Sound Underground @ The Undercroft, Those Deadbeat Cats @ The Rumsey Wells 18 May, Hot Raisin @ The Stanford Arms 20 May 2018

 

 

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The exhibition “Changes” is taking place at The Undercroft at the top of the market and runs to 26 May but on Friday there was live music from some of my favourite artists who played in a beautiful atmosphere among the visual art on the walls.  Peter Turrell opened before dashing off to play his next gig at Jurnets and despite suffering with a heavy cold he played as flawlessly as he always does.  We then had some spoken word poetry from Charlotte Carter and another set of great guitar from Tom Conway.  He was followed by the sublime Milly Hirst who started her set with an acapella Ghosts which noticably stunned the audience.  She has that effect. Playing without any amplification it was so atmospheric and lovely to hear Milly like this with a rapt audience, and a treat to hear Gentle Sailor again too. Closing were Of the Clay, also playing unplugged and making superb use of the unusual acoustics of the space, their voices together somehow almost creating a drone effect. A most enjoyable start to the evening and from here I went on to The Rumsey Wells to catch some rockabilly from Those Deadbeat Cats.

peter ttom conwaymilly hirstof the clay

 

 

those deadbeat cats

 

As it turned out I caught quite a lot of it and the enthusiastic crowd didn’t want them to stop so they played just about their full repertoire and could have quite easily carried on by playing all of the first Stray Cats album. Nobody would have minded not least the band and this was terrific fun.  Of course, on drums was Daryl who also plays with Hot Raisin and Luke and Tom were also there among the audience.  On Sunday I saw Mary and Tory – sans Luke who broke his hand on Friday night in a bicycle mishap – so the Raisins played a couple of duo sets at the Stanford Arms in Lowestoft.  Luke somehow managed to play a Lovin’ Handful gig on Saturday night but his hand was not up to another gig just yet. Get well soon, Luke.  Mary and Tory played a lot of songs, some familiar favourites of mine, some great covers, including Gillian Welch’s Miss Ohio, and even ABBA’s Super Trouper, as well as some old songs which were less familiar to me and, excitingly, a debut airing for a new song or two. Lovely stuff indeed.  I always love seeing Hot Raisin and they really do have the most positive effect on me. A pleasure to see them in the Stanford too, which is a home from home local and full of friendly, familiar faces. Next gig at Norm’s on the 28th.

hot raisinhot raisin

 

 

hot raisin

@hotraisinmusic #mayyourkindnessremain #lowestoft #hotraisin #stanfordarms

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#soliarytree #trees #norfolk

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Beautiful Norfolk

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norfolk

 

Also, some welcome respite from the seemingly incessant, ominous drone of aerial military activity over the city of Norwich.

 

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Norwich: Music City, UK

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Reverend Beat-Man & Sister Nicole Izobel Garcia + Ravenous Hounds + Voodoo Boogie DJs @ EPIC 15 May 2018

Another gig I was covering for Outline Magazine, this one a co-production from Punk Rock Blues and Gluttonous Mutt and an early contender for one of the gigs of the year, despite being criminally under-attended yet everyone seemed to feel part of something special and privileged.  The congregation was small but enthusiastic for the swampy, dirty, gospel preacher delta blues trash of the one and only Reverend Beat-Man, with the added treat of being joined by Sister Nicole Izobel Garcia, in her nun’s outfit and expressionless at the drums and organ. She is great too. Neither of them are from the Mississippi delta though, Beat-Man – founder of Voodoo Rhythm Records – was born and raised in Bern and a neaby mountainous Swiss village, and Sister Nicole Izobel Garcia’s background is suitably shrouded in mystery but seems to involve Mexico, India, Africa and Switzerland too.

 

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reverend beat man

 

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Before all of the acts we were treated to some fine vinyl 45s from the Voodoo Boogie DJs and Ravenous Hounds kicked the live music off at around 9-ish.  Sounding massive and wonderfully trashy but tight through the Epic sound system they were loud and fun with strong garage songs and although the turnout from the audience wasn’t huge it was appreciative.  Even though it was a Tuesday night Norwich once again had many events on, not least the first week of the Norfolk and Norwich Festival. Next Norwich gig for Ravenous Hounds will be Norm’s at Bedfords Crypt on 15 June, with Bag of Cans.

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ravenous hounds

 

ravenous hounds

ravenous hounds

 

reverend beat man

Reverend Beat-Man

sister nicole izobel garcia

 

The big space, lack of places to sit and lack of numbers meant the audience were a bit self-conscious and clinging closely to the perimeters of the Epic room and bar between acts but as soon as Reverend Beat-Man and Sister Nicole took to the stage everyone moved closer.  Within moments everybody had loosened up and was moving to the trash sounds. Beat-Man is a compelling peformer with some great tales to tell in a deep growl (there’s even some Tom Waits in there), whilst Sister Nicole at her own drumkit is the perfect foil. Expressionless and silent between songs but equally compelling, also singing a few leads in Spanish.

 

sister nicole izobel garcia

Sister Nicole Izobel Garcia

 

The set passed by all too quickly but it was an absolute treat to hear.  Perhaps the space was too big and I couldn’t help imagining experiencing these sounds in some packed and sweaty, intimate underground spot.  Now that would be incredible.  This was still one of my most enjoyable gigs of the year thus far though.  So taken was I by the spirit of the night and the music that at the end of the evening, as well as the LP, I also purchased a bottle of “Essence of Blues Trash”. As if the essence of that magic onstage is something that could be bottled … well, it seems it can and I am now a very proud owner of it. This was indeed magic.

 

reverend beat man

sister nicole izobel garcia

 

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the zone

 

Thanks to Outline Magazine, Gluttonous Mutt, all the acts, Rick, and Epic.

 

 

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Norwich: Music City, UK

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THYLA + Ugly + The Glitter Shop for Anti Despair Machine @ NAC 12 May 2018. Norm’s @ The Crypt with Ellie Bleach + Painted Heathers + Vier 11 May 2018

Anti Despair Machine is the new night by Alex Cabré and this one (in conjunction with DORK) brought new names from Bury St. Edmunds (The Glitter Shop), Cambridge (Ugly), and a welcome return for Brighton’s THYLA who for me stole the show when they supported INHEAVEN here earlier in the year.  I have written a review for Outline Magazine which should appear shortly but here are some photos from a great night.

 

thyla

 

As is usual for Norwich on most nights of the week these days there was a full programme of music events, not to mention the first full night of the 2018 Norfolk and Norwich Festival (including both Talvin Singh and David McAlmont, no less, who were playing other venues on the same night) yet there was still a healthy sized crowd at the Arts Centre for this one, who certainly punched above their weight in enthusiasm and vocal appreciation with lots of singing along and a lively mosh-pit during THYLA’s set.

 

thyla

 

Opening the evening were The Glitter Shop, young and full of energy, exuberance and a healthy dose of confident swagger they were rather impressive.  The crowd loved them and I think the five-piece band loved the gig just as much.

 

the glitter shop

the glitter shop

the glitter shop

 

 

 

anti despair machine

Alex introduced all the bands before their sets, a nice and welcome touch I feel.  In introducing Ugly he confessed he had not seen them play live before but was so bowled over by their recordings and the recommendations of friends that he booked them on the strength of that.  An interesting band, they played a powerful set and what really stood out as impressing me was the glorious new song that closed the set. They really rocked out and it was the set highlight for me.

 

ugly

ugly

 

The night’s headliners were of course THYLA (pronounced “thigh-la”, not “tyler” apparently).  Their recent NAC gig impressed me a lot and this was a most welcome return as headliners.  They played a blinder and were a breath of fresh air.  Millie on vocals and guitar in a floaty white dress and immense white boots, matched the hard and yet beautifully melodic, almost ethereal delivery of some of their music.  Something quite Cocteau Twins-esque about the guitars at times and a powerful post-punk sound overall.  Do check out their new single Blame, and previous single Pristine Dream which has a fantastic video that brilliantly parodies Robert Palmer’s Addicted to Love video.

 

 

thyla

 

A successful first night for Anti Despair Machine with a decent turnout, I look forward to many more nights from this new name among Norwich promoters. Congratulations Alex!

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Anti Despair Machine is a brand new music platform for East Anglia. We’re super excited to be bringing a trio of epic bands to Norwich Arts Centre, with a little help from our friends at Dork Magazine.

THYLA are Brighton’s hottest emerging indie juggernauts. Hyped by NME and Radio 1’s Huw Stephens earlier in the year, the post-punk outfit have since embarked on their first ever UK tour supporting InHeaven, drawing rave reviews and attracting fanfare nationwide.

They’re joined by Cambridge scamps Ugly, who take influence from the likes of King Krule. They’ve played buzzy shows at home and in London, and premiered their recent single Emphysema through Dork, describing it as a “wheezy single for the Yeezy generation”.

Hailing from Bury St. Edmunds, The Glitter Shop dropped their debut single ‘Fizz’ at the end of 2017, three-and-a-half minutes of glistening guitar-pop for fans of Wolf Alice and Turnover. Get down early to see this super promising new outfit.

thyla

thyla

ugly

 

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I actually saw Alex the previous evening too, where we were both attending the new Norm’s night (every Friday) at Bedfords Crypt where on this occasion the strong line-up included Ellie Bleach, Painted Heathers, and Vier. All of whom impressed me, especially Painted Heathers who just get better every single time I see them.  Norm’s of course is run by Mr. Jason who many will know well from the excellent Old School Studios days.  He brings his superb sound and lighting skills to the beautiful Crypt which suits the style of music well, in a Jug Jaw’s kind of way. It feels a good match. He has a whole host of gigs lined up with at least one every week. A full list can be found at the Norm’s site.  Do take a look, there are some great names and gigs coming up, just a fiver too.

 

 

 

 

 

I was told Vier had something of Oasis about them but I think they have a better drum sound and I prefer Vier’s songs. They have a refreshing confidence with none of the Gallagher obnoxiousness. They are fun. Ellie Bleach had a great vibe going on with a really enthusiastic audience who seemed to know all the words of all the songs. Painted Heathers also created a great atmosphere and continue to impress me. They also have a bit of a mid-90s thing going on with the best bits of it and play with an obvious joy.

 

vier

Vier

painted heathers

Painted Heathers

ellie bleach

Ellie Bleach

 

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Being Norwich on a Friday night there was still more music to explore, I caught the last hour or so of Hank Jd Sleek’s Borderline at The Reindeer.  I’ve never been to Louisiana but this is kind of how I imagine it with so many people dancing happily in a bar.

 

 

borderline at the reindeer

 

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Norwich: Music City, UK

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Wilko Johnson @ UEA LCR 5 May 2018

For once being able to have a pleasant walk to a gig in spring sunshine I arrived at the Nick Rayns’ LCR at the insanely early time of 6:50pm to find support Hugh Cornwell and his two bandmates already in full flow, closing one song and about to launch into another. The room was not yet full and the LCR bar was already struggling to cope, as usual, but Hugh was sounding fantastic as he delivered a strong Nice n Sleazy. What a soundtrack to walk in to.  It was a decent but comfortable sized crowd so I was easily able to make my way to the floor for a better view, although I did find the sound mix odd down there, the loud drums dominating a bit.  Hugh played for a good hour or so with an enjoyable mix of new material, songs from his solo catalogue and a generous sprinkling of Strangers tracks including Goodbye Toulouse, Always the Sun, (Get a) Grip (On Yourself), and Duchess (“This one always reminds me of Royal Weddings. I don’t know why. But yeah, we’ve got another one coming up haven’t we?”).  The audience were well into it all and Hugh and the band also seemed to be enjoying themselves and had the place nicely in the mood with a strong opening set but the sound mix was disappointing.  Mid-set Hugh asked: “The sound is great, isn’t it?” to a resounding silence from the audience. I think it probably sounded better from the sweet spot of the sound desk and beyond but less so on the floor but it was nevertheless super stuff.

It wasn’t too long before another trio came onstage to a loud and welcoming roar from the now full LCR. It was time for the one and only Wilko Johnson and of course all three of this band having played in Ian Dury’s Blockheads, featuring the very fine drumming of Dylan Howe and the legendary bass sound of Norman Watt-Roy.  What stronger opening on stage can there be than Wilko Johnson playing Going Back Home?  That’s how high the bar was set and it never dropped. The sound and mix was perfect for this set, all of them appearing to be having a blast with Wilko in great form and fine fettle completely owning the stage with his trademark moves and stares, not only using his Telecaster to produce one of the most unique sounds in popular music but also firing musical bullets machine-gun style into the audience, and with it turned towards him even addressing it as a lover.  Norman was also great to watch, we were in the presence of masters of their crafts, and without the need much in the way of dialogue they put on one heck of a show and just let the music do the talking. It spoke loud and clear.  To see Wilko in such fine form and closing with Dr. Feelgood classics Roxette, She Does it Right, and Back in the Night was as good as it gets.  They came back on for an extended encore of Bye Bye Johnny but if the crowd had their way they’d have been playing on for hours but we had the ridiculous 10pm Bank Holiday Saturday night curfew to oberve. I love Wilko and it was a real privilege to see him perform here.

 

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Norwich: Music City, UK

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Kitty, Daisy & Lewis + Lewis Floyd Henry @ NAC for Punk Rock Blues 4 May 2018

All week I had been looking forward to this gig but my day did not get off to the sort of start I expected and by mid-morning I really did not think I would be at a gig in the evening at all, so big thanks to the NHS that I was here for this latest Punk Rock Blues extravaganza at Norwich Arts Centre.

 

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The evening started with a raw and rowdy set from busking one man band sensation Lewis Floyd Henry. Rocking, riffing, wailing guitar and a drum were the main tools of this Hendrix inspired artist who mixes the genres and powered through some covers and mashups, he really captured the attention and respect of the audience.  It was a lot of fun and yes, he even played the guitar with his teeth once or twice.

 

lewis floyd henry

 

I’ve seen Camden’s Kitty, Daisy and Lewis a few times, most recently at a sold out Norwich Arts Centre a couple of years ago and it appeared they sold out the venue again on this the first date of their spring tour promoting new album Superscope.  The crowd was lively and in the mood to party with the band who were equally happy to oblige, playing a mix of new and old favourites in the most varied of styles. They are all such great musicians and the three siblings not only switch between guitar, keys and drums throughout but they mix up the styles too. A thoroughly enjoyable, accomplished and confident set with nice interaction with the audience too. As well as the three of them they were also joined by a bassist, plus their father Graeme Durham on guitar, and some guest appearances by legendary Jamaican trumpeter Eddie “Tan Tan” Thornton, who described the audience as “Like a Jamaican crowd!”

 

kitty, daisy and lewis

 

After an exhausting day I enjoyed this one from the sidelines but still thoroughly enjoyed it without feeling detached from the action down at the front.  After a set of at least 90 minutes the party moved into the Adnams Mission Hall Bar where Earl Harlem was dj-ing and the crowd kept the mood going with lots of dancing and good vibes. Kitty, Daisy and Lewis all joined in too.

 

kitty, daisy and lewis

kitty, daisy and lewis

 

kitty, daisy and lewis

kitty, daisy and lewis

 

Thank you Kitty, Daisy and Lewis and the NHS. Music is my medicine but we must preserve the wonderful NHS.

 

kitty, daisy and lewis

 

 

 

I have also written a review of the gig for Outline Magazine.

 

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Norwich: Music City, UK

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A Hawk and a Hacksaw + Phoebe Troup @ NAC 30 April 2018

This was a welcome return to the Arts Centre for A Hawk and a Hacksaw who early in the set, referencing to the blue plaque in the foyer noting visits to this treasured venue by the likes of Nirvana and the Stone Roses questioned if they themselves might qualify for a plaque “For most visits … we’ve played here something like 25 times”  That might possibly be an exaggeration but this was at least my third time of seeing them here albeit not since 2013 or so when they performed a live score to a film screening of Shadows Of Forgotten Ancestors, so this felt well overdue. Personally, this was my seventh gig in seven days, with two of them on the same day in London but I am so pleased I didn’t miss this one.  Though tired beforehand this gig energised and revitalised me and I was putting this post together as soon as I returned home.

a hawk and a hacksaw

 

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Having already planned on being at this gig anyway I was thrilled to discover a week or so earlier that the support slot was once again filled by one of my absolute local favourites, just it was was when Hot Raisin supported Marty O’Reilly. This time it was the brilliant Phoebe Troup.  With only two of her songs recorded and out there in the weird wired world of the internet she may be a name unfamiliar to many but a memorable one to any who has been lucky enough to hear her play.  She has a fine and clear expressive voice, a beautiful guitar style that she makes look deceptively easy and has elements of Appalachian folk and bluegrass with a unique sound and style all of her own … but oh, her songwriting!  I think she is a natural poet but her Creative Writing degree won’t have done any harm in her lyric writing. When the songs draw you in on one level, beyond that it is the exceptional quality of her writing that catches you hook, line and sinker with some wonderfully descriptive lines and turns of phrase. This was one example that did it for me when I first heard it some years back: “There’s a girl behind the counter, who loves a boy born in July”  and she’s also the only singer I have heard successfully include such a playful phrase as: ” Well, I’d always love your muddy hands and slightly sunburned cheeks but you’d probably want to try some other composting techniques … but nothing lasts forever that’s just not how shit is made” into a verse. Always descriptive and evocative though, she paints pictures and stories with words, voice and guitar notes.

Phoebe Troup

Phoebe Troup

 

Having lived in mountainous Colorado and then the much flatter geography of Norfolk the natural elements and her love of nature always feel present in her song settings. Painting vivid imagery with her words which tell stories full of emotion and sensitive characters questioning the world and the people around them.  I’m extremely drawn to songwriting of this nature and I file and treasure Phoebe Troup alongside the likes of Gillian Welch, Milly Hirst, and Courtney Marie Andrews, and even some Townes Van Zandt. I cannot give higher praise than that, and anyone who knows me knows how much I love the works of these artists.  They are all singers performing songs they mean and feel deeply, giving a voice and expression, tapping  into something deep inside the soul that the connected listener feels and relates to but cannot always express themselves and this is so cathartic to hear in a song.  Phoebe does this with great purity. Emotional, honest and hearfelt expression, and all the better for it. The tiniest musical pause early on didn’t faze her in the slightest and she proceeded to play flawlessly and sing beautifully, winning a lot of new fans in the process. On the NAC stage she was charming and deservedly received a very warm ovation from the crowd at the end when she closed with Come Back Deer Tick (“This song always makes me cry. I’ll try not to.” She held it together.)  Tellingly, when A Hawk and a Hacksaw came onstage a short time later and thanked her for the set, they added: “Phoebe Troup is probably the best support act we have seen on this very long tour. Thank you, Phoebe!” which was a touching recognition.  I’m in no position to feel any sense of pride but I kind of did.  Having seen her many, many times over the last four years this was certainly the biggest gig and stage I’ve seen her perform at. I felt pride because she did herself proud. Hearing these songs which are like novellas put to music and full of feeling in an achingly beautiful expression to a largely new audience. Phoebe Troup is one of my favourite artists and I think all who were seeing her for the first time here shared the delight of this set. That really was a very warm and prolonged ovation at the end. Always modest and unassuming she looked genuinely surprised and touched by this reception but she richly deserved it.

Phoebe Troup

Phoebe Troup

 

A Hawk and a Hacksaw are a male and female duo from Albuquerque, New Mexico. Their entry onstage was quiet and unassuming as they gently eased into the opener, with violin and what I thought was a dulcimer.  Humbled when I later heard Jeremy Barnes explain onstage that it was an oft asked question but was in fact an Iranian Santur. But then subsequently learned that this in fact means it is actually a Persian dulcimer. The metal keys are hit with what appear to be metal rods and alongside Heather Trost’s extraordinary violin playing it created a sound that was captivating and evocative with a Turkish or Kurdish flavour.  The styles changed throughout the set becoming more eastern European with the addition of accordion or drum, ranging from klezmer, polka and Balkan by way of songs about a manic black cat and its nocturnal activities (we know it is a black cat as an audience member asked if it was and Jeremy confirmed so. People with black cats just “know”), and also a folk song about witches, played with some incredible violin from Heather which was as captivating visually as it was to listen to.

a hawk and a hacksaw

This is such a creative video, on the theme that reminds me of Bowie’s Major Tom character.

a hawk and a hacksaw

 

I have many fond memories of travels in eastern Europe and some of these songs took me right back there. The drums reminiscent of music I heard in Georgia and Armenia, and other segments of the set with violin and accordion making me think of Poland and Slovenia. The set was fascinating throughout, and the band really relaxed into it when they started engaging more with the audience about half way through, asking if we had any questions but then asking us questions.  This gave an even greater connection with the audience. We had a little discussion about the distinction between counties and regions, cities and towns, and when we had all that established they told us that Norwich was one of their favourite cities, that Norfolk was the best county with the best trees, and that they loved the region of East Anglia. They do love trees and I was charmed and delighted when Heather drew a tree on the cover of my newly acquired vinyl copy of Forest Bathing, which I can add to the other albums I bought on some of their previous visits.  There was also a hilarious tale about life on the road, in particular concerning a pedalboard which they wrapped in a towel but fogot to pack, leaving it on the bed of a hotel room in Manchester.  It was “put into prison” as a suspicious device until all was explained and it was paroled. Now been reunited with them and onstage here. The NAC wasn’t full but it was a Monday night and the weather as bad as I can remember for this stage of spring but the night was all about the quality and this was a beautiful evening. Both sets will live long in my memory and everyone seemed charmed, thank you Phoebe, A Hawk and a Hacksaw, and of course, NAC.

 

a hawk and a hacksaw

a hawk and a hacksaw

a hawk and a hacksaw

a hawk and a hacksaw

a hawk and a hacksaw

a hawk and a hacksaw

Photo album here.

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Norwich: Music City, UK

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Yassassin + Maya Law @ WOW Norwich, OPEN for Pony Up, 29 April 2018

  A highly successful WOW Norwich Festival weekend celebrating women of the world featuring talks, seminars, podcasts, discussions,  workshops and parties in a packed programme which closed on Sunday night with a Pony Up gig at the OPEN Club Room whilst at the same time a WOW festival special True Stories session was taking place at the Arts Centre.

maya law

As I made what I think is now the traditional journey into the city in the all too familiar rain on a wretchedly cold, damp and wintry late April evening it was Maya Law who was opening to a modest but enthusiastically attentive and appreciative audience.  I read a review a few days ago by Outline colleague Stuart on her support slot for Akala at The Waterfront and totally agree with his fine words.  Also, due to Stuart re-introducing me to the nerdishly addictive delights of Setlistfm I know I have seen Maya ten times but not since late last summer at Harlequin and my feelings too were of how her confidence onstage seems to have grown and it’s exciting to see how she has developed so much as an artist in such a short space of time. She’s always had a strong voice and delivery but there is an even greater strength and assured edge now, as well as a distinctively Maya Law quality and signature to it, with some likeable onstage Amy Winehouse traits too though it is very much Maya her own person that we see onstage. She played a mix of new and old originals with the odd cover thrown in. Initially playing guitar, for the final three or four tracks she sang to some taped beats (with Woody Guthrie’s “This machine kills fascists” scrawl), and she seemed even more powerful in this segment of the set, if that were possible. Premiering a brand new song and the strong new single Give Me No Love, which is released on Monday, a collaboration with Gabriel Gifford which needs to be heard.  Highly impressive stuff from one of the city’s finest young talents.  I was quite blown away by her set actually, a mix of sweet, personal, honest, confident and defiant, open songs that went down very well indeed with everyone present. She’s got it. She’s definitely got it.

 

maya law

Checking the aforementioned Setlistfm when I returned home I discovered it is only just over a year since I first saw Yassassin (supporting PINS at NAC) and yet this was already their fourth Norwich gig. I have seen all of them.  Since their last appearance in November at the Waterfront Studio they have had a personnel change or two (Nathalia and Stephanie joining on bass and drums) but everyone seems to have assimmilated seamlessly. Their melodic, infectious post-punk energy and spirit intact and as lively as ever.   It was a blistering, fun set that passed all too quickly.  There are plenty of messages and commentary in the lyrics but we also had a surreal appearance from a certain Stanley the Cactus.  I’m not quite sure what that was about but it provided a suitably bonkers element to a powerfully strong gig from one of my favourite live acts. The new line-up works really well and it’s encouraging to hear them already playing some brand new songs.

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yassassin

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Thanks and congratulations to Rosie, Annie and all involved at WOW Norwich.

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The previous evening I headed to Cactus Cafe Bar for OosWolf and Shane O’Linski’s birthday gig, featuring the new line-up of Stromm.  Now augmented by Dave Indge and Chad Mason. I think this worked a treat and it was the most impressive I’ve heard them, a fuller sound with a whole new dimension. Think Low meets Radiohead meets Abbey Road/White Album-era Beatles.  Closing the night was the Olinski Osomble featuring, well, just about everyone. We even had a couple of covers, including the most unique Leonard Cohen cover I think I have heard (Everybody Knows), and The Beatles’ Ringo-penned Don’t Pass Me By.  Great fun as always in this wonderful venue and the inimitable OosWolf night. There was a lot of love in this place for Mr. O’Linski. Happy birthday, Shane.

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David Indge has a film screening and live score to accompany his amazing Coast Road project photographic visuals at Cromer next weekend. Details below.

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all rights reserved (c) shashamane 2018

@RShashamane

http://www.facebook.com/yassassinmusic/

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https://norwichartscentre.co.uk/events/wow-norwich-weekend-pass-2018/

http://www.facebook.com/Maya-Law-189542051855983

http://www.norwichartscentre.co.uk

http://www.facebook.com/OPENVenue/

http://www.opennorwich.org.uk/

http://www.edp24.co.uk/going-out/10-events-not-to-miss-at-wow-norwich-festival-1-5492409

http://www.facebook.com/coastroadproject/

http://outsidein.org.uk/david-indge

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Norwich: Music City, UK

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