Gig Review : Wedgewood Rooms Showcase Final 2017

Another year over, a plethora of bands passed and only one winner could be crowned, welcome to the Wedgewood rooms showcase grand final. 5 bands had battled through heats and semi final stages to take to the world famous Wedgewood stage which has seen the likes of Gorillaz, Oasis, Kasabian, Vampire Weekend and Muse to name a few, and now it was the turn of Station 47, Cyprian Sceptre, Flowvers, Demonheads and Grief Daddy.

The wonder of the showcase is the pure raw talent that it throws out every year since it’s conception, every year that I have taken part I am taken aback by just how much talent is actually in our little island town of Portsmouth and the surrounding areas, which makes platforms like the showcase so important for local live music, creating a permanent position for those who would like to strut their proverbial musical stuff in front of an audience whilst also having the opportunity to get a foot into the music industry. What is also great to see is the unbridled support for every single band that not only took part in final but overall through the whole competition.

The first of the bands to take to the stage of the evening were Station 47, a 4 piece consisting of 2 guitarists, a bassist and drummer. It had always been so clear from heats that Station 47 hold every single chess piece needed to become a well established band, from their dueling vocals to tight guitar solos adorned by jazz like bass rhythms. One special mention from me goes to a catchy little ditty of a song called ‘Red Stripe’ which has me whistling and singing away from the showcase for the first time. One thing I hope from the band is that they get a few releases under their belt as they could hold their own as support for any band passing through these parts as well as headlining their own shows.

Next up were possibly the youngest and most supported band in showcase history Flowvers (yes that is how you spell it) with an energy that was palpable from the front to the back of the room. Their support packed the first few rows of the stage including their dads who garbed band t-shirts in support of their sons. With a sound that falls somewhere in between shoegaze, indie pop and The Stone Roses from the get go it’s pretty obvious where the bands influences come from, speeding through their set at 101kmh they kept the energy at a high with the occasional time issue. What is great about Flowvers is that they have so much confidence for a band so young, with the right support system around them and hands pointing in correct directions they could go on to do great things either as a unit themselves or separately in different projects.

Talking of firsts, for the first time also this year we had “in fighting” between 2 bands which also managed to make the news and bring attention from a local MP. The rivalry between Cyprian Sceptre and Grief Daddy dragged itself from the heats all the way to the finals intensifying as it did, including the popping of balloons, stage invasions, stickers and general anarchy. Safe to say it was as entertaining to watch as it probably was to take part in also, well done to them.

Up to the half way stage of the night we were all introduced to Cyprian Sceptre, which is where also the night took a sharp right turn. I had never seen them before so I was exposed to a genre of music I had never experienced before with instruments including flutes, clarinets, a banjo, an old organ, hand drums, cow bells and an acoustic guitar to name but a few. I can only describe Cyprian Sceptre as Sea Shanty folk, if you’re trying to work out what that would sound like imagine Pirates Of The Caribbean crossed with Fishermans Friends with a little bit of Frank Turner added in for good measure. Although niche the set was enjoyable from start to finish keeping the concentration of the crowd, which I feel they could also do anywhere else they would like to play.

Demonheads followed Cyprian Sceptre in what I can only describe as a full on assault of the eardrums, another band that bought 110% to every one of their sets from heats to the final. Demonheads are 2 piece consisting of only a guitar and drums. Like every great 2 piece that I could list Demonheads bought everything and the kitchen sink with them to their performance with energy that a full band could produce and a sound to boot. Demonheads win the award for only band of the night to get half naked, living up to their rock influences which possibly included Band Of Skulls, Biffy Clyro, Queens Of The Stone Age and maybe Royal Blood. Any direction that the band takes from here is a successful route as they are a tight knit unit with a great selection of original music.

Now, I can only say that I have been left speechless by very few things in my life but the final act of the night Grief Daddy not only left me speechless but also completely blew my mind and left me without thought or feeling generally. From the first song members of the crowd were either fully into the band or they were picking their jaws up from the floor in total shock. With a backdrop highlighting lyrics partnered with images of Rupert Murdoch, babies dancing and money raining down adding in their own personal smart dressed man dancing. Grief Daddy play what I can only describe as Chromeo meets Art Brut on acid with influences of hip and trip hop, even then I don’t feel I’m getting across everything that Grief Daddy actually do. Where do they go from here? Aldi...I don’t know? Wherever they go it’ll be brilliant for whoever is going to witness it.

The votes were then counted, the judges scores totted up for around 10 minutes and compere (me) returning to the stage the winner was to be announced along with their prizes. Up for grabs were 2 slots at Icebreaker Festival next year, recording time and monetary vouchers for The Wedgewood Rooms. The runner up of the evening winning an afternoon slot at Icebreaker were young outfit Flowvers, and the winner of The Showcase 2017 were...Grief Daddy.

In closing I can say that it’s great to be a part of the showcase this year, a massive well done to everyone involved and a big well done goes to Mike Hartley for his ongoing efforts in organizing and making every heat happen. The Wedgewood Rooms staff from promotions, security to the bar staff for also supporting the nights and keeping everyone safe and hydrated, all of the judges that took part this year your knowledge is second to none and it is well appreciated and last but not least once again well done and thank you to every band that took part in The Showcase 2017, see you all in 2018!

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. 

On The Radar : The Colourist

It’s been a while since I have indulged into writing anything music related, but I heard this band, while looking out into the grey of Great Britain and suddenly all was well.

Coming in somewhere between Vampire Weekend and Owl City with a twinge of Beach Boys pop, currently touring with Metric are The Colourist, a 4 piece from Orange County, California.

Throw yourself in around the southern hemisphere and the same musical uproar is on the horizon and has been bubbling for just under a year, these tight guitar pop riffs and summer licks could be the ones to replace the current folk stamping indie that is dominating the airwaves.

Radar track ‘Little Games’ is a slow burning sunshine intro with a love/lust lyrical back story, duel male/female vocals make out the Owl City contrast while the guitar and bass cohort with the drums equaling a sure song for 2013’s ‘soundtrack of the summer’ playlist.