

Overall a very enjoyable night, Soul Circus were the highlight for me; I never expected such a strong performance and from a band I’ve never heard of before. But Airship proved they can perform live and were equally amazing in their own way. Airship and Soul Circus, 2 bands that have incredible potential and equally amazing music to go with it.

Arriving in Leeds you would hardly have guessed that the city was the location of a festival overall over 100 bands are going to play today at 17 venues, the bands range from local upcoming bands to internationally recognised artists such as Lightspeed Champion, Johnny Foreigner and 65 days of static.

After getting a wristband and programme its time to head off to the first band; Stagecoach (http://www.myspace.com/stagecoachuk) at nation of shopkeepers. Appearances can be deceptive but this isn’t the case with stagecoach; the lead singer is sporting a woolly hat reminiscent of ‘where’s Wally’ and Tom’s (mandolin/ harmonies) headband look both give off ‘geek chic’ by the bucket load.  Pop with a twist is the bands forte and they do it undeniably well, it’s catchy and has the ‘feel good’ factor. Think aquabats but without the horns and more mellowed out. ‘everyone love monster trucks, so we put them on our t-shirts’ pretty much sums out the bands laid back attitude, which is infectiously fun.

Arriving at The Wardrobe early I’m told that the first 2 bands had cancelled so over to the nearest venue, Leeds College of Music, to check out what’s going on there. Catching the end of WorriedAboutSatan (http://www.myspace.com/worriedaboutsatan) highlights the diversity of music a available at live at Leeds, at one point playing guitars like violins, all the while producing their techno/ electronica music.

The Heebie Jeebies (http://www.myspace.com/theheebiefuckinjeebies) were the next band on with a tropical ‘vampire weekend’ feeling about their music. They’re crowd interaction was amusing, as they commandeered a pole which was passed up and down. If anything, a truly unique experience.

After getting lost in the Leeds university campus, Castrovalva are just finishing their set. Consisting of bassist, drummer and most notably vocalist Leemun, they produce breakcore music. As the first breakcore band I’ve ever heard they’re not too bad and vocalist Leemun ends the performance with a venture into the crowd. I’m surprised at what can be achieved with just a bass and drums but the sometimes explicit vocals of Leemun are the defining feature of this set. If you too are new to breakcore you can sample it here: http://www.myspace.com/castrovalvamusic

These monsters (http://www.myspace.com/thesemonsters) are next up, the band plays mainly instrumental songs, with few ‘vocals’, which are mainly screams or variations of. The real strength of these monsters is their sax, which works brilliantly to create a dark, chaotic music, which is in all of their songs. The problem is a lack of vocals and that there doesn’t really seem to be much differentiation between each song.  That said they deliver a reasonably energetic performance and are certainly different from most hardcore bands.

Next up is LA punk/ hardcore band The Bronx (http://www.thebronxxx.com/) Live at Leeds is their substitute for playing a show in Leeds. Having seen these guys before its fair to say that they put on a good show and that the lead singer is going to be in the crowd in the second half of the gig. Not to disappoint this is exactly what happens, this seems gimmicky having seen them do it 2 times before, but its still enjoyable and goes well with their music. The setlist itself is good, they play the expected ‘knifeman’, ‘inveigh’ and ‘sh*tty future’. However the setlist ends 10 minutes before they’re scheduled to end. As a fan who wanted to see these guys the most, it’s a disappointment.

At the cockpit Lunar Youth (http://www.myspace.com/lunaryouth) take to the stage after having difficulty with their setup. A up and coming band Lunar Youth play alternative pop very well, defiantly worth checking out. Theres not that much energy in the performance, but this isn’t the kind of music that needs it, all you need to do is sit back and listen to the vocals. A very enjoyable performance and a world away from The Bronx.

Overall Live at Leeds is an enjoyable day long festival, the schedule is well planned so you can catch 2 ‘headline’ acts if you want to, good value for £15. Being over an entire city is problematic and the map wasn’t enough to get to the venues out of the way, especially the college of music and the wardrobe. Still for £15 pounds it’s a cheap day out with a chance to listen to some established bands and new and upcoming bands. So if you’re looking for something to do on the mayday weekend, consider Live at Leeds next year, a bargain not to miss out on.

Once arriving in the Junction, I soon realised that it wasn’t just a novelty mariachi act, but it was surreal to see that the audience were all fairly heavy punk fans (even if some were a bit “mature”).

When Mariachi El Bronx swaggered on stage in complete charo, Mexican outfits and  without a hint of irony; I realised that they take their somewhat imaginative, side project quite seriously. The hardcore fans, sometimes said to be a cult following, have responded well to the bands Latino rhythms and have shown, the true spirits of die-hard music fans and learned to love the Hispanic sounds. The running order pretty much twinned that of their self titled album starting first with ‘Slave Labour’ and ending with ‘My Love’ but all songs reeked of the passion and feeling they put into their music. The band played with straight up professionalism and didn’t show a trace of their hardcore punk origins.

The next band were the support, Ghost Of A Thousand. On first appearance these were an audacious band with a true punk spirit, so when singer, Tom Lacey jumped back on the stage after moshing with the crowd, it was a surprise to hear he had the speaking-voice of an I.T. guy. Although Lacey’s voice was comedic it didn’t compromise the music that Ghost Of A Thousand play with that of a striking reminiscence to “Gallows”.

After G,O,A,T came the headline of the night as it were, The Bronx, this time lacking the trumpets. The band who were seen before as very serious had now taken off the mask and unveiled their gritty, punk , reality. Although they had been stripped  of their charo outfits they still played with the same edge of excitement and feel to their music and just like Ghost O f A Thousand’s singer, front man, Matt  Caughtrain ended up in the audience and dancing with the admiring fans. With so much going for them and the ability to laugh at themselves, the Bronx are a truly inspirational band and if ever you get the chance, go see them as it’s a night you will remember.

Keith James (guitar) and Rick Foot (double bass). From keith-james.com

For many people, the music of Nick Drake is held in the highest of esteem. There seems to be absolutely nobody who has heard his work who does not elevate it above nearly all singer-songwriters before, during, and after his life.

For myself, the work of Drake is of the utmost beauty. However, for some reason I have always stopped myself writing of his work. This is for a number of reasons, but predominantly because there is no way that I would be able to do him justice.**

On the 19th April, 2010, the BBC broadcasted a glitzy show of “diverse but renowned … modern day troubadours” presenting their interpretations of Drake’s work. This article is not about this show.

Keith James (guitar & vocals) and Rick Foot (double bass), quite impossibly, do justice to the work of Nick Drake. They do not, quite rightly, glamorise Drake’s life, work, or untimely death. Hating to write this, but being the only conceivable way of getting this across to you, Keith James is the closest thing to seeing Nick Drake live that you can get. Both talent and humility ooze out of the two men on the tiny stages they tour round.

The show starts with a film on the life and music of Nick Drake. If there is any criticism to be given of the show, it is centred only on this short film. With interviews from the likes of Ralph McTell and Richard Sanders, it’s credentials are without dispute. However, the film disappointingly seemed to suggest that Drake committed suicide – the narrators exact words were “presumed suicide“. I feel this is misleading, as nobody will ever know if Nick Drake’s death was intentional or not and it is wrong to presume such. The evidence is neither conclusive nor indicative of either intentional or unintentional death. However, this is neither here nor there and is not a debate that should be started.

To the show itself, then.

Firstly, you should know that Drake produced three albums during his lifetime: 1969′s Five Leaves Left, 1970′s Bryter Layter, and 1972′s Pink Moon. Each has it’s own distinct character and charm. It was off Pink Moon that most of James’ and Foot’s tribute show material came from – Pink Moon is a solely acoustic album, and thus suits the two men.

Nick Drake, unknown location

James and Foot opened with From the Morning, the final track on Pink Moon. I said previously that James is the closest thing you will get to seeing Nick Drake live. Here I reiterate that statement. A chill settled on the audience of less of 80 seated people, a deathly-respectful but not stifling silence. Everybody took in absolutely every single pluck – the awe was incredible. Drake’s tracks are unique for the tunings he used and it is only the highest calibre of acoustic guitarists that can decipher not only these tunings, but the patterns of both left and right hands.

Running through a number of Pink Moon’s tracks including Place to Be and the awfully haunting Things Behind the Sun, it was Parasite that stands out most vividly. Extending the introduction with a Velvet Underground-esque scratchy sound on Foot’s double bass, the song is given an staggeringly eerie and moving character which draws Drake’s lyrics into the open in a frightfully vulnerable way.

John Martyn OBE was for a time close friends with Drake, who used often to go to the Martyn’s home. Shortly after the announcement of Drake’s death, Martyn composed the song Solid Air, in tribute: “I know you, I love you / And I could be your friend / I could follow you  anywhere / Even through solid air.” As James said on the night, no tribute to Nick Drake would be complete without a rendition of Solid Air. That rendition was stunning.

Other Drake tracks included Fruit Tree, Pink Moon, Northern Sky, Three Hours, One of These Things First and the dramatic Way to Blue, the strings being played superbly on double bass. Black Eyed Dog was particularly memorable, James’ vocals being suited to the track.*** They closed with River Man, a much revered track for both musical talent and poetic lyrics. In addition to these was a rendition of Davey Graham’s famous Anji and, I am appalled at myself for forgetting, a flamenco rendition of a Spanish poet’s work.

The stark contrast between the extravagant BBC tribute and the humble James and Foot tribute is phenomenal. During the BBC tribute, an interviewee (I believe Joe Boyd**** himself, although I am not 100% sure) stated that if Drake were alive to witness the [BBC] tribute, he would be very proud – I do not deny this in the slightest. However, it is my opinion that if Drake were to witness the tribute of James and Foot, he would not only feel proud, but, because the renditions given on the BBC show seem so far removed from Drake’s own work, so much more gratified.

This is, clearly, speculating and I do not pretend to think I know what Nick Drake would make of the two tributes. Maybe it is wrong to compare the two, for they are as chalk and cheese as Five Leaves Left is to Pink Moon. However, if you have an interest in acoustic music, singer-songwriters or any of the mentioned artists, I encourage you to check out Keith James and Rick Foot’s Tribute to Nick Drake. Tour dates and ticket links below.

Songs of Nick Drake | Keith James.com | Tour Dates

Following a peaceful, sibling folk-harmony trio on stage called “Staves”, Lissie approached the small yet atmospheric crowd with an undeniable presence.  She looked like a hippie, a cool hippie, with a freckly face and summery blonde hair. She had an electric guitar draped effortlessly over her shoulder and seemed comfortable engaging with the crowd.

Her vocal talent is undeniable with such an amazing vocal range and amazing pitch, she soulfully purrs and tunefully roars over great riffs and beats. She manages to be sultry and husky on slower tracks and belt the louder tunes with ease. Alongside her on stage were 2 cool-looking bandmates, one with dreadlocks (Eric Sullivan) on lead guitar and Lewis Keller, sat down with a bass guitar and a small percussion set at his feet.  This set-up seemed a new concept but it worked perfectly. There was no need for a full drumkit; the sound of the guitars, kick drum and hi-hat bellowed seamlessly around the intimate setting of the Academy 2. There managed to be slower, quieter songs followed by real crescendos and toe-tapping tracks.

Lissie was friendly and interactive with the crowd, engaging us in polite, rhetorical conversation before playing her compact yet fulfilling set. She told us how she had recently come to love the work of Kid Cudi and planned to do a cover of his track “Pursuit of Happiness”, which, despite my instant trepidation, was amazing. Being a completely different genre to the one she is used to, the track shouldn’t necessarily have worked, but it did. It sounded as if she had written it herself and she took such enjoyment from performing it.

There were TV screens dotted about the Academy 2, with cameras fixed on centre stage, so when a tall, bushy haired male slid in front of me, blocking my view of the stage, I found myself watching the screens in awe. Lissie looked so comfortable and relaxed and a real natural performer. She’s already supported City & Colour (Dallas Green’s (of Alexisonfire) acoustic side-project) and this gig was in support of Joshua Radin so she’s clearly made a name for herself amongst fellow artists in the USA, I just hope she can do the same this side of the pond.

Lissie’s comparisons probably fall along the lines of Laura Marling, with force. A similar vocal to that of Chrissie Hynde, Debbie Harry, Courtney Love and there is a likeness to the artist I interviewed a few weeks ago, Tiffany Page.

Her set was a hit with the crowd and I certainly felt like I could stand and listen to her all night. She was engaging, powerful and her songs are dead-sets for the summer. Whether you want an easy-listening track for a long drive in the car, a backing track to a summer BBQ with friends or just a happy-go-lucky sound for the weekend, Lissie is the artist you need this year.

She has songs on Spotify and her MySpace is a veritable font of material: http://www.myspace.com/lissiemusic and she has a well established Facebook Fan Page: http://www.facebook.com/lissiemusic . One of her singles, “In Sleep”, is an amazing track and a live video can be found on her MySpace. Lissie is in the UK until May 31^st so I highly recommend you check out her live dates on her MySpace and catch her live if you can! [J]

‘Recovering The Opposable Thumb’ set the tone for the evening with the crowd singing along with front man and bassist Brendan Kelly and guitarist/ vocalist Chris McCaughan. The set list followed a general trend of fast paced, frantic songs interspersed with some of the band’s slower material. ‘Rambling Boys Of Pleasure’ and‘Chapter 13: The Hero Appears’ are both prime examples. The majority of material was mostly taken from, the 2006 album, ‘Oh Calcutta’. The most memorable tracks being ‘Lose Your Illusion 1’, ‘Like A Record Player’ (which, fellow Moon & Back-er Anthony wants to point out, was an awesome set closer) and ‘The Devils Taking Names’. All of which had the crowd on their feet and in full voice.‘The Slowest Drink At The Saddest Bar On The Snowiest Day In The Greatest City’ is the only song performed from their new ‘Buttsweat and tears’ EP. It’s a catchy song and follows the tried and tested formula that fans of the Lawrence arms will be used to.

The banter between Brendan and the crowd was memorable.  It broke down the barrier between audience and band and added to the whole gig experience. The only criticism that can be made is the lack of favourites such as ‘100 Resolutions’, ‘The Disaster March’ and ‘A Toast’, however this hardly seems like an issue at all when the set list is strong and performed with so much vigour that sweeps you off your feet.

The Lawrence arms might not tour as much as other bands, but its safe to say that they make up for it when they do.

Okay, so this is meant to be a gig review, but I thought I’d make a more of a three date diary thing, as I wasn’t actually meant to be in Birmingham at all. It began with fellow Moon and Back-er/Frank Turner botherer, Anthony Barlow, planning on seeing the Frank man in Manchester on the Wednesday, then hitting the Leeds date the following day. The Manchester day went great, we did the interviews with Crazy Arm, Chuck Ragan and Frank Turner and they went really well. The gig itself was awesome. Unfortunately, the following day, I was DEAD. I’m not sure exactly why, I didn’t drink THAT much, but illness was a wash over me, my stomach felt like it was being eaten from the inside, and the anxiety that enjoys me so much was at an all time high, so Leeds, for me, was canceled. Barlow went, and said it was great, Chuck doing an extended set which included his cover of the Alkaline Trio hit, Bleeder.

So what was I to do? I couldn’t go a Frank Turner tour with only one installment, plus the lovely folk involved with Crazy Arm were super nice and I wanted to see them again, so here’s what happened.

The hugest thanks has to go out to, Xtra Mile’s very own Wonder Woman, Anthea, who has helped us, and Moon and Back in general, so friggin’ much. Once again she saved the day, hooking me up with a guestlist spot for the Birmingham show. But how the fuck am I gonna get there?! Alan Grundy is my dad, an old punker dude, and a God send. I bought him a ticket and around 5pm on Sunday, we were on our way. Once again, the impossible was pulled off with a little help from my friends (fuck off Beatles.)

Now onto the gig. First of all, we’ll get rid of all the negative points, Birmingham’s O2 Academy isn’t a great venue, Crazy Arm once again had a really short set, which is a shame, because they’re awesome, and people would not shut the fuck up during Chuck Ragan.

It has to be said that the Crazy Arm are thieves of the highest calibre, taking our insults from the interview and incorporating them into their set! GREEN ARMY! Plus, the guest vocals by Chuck on Crazy Arm’s International Front, frankly, gave me a music chubby.

Frankie baby takes the stage with a Bob Dylan backing soundtrack before bombing into Photosynthesis, one of my personal favourites, and by the sounds of things, one of the majority of Brummies too.

It seems that every gig, Turner gets a little more confident and his on-stage banter becomes a lot more transient, adding stories, jokes and politics seemingly in-between and even during songs. My personal best for the evening has to be before the song Sons of Liberty, where Turner asks the crowd politely to smash up any CCTV camera’s in their area, an example of just how much Frank hates this new Big Brother government horse-shit that seems to be coming more into effect with each day.

Musically, it’s a good mix from the FT catalogue, a good blend of new and old, with the usual acoustic/Frank solo installation about mid way through, with the full band Long Live the Queen we were treated to last time being scrapped and returning to its roots.

The set closed up with The Road, another of the new Turner tunes that seem to be putting his name up in lights. I can’t help but feel that a lot of the people at the gig were only there for this song specifically seeing as an otherwise stoic crowd seemed to erupt for this one, if only a little. There were no circle pits, but there was some sing-a-longs, with Turner and his band of merry men, as always, on top form.

On a trip to the bar I bumped into some of the Crazy Arm folk, and as the night continued I got to see them all, got a pint of cider in with Bassist Tim, and singer Darren even mentioned him stealing GREEN ARMY as soon as he saw me, damn I’m cool. After that, it was time to head home, filled with beer and cider, many service stops were made.

This turned out more like a blog-post than a gig review…….shit. If you enjoyed it though, you should check out my blog.