See what it’s all about with the highlights from last year below:

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The band used to live in Bristol (until frontman Jason Pierce decided to fire the entire band in one of his many drug fuelled hazes) so, it was a bit underwhelming seeing such a sparse crowd in a big place. It also didnt help that there was no support band to help build up the atmosphere. For me, it felt hard to try and generate a sense of excitement inside the main room of the Academy.

Jason Pierce or J Spaceman, depending on which one of his personalities he wants to be, has always been an intriguing personality as he spends the entire show standing sideways on from the audience with his trademark thick shades. I get the sense that he is a very shy person and that maybe he finds it difficult being on-stage, as he spends all of his time staring over at the bass player on the opposite side of a huge gaping space that was filled up with by a huge wall of projections. The projections on the screen gave the gig a a cinematice experience aidding the softly built up melodies.

Everything had a distilled sense of ambience that was built up using various flashing images, helping the songs to crescendo with a gentle fuzz as Pierce’s huge shades projected and alien-styled image against his bleached white skin. Everything about Spiritualized’s oozed a kind off stand offish approach. There was more then a hint of 60s styled lost boy psychedelia. Bright colours permeated the screen as they opened up with ‘Hey Jane’, in which Jason’s vocals sounded cocooned up, with drifting backing vocals that floated along with the swirling walls of guitars which swelled with intensity before folding into a whirlwind.

Playing a combination of new and old material from through out the back-catalogue, especailly prominent were tracks from the new album ‘Sweet Heart, Sweet Light and Songs in A&E’, which focused on Pierce’s near death experiences when he fell very ill due to his battle with drug addiction (this tour so nearly didn’t happen because Jason’s ill health meant that the tour had to be rescheduled twice on doctor’s orders). So there was feeling in the small crowd that they passionately cared that he was alright.

‘Oh Baby’ sounded as if Pierce was asking for forgiveness – as his voice withheld a sense of pain that he left to build up with the growing sense of alienation. ‘Lord Let it Rain On Me’ was sung with a tender sadness. ‘I Am What I Am’ still sounds like a glorious psychedelic romp and it is the older songs in the set that provoke the loudest cheer. It’s the same Sadness that nearly brings a tear to the face Jason’s vocal trawl through ‘Rated X’, delivering the kind of emotion you could feel Pierce crying, even though his face was masked by a huge pair of dark black shades.

But with the band playing with a large gap in the centre of the stage and the swirling projections it kind of had a bit of festival round the fire kind of feel – drawing everyone in. In fact, it presented a kind of religious style of feeling, as though you were in some sort of church. Bringing the set to a close with the cooeing cry of ‘Stay With Me’, that had an essence of lost romanticism, and a cover of David Bowie’s ‘So Long You Pretty Things’.

They returned to the stage bring out the spacerock groove ‘Electricity’, before closing the night with fans’ favourite ‘Cop Shoot Cop’, white washing the place in huge echoed drones that gives the feeling of being on ecstasy, you know like having one huge giant warm hug. This is the only point when Jason Speaks the entire night and it is just to say thanks to the people who have come to the gig, before walking off the stage.

Words: Jeffrey Johns
Photo: Greg McMullen via Flickr

Well, December was an interesting month. The Magic Band were utterly delightful in recreating Captain Beefheart in every last little detail; Napalm Death provided brutality in force, rattling out 40 songs in an hour long set including their record breaking world’s shortest single which is 3.5 seconds in length; and there was also Ginger Wildheart’s complete mental breakdown while on stage at the Fleece. I have seen a lot of things before, but nothing like this – I mean he was having a go at the audience from the off, it was incredible and his entire backing band looked totally embarrassed by his behaviour.

I spent New Year’s Eve down in Plymouth, with my friends Crazy Arm, at The White Rabbit where they played along with Kat Marsh, Cosmo Jarvis, Dead Poets and others. As per usual, I was the only sober person there but that has never stopped me from having fun. I made a new year’s promise to myself to try and get to at least one European festival, although I have made no progress in booking tickets or anything, this is because of the usual anxieties that have been holding me back, that and lack of money.

January started with Von Bartha at the Fleece, I would go and see this band about three times in the space of a month! I know this sounds a little stalkerish, but they are really good! Like a poppier version of Big Joan, with the spice of Yeah Yeah Yeahs. I also had a really sweet night of acoustic folk at the Louisiana with the lovely Amelia Tucker, Elly McCabe and Lewis Doyle. It was perfect for a cold January night and gave me a winter glow.

There was the Tate and Lyle show with Kyla La Grange and Worship, with an excellent opening up set from Goan Dogs who really seem to be hitting their stride at the moment. Because of this gig being filmed it meant I got my ugly mug on the telly, ‘ooh look mum, I’m famous’. I did enjoy the gig but the lovely Kyla La Grange, as good as her stuff was, kept on reminding me of Shakespeare’s Sister and Alisha’s Attic; I’m sorry, I couldn’t help it with those comparisons, she’ll probably hate me for this.

I was also interviewed by a student film crew who were making a short documentary project about Bristol being the best city in the UK for live music. I stammered quite a lot during the interview, I have a tenancy to do this when I am nervous. I rocked out to My Ruin and actually got interviewed by Tairrie B. I had to try and hold my nerves, which was proving a little difficult as she used to be one of my pin ups. I was trying not to make too much of a fool out of myself. I think I blushed quite heavily at several points, after every question there was my usual nervous break of me going ‘oh my fuck, what do I say now?’. It seemed to be a week of female fronted acts because I saw Wild Flag blow bellows out of the Thekla. And Pheobie Killdeer and The Short Straws who provided me with some holla back rock n roll at The Croft, a bit like Juliet Lewis and the Licks.

January also saw the debut performance of Danny Coughlan’s new project, Crybaby. The ex Babel lead singer has come from out of the shadows with a whole raft of crooning indie numbers, like he’d locked himself away in a shed on nothing but a diet of Roy Orbison, Richard Hawley, Bon Iver and Morrisey. He has the best voice in Bristol. His debut single ‘I Cherish The Heart Break More then the Love That I Lost’ is one of the most heart wrenching singles I have heard so far this year. You could hear a pin drop whilst he was singing it at the Louisiana. It was his debut gig with the full band and boy what a show it was. They were supporting Scarlet Rascal and The Trainwreck who put on an absolutely cracking performance, probably one of the best shows I have seen them play recently, they have always been a band close to my old heart.

You can read more of Jeff’s thought on his new blog, The Thoroughly Annoying Blonde.

So bring forth Justice. I definitely felt like a bit outcast when arriving at the Academy, as most of the audience looked like they had just walked off of a photo shoot for New Look, with their supper skinny fit Jeans and models’ hair cuts. I knew it would be full of this kind of crowd as Justice has an uber cool style about them, that was very prevalent throughout their debut album, which has been dominating many an indie dance floor from 2007 til today.

The warm-up act was a DJ set form French singer/producer DVNO (pronounced Divino) who, of course, appeared on the Justice single of the same name; it is the French slang for disco and that is pretty much what he hammered out. It was cool nouveaux glitch mixed in with elements of slow droning Kraut rock and cutting edge house. Him and his sombrero were doing their best to whip up the crowd, who seemed to be like the electro versions of Iron Maiden fans. I rarely get claustrophobia, but I sure as hell did tonight, as the crowd surged forward pinning me to the barrier. It felt like as is I was stuck in a Nathan Barley world, as more and more hipsters pushed forward making me feel quite ill.

Justice had one of the most impressive stage shows I have ever seen in the Academy. It was full of the sort of panache you would expect from a rock band, with a huge stack of lights disguised as Marshall amps and a huge computer database style cover, It was pretty impressive, but it meant that no one could really see what the Parisian duo were doing and, what little emotional depth the band’s music has, was washed away for the glam of the show.
Waters of Nazareth Sounded as fuzzy as ever, bouncing out the speakers as lights flashed in coordinated patterns syncopated with the 16th note rhythms, playing on disco’s simple 4 to floor aesthetic, layering them up with the kind of 3D scoped sound that artists like Ettien De Cresy have been pedalling around for some time, just fettering in a few extra sonic textures.

There is a nod to Mike Oldfield’s Tubular Bells, with the chiming lights in glass tubes that smoke. And they were almost verging on a homage to Daft Punk’s Robot Rock style pastiche and just doubling up the woomph. DANCE is one such momentum as they bring the set to a close, bringing everything to a furore by almost creating the sonic thrashings that would be more akin to Atari Teenage Riot – leaving most in the venue breathlessly relieved, or just like me a bit perplexed as to what they will do in the future…will they change their set up at all?

Words: Jeffery Johns
Photo: Andrea Lodi via Flickr

A couple of days later The Melvins played the Thekla, the flipping Melvins played Bristol! This was something I personally never thought I would ever see live, one of the true monoliths of the American alt rock scene and there was no way in hell I was going to miss this. As per usual I was like a kid who had been locked in a sweet shop, force-feeding himself gob stoppers. They were absolutely incredible – and loud – playing for pretty much the best part of two hours and ending with one of the funniest things I have ever seen at gig, the bass player and drummer singing over a house styled track about how they wanted a full English breakfast after doing a 10min lightning bolt bass and drums noise jam, that left me without hearing for about four hours.

Another gig which had a very funny and strange ending was Ringo Deathstarr at Start the Bus. They sound like all the best bits of My Bloody Valentine, Jesus and Mary Chain and Dinosaur Jr. They ended it by getting my friend Dan to replace their drummer and me their guitarist; I can’t play guitar, so we just created nasty noise and hoped for the best. To be honest, it was one of the best shows I’ve ever seen in Start the Bus – full on wailing guitar drones of beauty. On that very same night I was given another example as to why Fence Collective are pretty much the best label in the UK, with a sublime gig from the Shivers, who sounded like an un easy cross between Bob Dylan and Lou Reed and the equally, if not more fantastic, Player Piano – who sounded a bit like early Fleetwood Mac playing R’n’B music with Robert Wyatt -just incredibly bouncy and brilliant.

Jon Hopkins completely fried my brains at Motion. Read my full review HERE.I saw Besnard Lakes who gave me a very special feeling, I could feel something in the water, maybe it was all the hallucinations I was having. The day after, my sister gave birth so there was definitely something in the water. I celebrated my sister’s sprog by going to see Shabazz Palaces, great fun leftfield hip hop, in the vein of a subtle Saul Williams, mixing cleverly worked lyrics in with psychedelic melodies. Read my Besnard Lakes review HERE.
I saw the Antlers and Vessels on the same night – doimg my usual gig sprint made possible by the Thekla’s early curfews! Vessels were amazing, although I have never seen so much gear on the Louisiana stage – 12 guitars, 6 pedal boards 4 synths – it was so ridiculous. I also did what I call Menage a Trois – where I managed to make it to three gigs on the same night – kick starting off with Pure Reason Revolution’s farewell tour at the Thekla. Playing their first two albums pretty much all the way through, it was pretty special. I followed that up by heading over to the Louisiana to see Swimming, who are a very underrated band in my opinion. They ooze 80s sounds like indie pop so well. Finally, I headed over to Start the Bus for Beaty Hearts.

I saw Billy Bragg play the Fleece for his Leftfield in Motion tour along with Akala and the Sound of Rum, who as many people will know is a band I have an obsession with. Kate Tempest is so amazing. It was the most people I have ever seen in the Fleece it seriously did feel like we were all sardines packed into a warm tin. And I also played Start the Bus, under my new pseudonym AAAutistic it stands for Angry Anxiety Autistic. It was a completely improvised set, like most of my sets are, I think it went pretty well. I had The Pen Wears The Trousers backing me up and I even tried to destroy people’s ears by singing and playing the violin. It got and interesting reaction.

Right, so December has started with Magic Band and The Vaccines as well as loads of other gigs, NYE parties and my AAAutistic set at the Fleece on December 8. Hope to see you there!

October will be mostly memorable for me, for making a twat out of myself in front of a number of female musicians. Firstly, there was me virtually not being able to speak in front of Alison from The Pierces. She did look very bemused and a little puzzled to see me stood outside the Anson Rooms in what was almost zero degrees. And then there was the Charlotte Hatherley incident, where the erstwhile female guitarist from Ash came and gave me a hug and I virtually blacked out, my little heart seriously couldn’t take it! It was pounding like a hamster at 5000bpm and I blushed heavily. It was also a great gig she played with Ash, which brought back lots of teenage-like dreams.

On the same night as Ash, I made my first voyage of the year to Motion – for the Blowpop In:Motion night. I don’t often go to Motion because I can’t often afford the ticket price but I reviewed this one for 247 Magazine, read my review HERE. I also fell in love with a three-piece all female psych folk band called Stealing Sheep, who I saw support Emmy The Great at the Fleece, and as per usual she really was great. Roddy Frame wasn’t bad either. In fact, I was given his lyric book – which made for interesting reading. And I thoroughly enjoyed Ghostpoet’s show at Start the Bus at the begining of the the month. There is something interesting about his songs and lyrical style. It is almost like he’s slurring his words, it’s a kind of slow, distilled style that he has, which has drawn comparisons to early Roots Manuva mixed in with maybe a bit of Saul Williams.

I saw Gold Panda play for the umteenth time with Dam Mantle, he is someone I can’t really put it down in words what I like about him, but his music is very infectious with almost psychedelic Flying Lotus style qualities. I remember the first time I saw him, I compared him to German electro film score style artist Ulrich Schnause, but thinking about it now, he sounds quite different really! The night after that I was having a bit of an electronica week, and so I was at the hipper-than-hip SBTRKT, whose audience was ultimately full of ‘being a dickhead’s cool’ styled Mockneys and one or two Bristolians. It was almost as bad as James Blake Gig earlier in the year. I don’t know why, but as soon as you put the word dubstep next to anything then you have all these London geezer neanderthals crawling out of the woodwork.

Speaking of electronic wizzardry, I saw Silver Apples – the guy who was pretty much responsible for the development of Krautrock and all forms of electronica. Basically, without him you could probably wave bye-bye to pretty much half of the music ever made. He played a cracking show at the Fleece, using mostly equipment he used on the original recordings from the 68-69 period. It was quite awe-inspiring watching his frail fingers orchestrating sound.

November is looking pretty exciting for me. I am foaming at mouth about going to see the Melvins, one of the bands that single-handedly kick started Grunge, The Dwarves, Shabazz Placaces, Turbowolf, Bastions, CW StoneKing, Pure X, Opeth, St Vincent and many more!

At times he toed the line of self-indulgence: crooning indeterminate lyrics over a near deafening baseline, or at the other end of the spectrum it sometimes didn’t feel like Jamie Woon in concert, it felt like Jamie jamming in the front room whilst we put the kettle on. Despite the band playing at full strength all of those around us were chatting: the atmosphere akin to that in the tea tent at Glastonbury where many may have first seen him.

His encore was a little underwhelming but an impressive idea: he created a vocal orchestra by recording and looping himself on stage. He had been welcomed onto the stage with cheers and said a humble hello and thanks before launching into the set. As he bobbed his head, his fringe falling carelessly over his face it was easy to the appeal of this seemingly quiet and reserved guy that nothing felt forced. Scanning the crowd there seemed to be no agenda of age or attire, just fans (and a few newcomers) here to show their appreciation. There were almost no sing-along moments, not out of disdain but because the crowd felt comfortable for Jamie to take the lead as we all basked in his sound.

This gig certainly wasn’t enough to affirm my fan status but as several of his current followers told me: his voice is his greatest gift and his band left no space for said voice to shine. Jamie is clearly exploring several genres and is not afraid of conforming to the expectations set by fellow male vocalists: whether this was the best occasion for such exploration is debatable but it was refreshing. And if last night is him ‘off-game’ I eagerly await a complete performance.

Words: Georgette Keane
Photos: Laura Palmer

There are, admittedly, a number of artists that have made me cry or feel intense emotions that recently, like Josh T Pearson, who reduced the 6ft 4inch giant of me to a rubble. His lyrics are just so powerful, all about break up of his marriage. Read my full review HERE.

There was also The Simple things festival with a line -up which featured ultra angry Gonjasufi (I don’t think anyone told him that Bad Brains weren’t really the order of the day, as he told anyone who doesn’t like loud music to F*** OFF! Nice.) A drool-inducing set from Jon Hopkins, whose performance was so intense it caused me to have wrong things going on in my trouser department! I probably shouldn’t have said that, but hey certain sonic intensities and flashing lights do things to me. There was also the extremely well dressed Daedalus, playing in a room which made it feel like we were all being baked alive – quite claustrophobic.

I went on a bit of a quietish alt-country tinged week, with the NME tour featuring Anna calvi, who has got one of the best voices out there on a major recording label, positive indie popsters Grouplove and Big Deal, who were like The Slow Club crossed with The Lemonheads. The next day was Shelby Lynne, who is better known as Alison Moorer’s sister. She sung passionate country for about two hours, full of regret and emotions leaving everyone spellbound with her tales jealousy, love and the death her parents, (her dad shot their mum and himself).

But the week after brought on a heavier turn, with the likes of Fucked Up, Rolo Tomassi and Atari Teenage Riot (reviews of all of which are available HERE), all of which could be in my view contenders for gig of the year. I mean Fucked Up put on the kind of show that remind me of why I got punk and rock’n’roll music in first place. It was sweaty fun, with Fucked Up’s singer spending a majority of the show in the audience giving people bare (sic) hugs, (literally the sweatiest hug I have ever received). He is the kind of person that is intent on spreading positivity.

Rolo Tomassi are a band I am never going to miss live, with their proggy mathcore jazz metal mix. And Atari teenage Riot, well sounded like riot and took me 5 hours to regain relatively normal breath. I also got to say hello to Yuck who were awesome in a kind of Dinosaur Jr meets Pavement nerdyness.

The night after was Warpaint and Connan Mockasin. Warpaint were much better than I expected but this was all about Connan Mockasin for me. I am a massive fan, and buy every record this guy releases because in my view he is a genius and one of a few people who can honestly pull off the 60s rare groove feel.

June brings a myriad of festivals. I can hear the dinosaur that is Glastonbury wheezing about how it is the greatest festival out there. Sure,it is a lot of fun (apart from last year when I got mugged) but, as per usual, the mainstage is ultimately the Radio 2 fest. So, it is the smaller stages that have some of the more exciting live acts, such as Foolsgold, Little Dragon, Twilight Singers, Jimmy Cliff, The Pierces and some of the lesser known stuff.

Speaking of dinosaurs, has anyone seen the line-up for Hop Farm? Hop Damn digity, they have only gone and got the Eagles, 10cc, Lou Reed, Iggy and the Stooges, Patti Smith, Chrissy Hynde, Bryan Ferry and Prince! I am going to have to whore my body out for this one, you see most of those are on my list of to see before I die. Bristol has the We The People festival, full of more dance related acts, like Streets, Doom, Gaslamp Killer, Example, Dels amongst so many others.

Also there are the secret warm up shows, like Erasure at the Fleece, the Fleece is getting a lot of very good bands at the moment like Mono and Boris which I am very excited about.

Last time I saw Frank was at Strummerville. The gig was in a rammed disused East London car park and the crowd was very merry and somewhat sweaty from several hours of drinking and dancing. Here we found ourselves seated in the ornate St George’s church off Park Street, an altogether different proposition. Frank came on stage and seemed a little surprised at the refined setting but took it in his stride and it wasn’t long before the crowd responded in the predictable way of clapping, singing and eventually, standing and dancing. It was touted as ‘An Evening With Frank Turner…’ and that it was.

He opened with I Knew Prufrock Before He Got Famous, bare and exposed on the grand stage a lesser act could’ve appeared a bit rabbit in headlights but Frank is a seasoned performer (that Strummerville gig was his 1,000th gig) and he belted out the soaring folky number. From here he upped the tempo with Try This At Home where he spat the lyrics ‘cos there’s no such things as rockstars, there’s just people who play music and some of them are like us and some of them are just dicks.’ True that. In fact, that’s probably why Frank Turner is so likeable. He’s getting bigger with every tour (a few years back he was supporting the Levellers in Bristol, he then migrated to the Anson Rooms and here he is at St George’s) but still he remains down to earth, still his gigs inevitable culminate in a mass singalong where he stands shoulder to shoulder with his awestruck fans. That’s how you connect with your audience!

My only criticism is that sometimes his lyrics and songs sit on the wrong side of cheesy, especially in the recent I Still Believe, where he croons ‘who’d have though that something as simple as rock’n'roll could save us all,’ while standing coyly under an old painting of Jesus Christ. Music is our religion hey?! And when he slows things down with Better Half it drags with a 90s throwback sound, like one of those forgettable Supernaturals album tracks. This signified a slight lull in the set and his new offering Balthazar Impressario failed to impress.

Thankfully things picked up again with the iconic Love Ire and Song, Long Live The Queen and The Road. These songs alone made the gig worthwhile. The kind of classic songs which you know you’ll be hearing for years to come. It was by this point that the whole place was on it’s feet, clapping, grinning, singing and stomping along to the rhythmic punky folk anthem – think a more credible, relevant Levellers. But it was his most well known hit, Photosynthesis, which stole the show and captured the hearts of pretty much every 20 or 30 something in there.

For most of the gig, Turner cut a lone figure on the stark stage but the encore saw support acts Ben Marwood and Franz Nicolay (The Hold Steady) join their tour buddy on stage for some awesome covers – including a cover of The District Sleeps Alone Tonight by The Postal Service and Song To Woody by Bob Dylan (whose birthday it was that day). Check out Frank on Youtube and you’ll see that he pays endless homage to his influences in the form of covers songs which prove more hit than miss. Better than that though, go catch him live!

Words and video: Laura Williams
Photos: Laura Palmer

One of the first acts we caught was Little Victories at The Louisiana. Having toured Bristol before in previous incarnation Farthing Wood, Little Victories bring their eclectic brand of folk-pop to the mix, adding a violinist and female vocalist to the line-up. The vocal harmonies of Samantha Gould and Lewis Doyle perfectly compliment one another, whilst being more than ably supported by a menagerie of merrymen, in particular Richard Jones on fiddle, who shone brightly from the back of the stage. We couldn’t help but draw comparisons between the handclappy, upbeat, Sunshine Bus tunage of Little Victories with Cardiff folksters Los Campesinos! and this seems to be a bit of a sore point for the band, given that they dedicated their whole set to their lead singer Gareth, the ‘complete dick’.

One of the more intriguing performances of the day saw 50s prom-rockers Various Cruelties play to a lucky handful of people upstairs in The Louisiana. Despite the lacklustre turnout, it was an extremely assured performance, fronted by Liam O’Donnell, a man soaked in affrontery and gusto, dressed in leather jacket and winklepickers – he really doesn’t break the front-man mould, but thankfully that’s a good thing. The simple rhythm and catchy lyrics reminded us of previous modern day advocates of 1960s psychadelic pop-rock. But is the world ready for another The Coral?

Next up was Braids at The Cooler. Altogether more alt-beat and Bjork-esque, Canadian wall-of-sounders Braids slowed things down and transfixed a knowing audience with a performance of outstanding vocal ability and post-rock sensibility. Similar to Animal Collective and Boards of Canada in spirit and musical style, they failed to overcome a seriousness that detracted from the otherwise calming offering. A heavy reliance on electronic beats and samples further distanced Braids from their generic counterparts, but it didn’t always work, sometimes sounding to the untrained ear like a record played underwater.

Continuing the lo-fi soundscape, surf-rockers Dom drew an impressive crowd given the size of the room upstairs at the Thekla at 8pm, perhaps in most part due to the media-buzz around the Massachusetts foursome of recent time. The hype seems to have credence, given that their shoegaze sentimentality and driving rhythms evoke memories of a summer atmoshpere, a barbeque with friends. Catchy lyrics coupled with falsetto delivery took us to a place nso different to the mud dock bathing not in New England sunshine, but pissing rain. It was a shame to face that depressing reality.

But one of the main draws, The Joy Formidable, proved their worth at the Anson Rooms later that night. There isn’t much we like more than a female fronted rock group. Except, that is, a good one. Ritzy Bryan characterises everything you want as the singer-guitarist of a alt-rock band – energy, pizzazz and a no bullshit attitude. Having said that, when the songs stop, she is perfectly polite, interacting with the crowd and seeming genuinely humbled by her audience’s reaction to the debut EP The Joy Formidable are showcasing that night. Having been active for 4 years, TJF seem to be finally getting a reward for their hard work and it’s not a surprise given their ability to pen very decent tracks, all with thick, textured noises and clear, shimmering pop hooks. We wanted to end the evening on a high and that is just what happened.

The thing with Dot to Dot is that the effort you make dictates what you get out of it, the more you put in, the better it will be. Be prepared to queue, after all there are some high quality acts on show, but don’t plan things too much. It’s the unpredictable path to new bands that make this festival surprising and special.

Words: Annie Scott & Matthew Tickner
Photos: Laura Palmer

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