Gig Review : Wedgewood Rooms Showcase Final 2018

So this is The Wedgewood Rooms Showcase 2018, and what have we done? Well, after many heats in the smaller Edge Of The Wedge seeing many acts flogging their proverbial musical wears we came to the final which involved such a plethora of musical genres and depth, it blew the whole shebang wide open. I’m going to try and piece together bit by bit the night from the first note to the last, bare with me as I regale the tale...Onwards Marengo…

For those of us that like our music a little bit more gentle, a little bit more anecdotal and full of a little more acumen the first act of the night Matt English was on hand. Having seen him fill a room so effortlessly through sound in the heat stages Matt took the stage with ease, bringing everybody to his attention from his first chord. If you’re a fan of Bon Iver, Iron & Wine, Joe Purdy, Jack Johnson and a little bit Seasick Steve then Matt English is right up your boulevard, from gentle picking to pure acapella singing and the unfortunate technical issues which resulted in a more personal and intimate rendition of his “best song” (see picture) everyone became entwined. Though always off the cuff and always humorous Matt English possess such humbleness that you don’t see these days which is so refreshing, I personally cannot wait to see him grow in the local area and further afield.  

Next up the the plate were Kayleigh Thomas & The Effectors, a young and very fresh pop-punk-esq band with hooks that come straight out of the playbook from early Paramore, Tonight Alive, Hey Monday and All Time Low. What was attuned from the off set was that although the ability to play instruments successfully was in abundance the overall stage confidence was not present, although the vocal glued every single part of the band together that little something that was missing continuously let the band down, lyrically Kayleigh Thomas is permeate and steeped in genius, if I could pick out a line I would but some were so well mastered and interweaved it is impossible. Kayleigh Thomas & The Effectors have the groundworks to build upwards and I would love to see them grow over the next year or so and come back bigger and stronger and take it to next run of The Showcase. 

I’ve mentioned in previous Wedge Showcase reviews that the pure outpouring of talent that comes through the doors of The Wedgewood Rooms on a yearly basis is totally unbridled, I am honestly totally overwhelmed by the talent we contain on this little island that we populate, and even then some is still hidden in bedrooms and practice rooms in the city still waiting to spread its wings onto the stage and in front of a crowd. I could not be more prouder that year in and year out we give this opportunity to so many people to show what they can do and give them an outlet in which to showcase their abilities, a big massive well done to everyone that took part this year from me personally. 

Up next were probably the oldest band of this years Showcase in the form of Fake Empire, a 3 piece that channeled New Order, The Chameleons, Fear Of Flying and The Editors into one beauteous bewailing. Polished and immaculate they hurled through their set at a blistering pace, by an inch of deafening bass or pounding drum beats while also connecting at every interval with the adorned ever growing crowd. Although I do feel like they should know better than to visit the well of the already known and emulate such sounds Fake Empire did what many could with their own twist and it worked at every single attempt. A band that could support any touring act and fill a local haunt at the drop of a top hat. 

My ears were totally battered by this point, with the concentration span of a small mouse my ears quickly perked up at the sounds of Lobster Pot, a quirky art-pop-rock act fronted by a female, shock and a gasp that such thing could happen but what utter brilliance. Another very young band that sound like the now exiled Portsmouth Sci-Pop act Bear Cavalry, Alphabet Backwards, Good Shoes, Larrikin Love and Bromheads Jacket all rolled into a ball and thrown around a bit. From track to track it was clear that the band were more about having fun than taking things too seriously, enjoying the moment and opportunity to play a show on probably one of the most famous stages in the UK where many before them had cut their teeth, how refreshing that was to see. For me, they were the eye opener of the evening, and will most definitely go onto bigger things. 

Last but very not least closing the night were Brother Deep, former The Wedgewood Rooms showcase veterans who seemingly had not moved a mile from their storming first entrance a year previously. Musically they sound a little like the indie bands from the noughties (think Twisted Wheel and Johnny Marr era Cribs) with a little Cults adding the psychedelia of Sleigh Bells for good measure. Ploughing through an already tried and tested set that was shortened due to time their set was faultless and tight throughout. 

Regaled I have the tale of The Wedgewood Rooms Showcase 2018, to which we learn the victors and the spoils. This years overall winner were Brother Deep, and coming in second place were Fake Empire. As always and as I have mentioned already a big thanks to everyone that entered this year and gave me the pleasure of hearing your music, a big thanks to The Wedgewood Rooms for giving those bands and solo acts the opportunity to play, a massive well done to Mike Hartley & Dudley Stagpool for their continuing efforts into The Showcase, the bar staff for keeping people well watered and security for keeping everyone safe. 

Live music is alive and well ladies and gentle folk, keep supporting your local music venues. 

Until next year...

On The Radar : Drenge

Drenge are a rock-garage outfit from the steel city (Sheffield, those who aren't aware), they fall somewhere between The White Stripes, The Strokes and The Black Keys, cue every two-piece comparison you can.

The music that Drenge play is something ‘between a rock and a hard place’ bluesy guitar like switches accompany a drum clattering worthy of an ASBO and vocals that mirror Morrissey, Casablancas and Wilson.

Radar track ‘Bloodsports’ is gathering pace in the music industry currently,  getting exposure in numerous magazine outfits, radio play and propping up in late night tweets a plenty, and we here at SouthSolarCity can see why. There is just something about Sheffield, isn't there?

They've supported The Cribs, They’re going on tour with Deap Vally and you can buy the ‘Bloodsports’ EP via Itunes now!

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.

Album Review : The Cribs - In The Belly Of The Brazen Bull

The brothers Jarman are Wakefields best export, alongside Claire Cooper (Jackie McQueen in Hollyoaks), Jane McDonald (You know, the one off loose women?) and party music legends Black Lace (Agadoo do do and all that). For a temporary time a member of The Smiths played in their band and they were championed by Steve Lamacq from the word go.

Tipped in the early years as ‘the UK’s answer to The Strokes’ The Cribs attracted attention from numerous major record labels, with warehouse parties and a number of split 7‘ with other bands. They eventually decided to sign with Wichita Recordings.
 In 2004 they headed to London to record first album ‘The Cribs’ which included fan favourite ‘Another Number’ ‘You Were Always The One’ (#66) and ‘What About Me’(#75) with NME dubbing  “These songs will soundtrack every festival, every drunken snog and every intoxicated shimmy“ together with an 8/10 rating.

The summer season of festivals approached and left subsequently leading the band back into the studio, though The Cribs aren’t just any band. Deciding against shutting up shop to record next album ‘The New Fellas’ and they took themselves on the road posting online to play shows for beer and fuel. This approach has been lauded in helping make the band who they are today. ‘The New Fellas’ was recorded with singer-songwriter Edwyn Collins, who said whilst recording that “they were proper indie; everything done on a shoe-string. they were tremendous!”.

‘Hey Scenesters!’ lead as the first release from ‘The New Fellas’ paving the way for the album the go on and sell silver (250,000 records) and becoming an ‘Album of the decade’ as voted by Q magazine readers. In the aftermath of the release of ‘The New Fellas’ The Cribs went on to sign with Warner Bros but continued their affiliation with Wichita Recordings in the UK.

Pushing lo-fi to the side ‘Men’s Needs, Women’s Needs…Whatever’ took The Cribs to Canada for recording with Franz Ferdinand front man Alex Kapranos, whom they met and hit off with while touring with Death Cab For Cutie in the US. First release from the album ‘Men’s Needs’ reached #17 in the UK and was the bands biggest hit to date with the album coinciding entering at #13. Other released from the album were ‘Moving Pictures’ (#38) and double A side album opener ‘Our Bovine Public/Don’t you wanna be relevant?’. ‘I’m A Realist’ was also released on vinyl.

Joined by Johnny Marr after a long extensive summer of festival performances, the band took to LA and to recording ‘Ignore The Ignorant’. Widely regarded as the bands most successful album to date it  peaked at #8 in the UK album charts with single ‘Cheat On Me’ reaching #80. The band then appeared at Reading & Leeds festivals respectively where Johnny Marr was to play his last shows with the band and commit himself to solo work once again. Along with the departure of Marr, The Cribs announced in that they were aiming to release their next album in May 2012.

Feedback ensues throughout the first few bars of ‘In The Belly Of The Brazen Bull’ and first track ‘Glitters Like Gold’, which has a boorish lyrical approach ‘It's a straight/like a friend/then you can be what you want/good’ monotone vocal with clattering guitars. Single release ‘Come On, Be A No-One’ then takes full control from what felt like a spiralling opener, the ever present Cribs charm turns to 11 and you fall into the indie abyss.

‘Jaded Youth’ feels post-’New Fellas’, lo-fi and rough. What feels the actions of  a drunken Friday night. a courageous, fist throwing anthem spewing out past tense. A desperate romance follows with ‘Anna’ it’s heart felt and open, it’s feeling every string that females pull unknowingly on young men across the country and beyond, it’s everything that The Cribs are, Sinister and explicit yet sentient and acquaint.

We go deeper with ’Confident Men’, a self indulgent 3 minutes of a lonesome view through the pint glass, mirrored by an empty bar. Everything that whirls through you’re mind while you are alone, or surrounded and hopeless. We tread indulgence once more through ’Uptight’ which could attach itself to the story of earlier track ’Anna’. What is most notable on the album is lyrically, The Cribs seem to have found heart. Romanticism is ripe yet drowned destitution.

Hype track ‘Chi-Town’ brings us back to the brink of The Cribs, the obvious attitude surrounded by the right amount of boisterousness. A track that was played 3 times by Radio 1 DJ Zane Lowe which had the band and track name trending worldwide. Levelling out the playing field once again ’Pure O’ feels like a filler, the 2 cans you drink between the house you leave and the house you arrive at before a big night out. That big night out comes in the form of ’Back To The Bolthole’, the obvious swan song of ’In The Belly Of The Brazen Bull’. Imagine instead of initially smashing up the china shop, we browse and discuss our surroundings before the inevitable implosion and ‘Back To The Bolthole’ is just that. A clear 5 minutes of build and destroy.

Back to falling down the rabbit hole with acoustic ‘I should have helped’, a Jarman shaped confession, fathomed and misplaced among the more Indie-Punk driven tracks. ‘Stalagmites’ follows on from ‘Back To The Bolthole’ and it’s brazen assault adding the lo-fi of ‘Jaded Youth’ with a sprinkle of radio feedback. The emotional rollercoaster rolls on with ‘Butterflies’ which has a similar sound to The Cure, a ‘Boys don’t cry’ type acoustic guitar accompanies a gentle synth and Jarman vocal with xylophone breakdown. ‘Arena Rock Encore With Full Cast’ breaks out of the end of ‘butterflies’ with a choir of the Jarman brothers, what seems like apologising.

Most bands don’t reach the recording of 5 consecutive albums, most bands don’t manage to crack the American music charts, most bands aren’t The Cribs. ‘In The Belly Of The Brazen Bull’ is animalistic, strong and mature, a musical force to be reckoned with.

The brothers Jarman are Wakefield’s best export…