The New Forest teenager’s debut album has been a massive hit across Europe achieving number one status in both Holland and Belgium and hitting the Top 20 in the UK. It has gone Gold in the UK, Platinum in Europe and she’s had over 45 million hits on YouTube. With her performances of ‘Shelter’ and her cover of Ed Sheeran’s ‘The A Team’, Open Mic UK winner Birdy was the second most viewed UK musician on YouTube. In March 2012, she was one of the artists who contributed to the Hunger Games’ film soundtrack with her single “Just A Game”, along with Taylor Swift, Maroon 5, and Arcade Fire.

Birdy went up against 10,000 hopeful artists in the Open Mic UK national music competition. At just 12 years of age with a dream of becoming a star and sharing her music with the world, Birdy swept through the auditions into the regional and area finals to her eventual win at the National Grand Final singing her own song ‘So Be Free’. Birdy recently reminisced about the experience of playing in front of a thousand people at the Open Mic UK Grand Final as “such a cool experience” to Radio One. She explained that it showed her what she wanted to do when she was still very young.

After winning Open Mic UK, Birdy recorded her album with Gareth Henderson in River Studios which resulted in her being offered a publishing contract with Good Soldier Songs Ltd, run by Christian Tattersfield, chairman of Warner Bros. Tattersfield was previously responsible for signing artists such as David Gray. She subsequently got signed to Warner. Despite being busy studying hard for her forthcoming GCSE exams, Birdy continues to work hard on her music career and remains loyal to those that have supported her rising success, still working with Gareth Henderson at River Studios on recent tracks included on her self-titled debut album “Birdy”.

More information at www.officialbirdy.com If you want to enter Open Mic UK, visit www.Openmicuk.co.uk

Your debut album was called ‘Hats Off To The Buskers’, tell us about the best busker you’ve ever seen…
We walked past a busker in Liverpool the other day & he was playing ‘face for the radio’. It was a genuine conincidence so I’m gonna say him .

You’e been nominated for a Mercury Prize in the past, how important do you think awards are for bands?
Awards are good fun but I dunno if they are particularly important, there a good laugh and make for good TV!

What’s the best thing about coming from Scotland? And the worst?
HA! When i was younger I used to think that playing T in the Park would be the coolest thing ever so ill say that playing t in the park is the coolest thing ive done. No worst bits :O)

You’ve been on the NME’s cool list – what’s the coolest thing you’ve ever done?
Definitely our first T in the Park show.

What’s your most memorable gig to-date?
Am I sounding like a broken record…T in the Park :O)

What can fans expect from your live show?
They can expect us to put on a show and a half…give it our all, whether were in Glasgow or Hull or Scarborough, We’ll put in one hundred percent and give them a show to remember.

What do you hope to achieve this year?
I wanted to make another record this year and we have already done that so I just hope everyone enjoys it. We’ve got some mega gigs coming up as well, touring the UK, Rockness and releasing our 4th album, so I just hope people like it and that we do the best shows we can.

The View play Cardiff Great Hall on June 19 and Bristol Fleece on June 20. More information at http://www.facebook.com/View

Performing warm-up gigs in only three cities, Blur will head to Plymouth Pavilions on Tuesday 7 August 2012 ahead of their highly anticipated sold out return to London’s Hyde Park later this Summer.

The band will head to the seaside for a gig at the historic Winter Gardens in Margate on 1 August, followed by a return to Wolverhampton for the first time since 2009 to play two shows at the Civic Hall, and finally Plymouth Pavilions on 7 August.

‘Blur 21: The Box’ will be released on 30 July 2012. Twenty one years since the release of their debut album Leisure in 1991, the band’s body of work has been compiled and gathered together into one box. Blur’s seven studio albums are collected with over 5 ½ hours of previously unreleased material including 65 tracks, rarities, 3 DVDs, a collector’s edition book and special limited edition Seymour 7 inch vinyl.

Marketing Officer at Plymouth Pavilions, Robert Maltby said: “Once again the Pavilions punches well above its weight and clinches one of the biggest comeback tours of recent years. Plymouth is one of only 3 cities to be chosen to host the warm ups ahead of the Hyde Park gig, you could say we are very very excited!”

General tickets go on sale 9am Friday (18 May), priced £35+bf from www.eventim.co.uk Tickets limited to 4 per customer. There will also be 300 tickets available for collection in person at Plymouth Pavilions. Terms and conditions apply.

Hailing from Sheffield: home of Pulp, Arctic Monkeys and a rather unfortunate history in steel, Slow Club paddle at the edges of mainstream indie-folk. Fortunately for them, Bath was in a whimsical sort of mood, and their Fleet Foxish style was well received by the crowd. Hipsters, folkies; a smattering of hippies and the occasional housewife. The dingy dance floor was packed to the walls, and they bopped to the duo with genuine vigor. If anything, Slow Club seemed surprised by how nice everyone was, never facing boos, trash talking or cat calls, gliding through what proved to be a cozy little set.

Currently signed to Moshi Moshi Records, the pair has two albums to their name, the peppy Yeah So, followed by their most recent addition, Paradise. To a cursory ear, their work seems rather twee. “Hackney Marsh” is a prime example, being a gentle, ukulele-like harmony of tinny strings and saxophones. “If We’re Still Alive” is a different brand of cuteness, mixing Fleet Foxes with an Arctic Monkeys beat, as vocalist Rebecca shifts her voice to a throaty, almost bluesy tone.

Swinging between poppy, ethereal and melodic, Slow Club falls firmly under the Indie label, “the Dog” even making use of those constantly heard, Arcade Fire “woos.” Thankfully, the pair does manage to maintain their identity. Rebecca Taylor, effortlessly glamorous, shows incredible range, moving from husky, to soulful, to a blond, powerhouse of perky pop crooning. Her sound is leant strength by Charles Watson, holding up the harmonies with his own mellow voice. The effect is mesmerising. Even better, it’s deliciously distinctive, giving Slow Club some much needed individuality in what is, let’s face it, an increasingly homogenised genre.

Slow Club is undeniably twee. But that doesn’t mean they don’t have substance. Each song is masterfully constructed, vocals and music blending elegantly in one. On the slow side, there’s “Never Look Back,” Watson’s lounge-like chords lying gently over Rebecca’s quicksilver “oohs,” the similarly low key “Only If You’re Certain,” proving a lyrical bullet right to gut.

Unlike many musical acts, Slow Club isn’t aiming for a spectacle. Their clothes are stylish yet subdued, commanding the stage with kooky bemusement. Sometimes they look like deer in the headlights. Others they seem downright confused. Between playful bickering and a startled, slightly self conscious approach to the audience (“we’re Slow Club. Yeah.”) you’d be forgiven for thinking this was their first time on stage. Is this bad thing? Far from it. In a world of posturing, prima donna songsters, it’s refreshing to see someone real up behind the mike. There’s no fakery here. Just two, genuinely nice people, here to play some music and have a giggle if they can. Rebecca isn’t the sort of person who’d hang around the corner, expecting an encore. Instead she asks for a bathroom break first, striking a “pee for a play,” type of deal. Professional? Probably not. Endearing? Definitely.

Treading in the footsteps of Indie greats, Slow Club may struggle to stand out amongst the crowd. But they have passion. And character. A genuine act, adorable and playful, they brought some joy to the murky Bath dusk, and were worth every penny of the ten quid ticket. All the best, wherever they’re headed.

Words and photo: James Noakes

This Is The Kit – is Kate Stables playing banjo, guitar and a voice of unaffected clarity accompanied by her Wild Band creating primal and electric textures on songs of unpretentious beauty. This Is The Kit keep good company; in 2006 they partnered Animal Collective, Tunng and Vashti Bunyan on Sunday Best’s Folk Off compilation. With each contemporary going on to bigger success with their next album and Drowned in Sound saying “its personal touch is largely what makes [This Is The Kit] the British highlight, not to mention that of the compilation as a whole” it’s easy to see how Wriggle out the Restless will be Kate’s first step in the same direction.

Rozi Plain was born Rosalind Leyden, in the leafy-greens of Winchester. Since moving to Bristol she’s been working on the ferries that bob in and out of the city, along the Avon, whilst creating her own beautifully intimate music that captures life slowly floating by. With her older brother Sam (aka Romanhead), and her pal Rachael Dadd, she is a founding member of the Cleaner Records collective – a loose assortment of singer-songwriters based in Bristol. The unassuming charm of Rozi’s live show has led to tours across Europe, the UK & USA. Notable tours include supporting Devendra Banhart (who fell for her debut album, and named it one of his albums of last year), James Yorkston and Viking Moses, as well as appearances at festivals such as Green Man and End Of The Road.

This is the Kit and Rosi Plain play Miss Peapod’s, Penryn, on Sunday 24 June. Tickets £6 / £5 NUS / £8 Door from www.wegottickets.com/misspeapods

You’ve enjoyed some airplay on Bethan Elfyn’s show recently – how important is that to you?
You forgot to mention a couple of plays on Jen Long’s show as well – not that we’re keeping count, or excited, or anything! The truth of it is that its a massive shot in the arm for us. We were talking about this recently – other bands, I’m sure will sympathise; we’re lucky enough to be invited to play a lot of shows…whilst that’s great, what isn’t so good is playing to smaller (and sometimes non-existent!) audiences. Insecurities make it easy to think that punters were avoiding us – but I don’t think that’s necessarily the case as other bands tell similar stories. So when complete strangers in the shape of Darren Broome (Bethan Elfyn’s producer) and Jen Long determine that actually, our tracks are worthy of being played over national radio, it feels like a validation. I’m not absolutely convinced that we’re getting any new ‘fans’ out of the airplay…that remains to be seen.

What’s the new release called and what are your hopes for it?
We didn’t actually give the release a title – we like the idea of it being just ‘EP’ in the same way Public Image released an album called ‘album’, back in the day. Our hopes for it are twofold – we hope that as many people get to hear it as possible (and hopefully like what they hear!), and secondly, we hope that it provides a decent enough return to Death Monkey Records, the guys who were good enough to give us this opportunity and provide the resources to allow us to record and release it. They’re genuinely committed to discovering and promoting exciting new music, and to have worked with them has been a real honour.

South Wales produces a lot of decent bands, why do you think that is?
Everywhere produces decent bands – I don’t know if South Wales is particularly special in that regard. The crying shame is that while there is a massive appetite for regurgitated, safe, unchallenging nonsense that is served up to the unthinking, brain-washed masses every Saturday night (we all know who I’m talking about) – while this is happening there are new, exciting songs being written and performed RIGHT NOW in the venue down the road from you. And while your brain rots and your soul is being devoured by SyCo and the like, you’re missing out on the most important song you’ll ever hear. But that’s ok, here comes another cover version by some manufactured halfwit that has had any semblance of individuality sucked out of them…ooh, he’s cute/she’s sexy…doesn’t really matter , does it? DOES IT?

How has where you come from, shaped your sound?
Geographically, I’ve moved all over the country while growing up – as a result I don’t really feel a part of any group or tribe. Although born just outside Newport, I don’t feel especially Welsh. I don’t feel especially anything. A lot of the time I’m not even sure I’m part of the human race. So lyrically I often draw on these feelings of isolation and frustration as I see world events unfold via mainstream media outlets – knowing that I’m being lied to on an hourly basis, yet powerless to do anything about it other than share my thoughts to a largely disinterested populace. Similarly, disenchantment with much of the current music scene has caused nineplanfailed to develop a lo-fi, post-punk aesthetic that harks back to what we consider to be a very interesting and exciting time for music – late seventies/early eighties. Punk had come and gone and shaken up the establishment – bands like Public Image Ltd, Killing Joke, Adam and the Ants we all brave enough to challenge accepted thinking and tastes…its that attitude that shapes nineplanfailed’s sound.

What other Welsh bands are you digging at the moment?

Cut Ribbons (https://www.facebook.com/Cutribbons) are in the forefront of my mind at the moment due to lots of Radio 1 airplay, and a number of high profile festival appearances in their schedule. I’d say that I’m sick with jealousy, but the band are such nice people that I can only wish them well (whilst calling them ‘dirty sellouts’ behind their back – they’re not, but it makes me feel better. ‘We hate it when our friends become successful’, as someone once sang)

100,000 Bodybags (https://www.facebook.com/pages/100000-Bodybags/147886891921501) are one of those bands that never fail to impress, or excite – whether its their tunes or borderline contempt for their audience – either way, their shows are always good fun.

Heavy Petting Zoo (https://www.facebook.com/heavypettingzoouk) are another band that take a look at what current musical trends are, and blatantly ignore them, creating a sound that is genuinely out of this time – they sound like what the Happy Mondays think The Doors sound like (only nothing like that).

Paper Factory (https://www.facebook.com/paperfactory)are a no frills, no nonsense three piece that manage to create their own garage rock – but when you hear them, you believe them. Then there’s World vs World, Miacca, The Effect, all brilliant for different reasons…

And non-Welsh bands…
Earlier in the year, nineplanfailed were asked to provide support for Event Horses (https://www.facebook.com/EventHorses) – a three piece alt punk/hardcore band from Northern Island – really great lads that put on a great show with tunes that quickened your pulse and let you know that you were alive!

What’s the worst plan you’ve ever had?
I’m still working on it – it could go either way…

Now Rizzle Kicks are touring around the country and headlining their first tour, the audience is filled with enthusiastic high pitch teens who rushed to the front of the arena to show love for the rappers turned singers.

Kicking of the show is Josh Osho who since getting signed to Island records, has been consistently receiving rave reviews up and down the country. At the young age of 20, Osho’s constructive songs resemble artists who have been in the industry twice his time. Arriving on stage, casually dressed, repping a snapback cap, backed by a simple band and DJ on the decks, Josh began his set with ‘The Ebenezer Hotel’ a song that’s been written about his time living in a hostel and having everything stolen except his guitar. Josh’s impressive soulful vocals filled the room and pleased the young crowd, fantastically grabbing the audience’s attention.

Concluding his short set singing latest single ‘Redemption Days and after his after his short performance Osho didn’t shy away from the crowd and waited around the arena greeting and having photo’s with his ton of new fans.

As the lights come down, the electrifying screams from the crowd is a signal that the wait is now over. As Rizzle Kicks bursts on stage to the theme of inspector gadget, the audience are in a frenzy for the young stars. Performing notable fan favourites including ‘Dreamers’, ‘When I was a youngster’ and ‘Travellers Charm’ each song receives a great reaction.

Jordan and Harley are accompanied by an impressive backing band, which included a fierce drummer and a saxophonist who pulled the whole show together. Rizzle Kicks delivered a tight performance which was full of energy, young talent and an array of sing-a-long, live for the weekend anthems.

The biggest reaction of the night came from fan favourite ‘mamma do the hump’ which dominated the crowd and not only had them singing, but dancing along too.
As the show draws to a close with a triumphant ‘Down With The Trumpets’ – complete with several bras thrown onstage – at this time, in this moment, Rizzle Kicks are superstars. The room erupted, hands flew, and sweat poured to the end the night on an excellent high.

Words and photo: Mike Lewis



Now, Professor Green is touring the country and is headlining sold out shows. Enthusiastic teens who queued from midday, rushed into the Great Hall in hope of securing a perfect location.

Kicking of the show is ‘Ray Charles’ rapper Chiddy Bang who set the temperature high while warming up for the crowd for the ‘At Your Inconvenience’ rapper. Chiddy Bang from Philly smashed through a rushed set that got the crowd pumped with a seamless mix of old and new, taking classics from ‘The Preview’ and fresh tunes from latest release ‘Breakfast’.

Straight after DJ IQ’s chart packed set, the noise became deafening as the huge frame of Stephen Manderson ambles onstage around nine o’clock. Bursting onstage with his trademark wry grin, Professor Green, arms aloft, tears straight into ‘At Your Inconvenience’.

Bolstered by a full live band and two backing singers, the sound is near faultless as every single hand in the room is thrown in their air during ‘Oh My God’ and the vicious ‘D.P.M.O.’
After the show stopping double barrelled assault of ‘Just Be Good to Green’ and ‘Need You Tonight’ it was easy to see that Professor Green has a real chemistry with his band and his songs work really well live. The bulk of his set consisted of material from his new album “At your inconvenience” but didn’t forget material from his first album. It was hard to hear him over the crowd at the best of times but when he broke into “Monster” before leaving the stage for an encore, it was near impossible.

After a deafening ovation from the crowd, Green and crew returned to play a variety of older tunes, arguably for the fans that have supported him from the beginning including ‘Upper Clapton Dance’ and the bass thumping ‘Jungle’. Finished up on his best selling song to date ‘Read all about it’, sent the crowd into raptures and the performance of his first number one was deserving of the massive reaction it received.

Words and photo: Mike Lewis

The day kicked off with all girl alt-choir Gaggle at the O2 Academy. An instant feast on the eyes, as all twenty singers appear in their Geisha inspired get-up, complete with colour-tastic make-up and enormous headgear. Led by choir master Deborah Coughlin, the full force of their poppy tunes hits us like a wall of delicious post riot grrrl influence but just a little sweeter. The girls have been getting plenty of hype from the likes of NME and with their debut album out this summer, it looks set to be a Gaggle good time.

Next up were Stealing Sheep upstairs at the O2 Academy 2. This venue doesn’t really lend itself well to shorter members of the audience but the folk-tinged influence of this Liverpudlian all girl group was enough to keep the crowd at ease. Their rough and ready approach had hints of Warpaint whilst entertaining the idea of creating a whole new genre with wisps of folk, punk and synth-pop.

Tall Ships were next to take to the stage and after witnessing them on Monday supporting the brilliant Dry the River, the crowd were eager for another taster. Bursting into their sketchy time signatures and epic crescendos, they certainly riled up the Simple Things crowd for the evening. Single ‘Chemistry’ was a particular highlight but the sound guy could’ve done with a bit more tweaking.

By the time the guys had gotten through their first three songs, downstairs one of the most hyped artists of the year was beginning her set. Canadian songstress Grimes definitely played up to her quirky persona with her 90’s geddup and ironing board synth stand. Having been regularly played on BBC6 Music and a favourite at independent record stores, the O2 Academy was packed to the brim. Playing songs from her latest album ‘Visions’ the 24-year-old stole the show, as her confidence led her fearlessly across the stage. Single ‘Oblivion’ had the crowd singing and swaying along, proving that this girl is going to get even bigger.

Across the pond at Thekla, Three Trapped Tigers were bursting into their fury of noise to a raucous crowd. The band has been heavily hyped over the past few months, with some even stating that ‘it’s the sound of imagination itself.’ But to be quite honest, the sounds erupting from the stage sounded very familiar, just churned out in a louder sense to appease this whole new alternative dub-step thing thanks to duds like Skrillex. Nothing new here.

The evening’s entertainment was well under way, so a trip to arguably Bristol’s best venue The Fleece was certainly in order. Hosted by Vice, the venue had a new whiff of a hipster take over, complete with overly-eager-steal-your-boyfriend shot girls. Japanese quartet Bo Ningen quickly took the pain away with their awesome alternative rock. Their energy and approach to a tighter-than-your-whities set was truly refreshing and an absolute highlight of the whole day.

TB2 and Lakota finished off the day with fantastic sets from the likes of Space Dimension Controller and Marcellus Pittman. Despite the arrogance, Space Dimension Controller did the trick for the dance floor but it was Pittman that really stole the show. Playing perfect 80’s montage soundtracks and funky house, he had the whole room gushing with love and some serious dance moves. A perfect way to see out the festival.

Words: Sammy Maine
Photo: Louise Brady