Live Review - King Charles at The Wedgewood Rooms

I remember my introduction to the song ‘Bam Bam’ quite well, when I heard it I did a little chuckle, the same kind of chuckle I did when I first heard Mumford & Sons, retorting “that will never catch on”. People that know me will tell you that I have the attitude of always being right, but on both these occasions, I was completely wrong and 2 and a bit years later I found myself in a very cold room dancing to the said song while King Charles played to a packed out Wedgewood Rooms.

A year or so before this, King Charles had visited The Wedgewood Rooms (at this point, I was fully converted) to play ClubNME, a gig that is way up there with some of my favorites  His onstage braggadocio is laboriously backed up, showmanship only you would imagine seeing among established artists; he held the room in the palm of his hand, with ease. In his presence once more, the story unfolds
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A whole hour before doors, outside of The Wedgewood Rooms a queue formed of a middle aged man, a huddle of teenage girls and the teenage boy looking awkwardly on, it was ever growing. Inside the venue, final sound checks were being finalized and merchandise was being frustratingly counted, while out of nowhere like a sudden smoke King Charles appears, excited and animated 11 days into his 30 day tour of the UK, props to him for the amount of energy nearly 2 weeks into the jaunt with another 2 on the horizon.

As the room gently filled itself with the broadest aged crowd I had seen since Gabrielle Aplin (3 weeks previously) first act Giovanna, who if I am not mistaken is a close relative of the man himself, took to the stage to play a 4 track set that aligned itself somewhere between Ellie Goulding and Florence Welch, nicely seconded by Alt J. A commanding voice that is slightly left short by stage persona, but it’s nothing a few lessons with KC wouldn't fix, a definitive future.

Next up were Story Books, influences formed out of the embers of the late noughties indie, think Bombay Bicycle Club, The XX and a vocal that sounds like Ezra Koenig of Vampire Weekend. Enticing tracks, steeped with emotion with added in between song banter, we all like a band that can joke in between songs, or while tuning their guitars (you can’t get the staff these days). Well worth your time; check out the track ‘Glory & Growth’.

Now for the headline fight, the lights dimmed down and the introductions followed, a pitch black Wedgewood Rooms staged was filled with King Charles’ foot soldiers, with them in toe he followed. Like a true king leading his men into war he took no prisoners from the first chord, the battle was already won it seemed. Instantly charming the crowd into ‘Love blood’ then competently hypnotizing every female in the radius of the room with ‘Mississippi Isabel’ with added crowd sing-a-long.

What’s most clear a year on is how tight King Charles a band have become, expanding slightly but without a need to know, no bum notes or eerie silences, the back-line was taut and without fault. If you translate the music King Charles play to the sold out audience who were watching  you’d be mistaken to think it was just sweaty teenagers, as either side of me through the majority of the gig were pockets of middle aged women gushing at KC’s every move, and with reason.

A quick guitar change led King Charles slaying into ballad ‘Polar Bear’, enticing the crowd once more, the sheer power of the track threw the audience into a quite uncontrollable frenzy which was then soaked up by the band and prolonged into a cataclysm of break downs and a stage dive.

 As the lights dimmed once more, and King Charles fixed his hair (that’s a lot of hair) his dulcet tones introduced everybody to Mumford duet ‘The Brightest Lights’ at one point managing to silence himself and leave The Wedgewood Rooms crowd to sing the chorus for themselves. A diamond in the ever glistening King Charles crown ‘Bam Bam’ followed alongside ‘Beating Hearts’ ‘Coco Chitty’ and the lyrically brilliant ‘Ivory Road’, things then began to wind itself up, in the same sense as jack in the box.

When you talk about encores you imagine them to be short and sweet, uneventful, enough to send the crowd home smiling, but not tonight, King Charles had different ideas. He returned to the stage a solo artist, playing alone to a crowd that looked on deflated, momentarily deflated, He then introduced his foot soldiers back to the stage and we were all treated to the brilliant KC rendition of Billy Joel classic ‘We Didn't Start The Fire’ but the story doesn't stop there. The first verse whipped the crowd into a what can only be explained as unequivocal hysteria which led to an extended bridge as this caused 2 teenage girls to faint (something I’m told isn't a regular occurrence at King Charles shows) that aside, the song is adapted lyrically, to which a credit to King Charles himself who in 3 words said his bit for Thatcher, in jest, maybe, who knows.

And just as we were all ready for all out war the lights went up, the dust was settling, the empty cups were being picked up, and the girls who had fainted returned for a hug. In short, The Wedgewood Rooms had once again had the roof blown from it and it was gently resting itself back, all thanks to a brilliant performance by King Charles.

 Do you remember that feeling when you were 15 and you left a venue covered in sweat and thinking ‘what just happened and why’...Well, that’s the feeling I have about Kings Charles at The Wedgewood Rooms, April 11^th 2013. March on, squire. 

EP Review : The Planes - On Demand

How many bands do you know that is ½ formed by twins? Other than The Cribs, possibly not many. Portsmouth born and bred (we are making a habit of this), previous Wedgewood Rooms showcase finalists, previous ClubNME under-cards and all round talented 4 piece The Planes are imminently planning their first audio assault into the music world with debut EP ‘On Demand’.

This 4 track smash starts with the aptly named ‘See You Next Tuesday’ ode to the girl that’s led you on, to the guy that’s across the bar giving it some or the surrounding area, as you please. The Planes have matured since their showcase days, there is a much tighter edge to who they are and what they want you to hear, such is the age they are, we should all stand up straight and listen.

From the onset mid-noughties influences shine through, these youngsters were teething around the sounds of previously mentioned Cribs, The Kooks and The Strokes. The jangly-garage rock ensemble is perfected, vocally on form with not a note out of time. ‘Lose it’ follows with a foot tapping beat, a lyrical commentary from lead singer Mike Smith describes the moments of regret any male or female has felt in sight of the ex, or the girl/boy you lust for on a daily basis. The pent up sexual tension marred with pure emotion shines through the lyrics, these boys are growing up, with every page written (or ripped and thrown) the daily troubles of a teenager in the 21st century is ever present.

Title track ‘On Demand’ is the flagship in the first sail of The Planes maiden voyage, the all cannons blazing balls out indie love-esq song with duel vocals, the common twang and catchy riff partnered with a breakdown to add. The Planes fuse themselves within the local scene so easily, with room to flower in a bed that’s continuing to grow and prosper, age is a huge strength, picking the right opportunities they could well be on to bigger things in the near future.

Closing track ‘Stay The Weekend’ winds us up and out of this teenage angst ridden ride, another story based on the rumour mill of The Planes social surroundings, from the wrong decisions followed by the Chinese whispers. Like any boy should, it’s shrugged off like it will come out in the wash. They are musically tight and lyrically strong, young and ready to take on the world, well dressed and meaning business and The Planes first outing ’On Demand’ is a jab and roundhouse knock-out.

ClubNME : Two Wounded Birds preview

After the roaring success for Rolling Stone cover artists The Sheepdogs back in May, ClubNME Portsmouth returns once again to The Wedgewood rooms.

Headliners on Saturday 28th July are lo-fi, enthralling Margate 4 piece Two Wounded Birds. A band who have been bustling around the musical radar sporting compilation appearances, EP releases and most recently a self titled hit album.

Formed of Johnny Danger, Ally Blackgrove, James Shand and Joe Stevens they bring a Last Shadow Puppets viciously corrupted by The Beach Boys sound, receiving BBC Introducing acclaim and a very close relationship with 2011 surf pop band The Drums.

Supporting Two Wounded Birds on the night our are very own indie city dwellers Guilded Youth, formed of brothers Harry and Ben alongside friend Dan they’ve recently played Guildfest and Glastonbury. The Guilded Youth sound spans from Kasabian to Kings Of Leon around the block to The Hollies crossing The Beatles, The Kinks and Stone Roses.

As always the night will be sound tracked by ClubNME DJ’s who’s experience span over 20 years and knowledge is infinite. Tickets for the night are available from The Wedgewood Rooms box office situated just inside the venue doors or online here (link) for a bargain price of 4 English sterling with doors opening at 10pm sharp.

ClubNME Portsmouth with The Sheepdogs & Kassassin Street

I started Saturday 12th May on a train from London Waterloo to Portsmouth, I’d just played Propaganda London with Russ from Bloc Party and DJ Dan. It was a spectacular night.

On my journey south I was blissfully made aware that an impromptu guerrilla gig was to take place in local Southsea shop Dresscode, where ClubNME headliners The Sheepdogs and locals Huw Olesker & The Barebackers were to play.

Fair to say anything impromptu takes a bit of work and effort, pulling numerous strings and a hell of a lot of patience the ClubNME Portsmouth team brought it together and packed out the tiny shop, all of whom attended then taking to social networks to praise and urge all to The Wedgewood Rooms for The Sheepdogs performance that very evening.

Previous ClubNME Portsmouth shows have seen Australian beach pop Bleeding Knees Club, NME lauded Cerebral Ballzy, album chart topping King Charles and indie upstarts TOWNS take to The Wedgewood rooms stage alongside a multitude of local talent to boot which has included Melodramas, Clayton Strange, The Planes and Curxes. With DJ’s poised, doors opened and we began to fill.

First act on the nights bill are indie-electro outfit Kassassin Street, with a recent EP release in motion they plough into their set headfirst. EP opener ‘Finger On The Pulse’ is a build hit, vocal harmonies ensue around a smattering of electronic vibes and some of the best guitar work I’ve seen locally for a long while. Kassassin Street bring 90’s indie to the modern day with their own edge, a set which is both pleasing to the eye and ear.

The nights headlines were Saskatoon, Saskachewans (That’s in Canada) The Sheepdogs. A band heavily praised by Kings Of Leon front man Caleb Followill, A band who are in history the only unsigned band to grace the front cover of Rolling Stone magazine and a band who in the previous few days had played at a venue called Sticky Mikes, which in fact lived up to it’s name.

Draped in late 60s vintage attire, beards a plenty and a handlebar moustache The Sheepdogs eased us all into their set. Closing you’re eyes for a second would instantly transport you from the moody red light of the stage, back into what you could mistake The Wedgewood Rooms to feel like in the 60s.

With a vocal that is clearly from the soul, front man Ewan Currie holds a guitar like a plastic toy (I’m unsure if he is a distant relative to WWF wrestler Big John Studd). Alongside Leot Hanson on guitar, Ryan Gullen on bass and Sam Corbett on drums they play The Beatles meets The Doors in the deep south with influences of Lynyrd Skynyrd, Creedance Clearwater Revival and The Jimi Hendrix Experience.

Throughout the whole set The Sheepdogs entice their audience deeper, while at intervals exchanging banter and anecdotes of back home. Tracks ‘Please Don’t Lead Me On’ and ‘Learn & Burn’ go down well though the odd shout for Lynyrd Skynyrd’s ‘Free Bird’ could be heard on occasions.
Ending their set wasn’t enough for the ClubNME audience though who chanted for more, The Sheepdogs then returned to play well known hit ‘I Don’t Know’ ending with monstrous applause.

It’s clear to see that the sounds that The Sheepdogs are making are seeping into the current musical climate, with bands like Alabama Shakes, Howler and Jack White taking it to the psychedelic euphoric vibe.
For those who attended The Sheepdogs at ClubNME Portsmouth will be well aware they have seen something special and it’s only a matter of time before we see them playing bigger shows and festivals in the United Kingdom.

ClubNME : The Sheepdogs preview

You could probably count on you’re hands the amount of bands who have played The Wedgewood Rooms AND graced the front cover of Rolling Stone Magazine, Now we can add The Sheepdogs to the list.

The Canadian 4-piece headline the ClubNME stage Saturday (12th May) sounding of what can only be  likened Psychedelic-Boogie-Rock. Described by Kings Of Leon front man Caleb Followill as ‘timeless from song to song’  alongside being mentored by every bodies favourite rocker Kid Rock, an endless line of plaudits transpires on.

It’s not always been plain sailing for The Sheepdogs, 6 long tough years has nurtured a flawless sound which has now paid off and led to tours with Kings Of Leon, appearances at numerous festivals (Coachella, The Great Escape, Bonnaroo) and gain television exposure across the America and worldwide.

Album ‘Learn and Burn’ has won Juno awards for ‘Single Of The Year’ ‘Best Rock Album Of The Year’ and ‘Best New Artist’ and have also just toured Australia.

If you are looking to be able to say ‘I saw them before…’ then this is certainly that band.



Support comes from local Portsmouth rockers Kassassin Street, a 5 piece band formed in 2010 who have supported the like of 2.54, Art Brut and The Big Pink. Exposure comes nationally from BBC Introducing and Amazing radio and they are currently recording a new EP ‘In a barn in the middle of nowhere’.

ClubNME DJ’s play between and after bands, tickets are available from The Wedgewood Rooms box office(Or click to website) at the bargain price of £4 and doors are at 10pm.