The Great Escape 2018 - Band Reviews

THURSDAY

There is always a strong Scottish presence on the line-up of The Great Escape, so our first stop was the Creative Scotland showcase at Horatio’s.  There was a good turnout on the pier for THE SPOOK SCHOOL and their quirky guitar pop, but the real highlight of the show was RASCALTON.  With Libertines-like guitar riffs and a singer who spits out the vocals in a way reminiscent of Joe Strummer, the Glasgow based quartet belted out a fast and frantic 30-minute set.

The Alternative Escape allows venues not on the main festival bill to put on free live music, and there are always some gems tucked away on the line up.  The obvious pick on Thursday was SHANGHAI BLUES at The Mucky Duck.  This London based band have a knack for writing soaring indie anthems, and tunes like ‘Swim’ and new single ‘Fall’ deserve a much bigger audience than the one they got in this small Brighton pub!

The most unusual set of the day was delivered by GINGER SNAPS at Bau Wow.  Calling themselves a “project” as opposed to a band, they interspersed their set with a DJ playing snippets of hip-hop classics and scratching records.  Their own music was good, and at times you would be forgiven for thinking it was Beck singing on stage rather than Ginger Snaps frontman Jay Brook.  Set closer ‘Phat Kids’ was a real highlight and shows the potential of this unique band.

One of the most enjoyable sets of the day came from M.I.L.K. at Sticky Mike’s Frog Bar.  The Danish three-piece play feel-good tunes perfect for a beautiful sunny Brighton day… although perhaps better suited to a stage in the sun as opposed to the dark basement of Sticky Mike’s!  You could just tell that singer Emil Wilk loved every minute of the set, and his enthusiasm transferred to the crowd with one of the best atmospheres we have seen at The Great Escape.  The only criticism that could be aimed at them is over-reliance on the laptop – even basic percussion was being controlled with the push of a button.  If they add a few extra members to boost the live experience this is a band to watch.

Two indie bands with a good chance of breaking into the mainstream are SEA GIRLS and MARSICANS.  Sea Girls set was packed with accessible tunes in the mould of The 1975, while Marsicans had a more upbeat style reminiscent of the Maccabees. 

Possibly the band with the biggest buzz around Brighton over the weekend was BOY AZOOGA.  This Cardiff based band packed three sets into day one of the festival, and each saw festival goers queuing round the block to try and catch them in action.  We saw them at Patterns, a venue that has been plagued with sound problems for the last couple of years – and they were impeccable.  This band sit in the rare position of being almost impossible to pigeonhole, with tracks like 'Loner Boogie' and its bluesy guitar riff, to latest single 'Jerry' which sounds more like 60's dreamy-pop.  The enthusiasm and obvious natural ability of this band made them the standout of the festival.

Another day one highlight was the incredible set by ROLLING BLACKOUTS COASTAL FEVER at The Old Ship.  With three front-men alternating vocals, and each them hugely proficient guitarists, they are a very engaging live act.  Highlights of the set were recent single 'Mainland' and last year's 'French Press'.

FRIDAY

The Canadians made quite a stir at The Great Escape in 2017 with blistering shows from the likes of Youngblood, Bad Pop and Royal Tusk.  This year they were back with another takeover of Green Door Store, and Friday's showcase got off to a great start thanks to BONIFACE.  The shy awkwardness of singer Micah Visser endeared him to the crowd, helped by the fact that as soon as he stopped the nervous chatter and started singing, confidence flooded through him and the band.  The sheer variety of song styles in a 30 minute set was staggering, as he moved through tracks such as the emotional heart-wrencher 'Again & Again' to the soaring synth-driven 'I Will Not Return As A Tourist'.

On a gorgeous sunny Brighton afternoon it felt a bit wrong to head to German-themed basement nightclub Bau Wow, but plenty of people had the same idea as it was packed to the rafters for Swiss electro-Europop from CRIMER.  Everything about the set screamed 1980s, from the singer's haircut to the synth-laden tunes that wouldn't sit out of place on a compilation alongside Erasure, Pet Shop Boys or Depeche Mode.

Every year The Great Escape has at least one act that you watch and think "yep, they're going to be massive".  This year that accolade goes to SAM FENDER, singer-songwriter from the north-east who played Patterns, coincidentally as part of the Fender showcase (the guitar manufacturer!).  His set of radio-friendly, guitar driven tunes was instantly accessible and you can see why the BBC picked him for their "Sound of 2018" showcase at the beginning of the year.

One band working hard to get maximum exposure from their trip to Brighton was Edinburgh's VISTAS.  As well as their set on the main festival bill, we caught them as part of the Alternative Escape at The Hub.  It's hard to pull of the spectacular when you are playing in a shipping container, but they performed admirably and showed off a set of solid indie tracks that made them well worth seeing. 

One of the biggest queues of the weekend was found outside Coalition on Friday evening, as the evening session was kicked off by TEN TONNES.  After a successful 2017 with a lot of airplay for singles 'Cracks Between' and 'Lucy', Ethan Barnett and his band have caught the attention of the mainstream.  It felt a little like this was a warm-up for his show as part of Steve Lamacq's BBC showcase later that evening, as he flew through a set comprising virtually everything released to date.  While there wasn't much warmth or interaction coming from Barnett, the quality was there to see – both in the sublime songwriting and the tightness of the band who were technically perfect.

In the Prince Albert, an early highlight of the evening session came from  STEREO HONEY, with singer Pete Restrick showing off one of the best voices around. Opening with 'The Bay' he showed his immense singing range, over a brooding bass guitar – two characteristics sure to appeal to fans of Radiohead or Wild Beasts. 

HUNTER AND THE BEAR are a band who have been around a little while and attracted a big crowd who crammed into the tiny room upstairs at The Prince Albert.  They are aiming for stadium rock sized tunes, with powerful guitars and anthemic choruses.  While much of the set did feel a little formulaic, the standout was the title track from their debut album 'Paper Heart'.

One of the more unusual sets came from GIANT PARTY in The Prince Albert.  They opened with 'White Ink', a storming track with a guitar line that wouldn't be out of place on an (early) Arctic Monkeys album.  After that, though, the band seemed to almost dispense with guitar altogether, while singer roamed the floor among the crowd, seemingly hugging every individual that came to see the show.  While there is nothing wrong with spreading the love, and we all love a frontman coming into the crowd, it did feel that after ten minutes this was probably at the expense of the music!

SATURDAY 

The showcase from Sounds Australia is always a highlight at The Great Escape.  The "Aussie BBQ" has been shunted around different venues over the last few years, but has found its ideal home in the form of the newly created venue, The Beach.  With an open air stage as well as two decent size tents, there was plenty of scope for Sounds Australia to put on a good number of bands and really make the most of the new venue.  The promoters brought some Aussie sunshine with them too, and it was glorious as HOCKEY DAD took to the open-air Doctor Martens stage.  Limited to a 20 minute slot, they raced through tunes from their new album including 'I Wanna Be Everybody' and 'Join The Club'.  They were soon followed on the same stage by SKEGSS, who put on a brilliantly chaotic show featuring out of tune guitars, a seagull stage invader (the Hockey Dad drummer in a mask) and a frenetic circle pit in the crowd.  I think the whole crowd left happy, with most of them whistling the infectious 'L.S.D.' or 'New York California'.

While Hockey Dad and Skegss revel in chaotic, upbeat, fun rock and roll, in the Beach House tent next door CITY CALM DOWN put on a very different show.  They have developed into a slick, intense, professional band, and they played a short set that was heavy on tracks from second album 'Echoes In Blue'.  Frontman Jack Bourke brings so much to the band, with incredible vocals on tracks such as 'Joan, I'm Disappearing' and 'Blood'.

There seems to have been a bit of a comeback for the early 90s grunge sound this year.  The Saturday evening session saw GENDER ROLES play a home-town set to a packed Sticky Mike's.  Recent single 'Plastic' was the highlight of a short but frenetic, punky set.  Later, BULLY took to the stage at The Arch with a set that oozed brash confidence as they played tracks from both debut album 'Feels Like' and last year's 'Losing'.

As the festival approached it's close, TEN FE played The Prince Albert for their third set of the weekend.  This band could almost be considered a Great Escape veteran now, playing for the third year running and reeling off tracks from their brilliant debut album 'Hit The Light'.  A couple of years of relentless touring has seen the band develop into such a tight outfit, with influences ranging from Fleetwood Mac (particularly evident on 'Turn') to early 90's baggy-era indie.  Recent release 'Single, No Return' was an epic set closer and the lads left Brighton triumphantly to go and work on their second album. 

An Alternative Reading & Leeds Festival Preview

The main stage understandably takes most of the limelight at Reading and Leeds, but as it has become increasingly commercial over the years, it has left many music fans disillusioned.  People have even been suggesting the famous rock-centred festival is now going the way of V Festival, with a small pool of high-profile acts on loop as perennial headliners.

However, thankfully the organisers at Reading and Leeds haven't neglected their roots, but have instead moved most of the less-established indie/rock/guitar bands (however you want to pigeon hole them) to the smaller stages.  This is an unfortunate reflection of the tastes of the majority of people who go to the big summer festivals in the UK these days… but on the plus side it means you can still see some great new music on smaller stages with a more intimate crowd.

This preview deliberately avoids the main stage, and picks out some of the fantastic bands you can see in the tents across the three days of Reading & Leeds.

FRIDAY (Reading) / SATURDAY (Leeds)

Open your festival with some blues-tinted rock from BARNS COURTNEY (Festival Republic Stage, 12:00) with the hardcore few who get into the festival as soon as the gates open.  Then head over to the newest stage on the site to see ANTEROS (Jack Rocks / This Feeling Stage, 12:40) who have now been touring their set for so long they are too slick to be on this early.  This is a band who opened the enormous Other Stage at Glastonbury in 2016!

Our pick of the day is THE AMAZONS (Festival Republic Stage, 14:10) who are from Reading and are sure to pull a huge crowd in the tiniest tent on site.  Over the last 12 months they have become a ferocious live band, and with a debut album under their belts now they have no shortage of material to fill out what could be the most memorable set of the weekend.

Next it's the chart friendly guitar-pop of DECLAN MCKENNA (NME / Radio 1 Stage, 15:20), another act making waves with a debut album out this year.  For something completely different head over to catch THE SHIMMER BAND (Jack Rocks / This Feeling Stage, 18:05), who have really developed their live set since playing the BBC Introducing Stage here in 2016.  Although yet to really break out, they are a band with some epic tunes under their belt, including the glorious 'Sunkick' which is destined to make it to the bigger stages in future years.

For those keen to avoid the chart friendly noise of Bastille on the main stage, the best place to be is the Festival Republic Stage for a great double header.  THE DISTRICTS (Festival Republic Stage, 20:00) have been around for what seems like ages now, and have developed a unique raw, grungey sound to their set.  Then it's a change of tack as JAGWAR MA (Festival Republic Stage, 20:50) make their Reading & Leeds return with a new album but the same bass-heavy, uplifting dance vibe as always.

There are rumours of a high profile secret set, and the Reading schedule suggests this may be at about 21:15 on the NME / Radio 1 Stage… as always keep checking social media to see if it's happening!  Alternatively, check out ASYLUMS (Jack Rocks / This Feeling Stage, 21:40) for what is sure to be an entertaining, manic rock 'n roll show.

For those avoiding Kasabian, my choice of headliner is BEAR'S DEN (Festival Republic Stage, 22:00) who led some of the loudest sing-alongs of the year at Reading three years ago.  Their newer stuff is slightly more melancholy than their debut so may not be great for a 'festival buzz' but their live show certainly provides a total contrast from tonight's main stage headliners.

SATURDAY (Reading) / SUNDAY (Leeds)

This is a day that will be spent entirely rushing between the smaller stages, because there are some fantastic bands on - all a safe distance from a very dubious main stage bill.  Early picks include Reading band PALM HONEY (Jack Rocks / This Feeling Stage, 12:00) and PARIS YOUTH FOUNDATION (Festival Republic Stage, 12:45).  The latter are a Liverpudlian five-piece who have a smooth guitar sound that sounds like it has been honed for years as opposed to the few months they have been touring.  There is then an afternoon triple header on the same stage featuring SUPERFOOD (Festival Republic Stage, 14:25) – check out glorious recent single 'I Can't See' – ALL TVVINS (Festival Republic Stage, 15:15) and PUMAROSA (Festival Republic Stage, 16:05).  Other afternoon bands worth checking out if you can are the powerful, almost soulful BANG BANG ROMEO (Jack Rocks / This Feeling Stage, 14:25)  and the raucous garage rock of AVALANCHE PARTY (Jack Rocks / This Feeling Stage, 15:10).

However it is worth making the short walk between stages to catch INHEAVEN (NME / Radio 1 Stage, 13:35) who have been promoted from the Festival Republic Tent after a year of incessant touring.  With Nirvana like guitar riffs and some glorious vocals they are on the point of breaking into the mainstream (well, as far as guitar bands can get into the mainstream these days, anyway).  Then our pick of the day is unashamedly biased to another Reading band, SUNDARA KARMA (NME / Radio 1 Stage, 17:45).  After opening the festival on the main stage last year, they now have a debut album out and should have no  problem packing out the bigger tent with their unique but easily accessible sound.

After an early evening lull that has "extended beer break" written all over it, it's back to the small tent for another triple header.  THE VIEW (Festival Republic Stage, 21:05) need no introduction, and if their 2016 Glastonbury set is anything to go by this will be packed full of the old favourites from debut album "Hats Off To The  Buskers".  They are followed by JAPANDROIDS(Festival Republic Stage, 21:55) who have slightly tempered their garage-rock sound with the delightful recent album "Near To The Wild Heart Of Life".  And for those keen to avoid all things Eminem, stay put in the tent and catch headliners THE BLACK LIPS(Festival Repiblic Stage, 22:50), about as eclectic a band as you can get, who are sure to play a set spanning their nine-album, fifteen year career.  Alternatively catch BABY STRANGE (Jack Rocks / This Feeling Stage, 23:05) whose 2016 album "Want It Need It" was one of the year's highlights.

SUNDAY (Reading) / FRIDAY (Leeds)

An early start can be difficult on the final day of a festival, but it's worth getting in early to see THE PALE WHITE (BBC Music Introducing Stage, 11:50).  They may have been around for less than a year, but the potential is there to see in singles "Reaction" and "That Dress" that ooze confidence and ability.  Three more reasons to avoid a Sunday lie-in come in the form of OUTLYA (Festival Republic Stage, 12:15), HIMALAYAS (Jack Rocks / This Feeling Stage, 12:45) and SAINT PHNX (Festival Republic Stage, 13:05).  Even if you've never heard any of their music, all three bands put on a fantastic show and have songs that will stick around in your head for days to come.

A dreaded clash follows, so I'll feature both and leave you to make your mind up.  SLOTFACE (The Lock Up Stage, 14:45) are a punky breath of fresh air who are getting rave reviews for their confident live show.  Alternatively, OTHERKIN (Festival Republic Stage, 14:45) are a blast of three-minute grunge tunes that sound straight out of the early 90's Seattle sound.  Whichever you choose, your next step should be to the NME stage to see how far a band can get from over two years of constant touring, demonstrated by THE SHERLOCKS (NME / Radio 1 Stage, 16:35).  These boys haven't had a day off since early 2015 and deserve a big crowd at their biggest festival slot to date.

The real must see of the BBC's picks this year and our pick of the day is MOSA WILD (BBC Music Introducing Stage, 17:45).  Still with only one released song to their name, they are raw and inexperienced, but the magnificent "Smoke" (seriously – listen to it now) screams big things to come.  Brooding vocals reminiscent of The National, and a song that builds elegantly show that this band could be the real deal.

The main stage tonight is pretty guitar heavy to be fair (Blossoms / Liam Gallagher / Muse) so nothing to complain about there… but given this is a preview of the smaller stages I should highlight ASH (Festival Republic Stage, 20:40) who always play a set full of hits, and HAIM (NME / Radio 1 Stage, 22:40) who will provide a feelgood end to what should be a fantastic three days of music.

The Great Escape: Saturday Review

Day three of The Great Escape kicked off at the Brighthelm Centre for HAPPY ACCIDENTS. Admitting it was the biggest venue they have ever played, it didn't seem to faze them and the trio played a lively set of summery pop tunes. The sound could have been better, with drummer Phoebe Cross struggling to get her vocals across, but frontman Neil Mandell seemed to thoroughly enjoy himself and the crowd left happy.

The Green Door Store hosted an eclectic showcase of new Canadian talent in the afternoon, with a huge variety of artists playing short & snappy 20 minute sets. 

BAD POP played a brash & confident set, and you get the feeling they would have been happy to fill three hours rather than the 20 minutes they were given.  Frontman Chris Connelly had a great time, but the real star of the show was Catherine Hiltz, who managed to be an exceptional bass guitarist and an accomplished trumpeter... at the same time!

They were followed by the mean & moody atmospheric rock of THE AVULSIONS. It's a look and feel that has been done before (The Horrors, Savages) and sadly the music wasn't powerful enough to really engage the crowd. 

The showcase then took a change of direction as HELLO MOTH came on stage. Armed with just a synthesizer and an impressive vocal range, he performed a mixture of looped-electro and a cappella songs, including a powerful and unusual rendition of 'Rivers of Babylon'.

The crowd then swelled and Green Door was at bursting point for YOUNGBLOOD. This was a hugely impressive set from such a new band and singer Alexis Young looks like a star already. The band have a unique sound, with powerful guitars beautifully complemented by Young's vocals.

The showcase took a heavier turn as ROYAL TUSK played a 20 minute set that was reminiscent of both Queens Of The Stone Age and Soundgarden in places. Highlight was 'Curse The Weather' with it's catchy hooks on top of brooding guitars.

The evening shows started with a performance by BLACK PEACHES at Cafe Plenty as part of the Alternative Escape. Usually reserved for smaller bands not on the main bill, this was a coup for the Alternative Escape as the band have been together a couple of years ago and have played much bigger shows including Glastonbury last year.  The band have one of the best guitarists you will see in Rob Smoughton (Hot Chip, Scritti Politti) and they used the set to play some superb alternative versions of songs from their debut album 'Get Down You Dirty Rascals'.  Highlight was 'Raise High The Roofbeams, Carpenters' which was played in two parts, first as the set opener and then finished toward the end of their superb 50 minute set.

Later in the evening were INHEAVEN who were one of the highlights of the 2016 Great Escape, benefiting from a well earned promotion from the small stage of Green Door to the much bigger setting of Wagner Hall. They have really evolved over the last 12 months, and refined their live set. The guitars are heavier and sound almost like Nirvana in places, while bassist Chloe Little has been given a bigger vocal role.  Recent single 'Treats' was a set highlight, as were early singles 'Bitter Town' and 'Regeneration'.

25 bands in 3 days, once again The Great Escape delivered!

The Great Escape - Friday Review

The second day of The Great Escape began at Komedia Studio for some European power-pop from BABA SHRIMPS. Having been around a few years now, they played a set encompassing tracks from their 2014 debut  ('I Don't Wanna Hide' being the highlight) as well as new stuff from their forthcoming album ('Road To Rome').

The most packed venue of the weekend was Patterns for promising Liverpool band PARIS YOUTH FOUNDATION.  Based on the vast numbers of people that squeezed into this small Brighton bar, they are destined for bigger stages very soon. They played an accomplished set, the highlight being debut single 'Losing Your Love', a powerful track with Foals-like guitars but laid back vocals.

The venues didn't get any quieter, as Latest Bar was packed to the rafters for Welsh rock trio THE SANDINISTAS.  Frontman Dan Hagerty was confident in both the band's music, and his interaction with the crowd which bordered on becoming a stand-up show at times. The set was packed with short, fast paced, catchy rock tunes, and despite being only a few months into their career there was a mini sing-along in the crowd for 'Ready To Blow' and 'Down On The Street Today'.

The East Wing of the Brighton Centre saw the return of CHILDHOOD who are back making new music for the first time since acclaimed 2014 debut album 'Lacuna'. With eight musicians on stage, the songs were often a complex mix of different styles, and at times the set seemed perhaps overly ambitious.  However the change in direction from the dreamy pop of Lacuna will no doubt be developed over the coming months and the forthcoming second album should be interesting to hear.

The VEVO-sponsored Wagner Hall stage was then the setting for IDER who appeared to attract a crowd that was 99% industry, which bodes well for the commercial future of the RnB/pop duo. However it didn't make for much of an atmosphere as the performance was greeted with almost total silence - both during and after each song. The vocals were impressive but the music itself was rather bland, and gave the impression they have found a formula which they believe will be commercially successful and have every intention of sticking to it.

The Great Escape: Thursday Review

One of the festival highlights of the year is always The Great Escape, a take-over of countless venues in Brighton with some of the best international new music around.

With most of the venues being Brighton's pubs, clubs and indoor venues, it's one of few festivals where the constant torrential rain was almost tolerable.  The organisers ambitiously put on a couple of outdoor stages this year which were a bit of a washout, but other than that things ran to plan on day one and some amazing music was showcased.

The afternoon got underway at Sticky Mike's Frog Bar with a showcase of new German music.  There is some great stuff coming out of Germany at the moment, and they seem to have raised the bar for new guitar bands.  

GIANT ROOKS were full of enthusiasm, with an incredibly talented frontman, who not only has a fantastic voice but also played guitar and various percussion throughout a set which he seemed to genuinely love performing.  At times you could hear influences from the likes of Alt-J ('Bright Lies') but Giant Rooks have developed their own sound and performed it admirably.  Highlight of the set was the energetic 'New Estate'.  

Next up were KYTES, another great example of a band who have taken the mid-2000s UK indie sound and developed it into something new.  'Inner Cinema' started with a slow, stripped back feel to it, before launching into a fast paced anthem reminiscent of Two Door Cinema Club.  A guest rapper appeared for 'On The Run' which on the face of it could have been quite cringeworthy, but he did a great job and really added something to the track.  The likeable frontman opened a can of beer at one point and said "let's pretend it's the evening" - seemingly unaware that afternoon drinking is what we do at UK festivals!

By far the most confident of the German bands were FUCK ART, LET'S DANCE!  True to their name, their set of fast-paced indie/dance numbers got the place bouncing.  Perhaps better suited to a late night slot than 2pm, they were definitely all about the energy and enthusiasm as opposed to the tunes, which didn't have a great deal of variety.  The charismatic frontman threw t-shirts, tote bags and other merch into the packed crowd throughout the set; if they wanted to get their name out there, mission accomplished.

After trying and failing miserably to get in to see Wild Front at The Hope & Ruin (huge queue stretching up Queen's Road) it was time instead for a change of pace from BE CHARLOTTE at the Brighthelm Centre.  Part of the Scottish showcase, the teenager showed her impressive vocal skills, but the set didn't quite hit the mark.  Brighthelm is often a difficult place to play, with the atmosphere sucked out by the high ceiling, leading to an almost eerie silence after songs.  She wasn't helped by an uninspiring backing band - while the lead guitarist gazed longingly at her throughout the set, the bassist and drummer looked thoroughly disinterested.

The next big queue came at Patterns as they attempted to open up for the start of the evening performances.  However for the second year running the venue had huge technical problems and kept people waiting outside in the rain.  Things didn't improve once the music finally got underway, with solo keyboardist DOUGLAS DARE struggling to keep the attention of a soggy and unhappy crowd.  His songs just weren't powerful enough to win over the crowd and he ended up having a mini-rant about people talking at the bar.

It seemed the majority were there to see MOSA WILD who had announced themselves last year with the brooding and powerful 'Smoke'; their only song available online to date getting people very excited, with powerful vocals and memorable chorus akin to The National.  Unfortunately that didn't quite transfer to the live set, as yet more technical difficulties meant the sound quality at Patterns just couldn't do them justice.  The band seemed quite introverted, with a reluctance to make the most of their songs; time will tell if that was the fault of the venue or if it is something they need to work on.  It was only really the set closer where we finally got a glimpse of their potential, as at last the band seemed to start enjoying themselves.

Another quick stop-off at Sticky Mike's followed, for Glaswegian shoegaze from THE VAN T'S, with some impressive guitar work that at times sounded like The Jesus & Mary Chain.  

Then it was another change of pace as KOLARS took to the stage at Komedia.  Wearing gold sparkly outfits they wouldn't have looked out of place in Las Vegas, and the performance too had a 'show' feel to it.  The singer/guitarist was undeniably talented and rattled through a set of country-influenced soft rock tunes (highlights were 'One More Thrill' and 'Turn Out The Lights').  There was a definite over-reliance on pre-recorded backing tracks, which always gives a bit of a fake feel to a live set, but if the singer finds himself a decent backing band they have real potential.

Then onto the highlight of the day as Reading-based THE AMAZONS took to the East Wing of The Brighton Centre.  They are fully deserving of the much bigger stage than last year's set at The Hope & Ruin, and they pulled off a confident, loud and ballsy 45 minute set that makes you think this band are destined for big things very soon.  Singer Matt Thomson was relaxed, confident and engaging as the band rolled through early singles ('Stay With Me', 'Nightdriving', 'Ultraviolet'), and then more recent tracks from their debut album out next week.  I think some of the crowd were surprised by the much heavier sound on the newer stuff ('Little Something', 'In My Mind') but it shows the band have a real depth to them.  

The surprise of day one came from Scottish two-piece SAINT PHNX at Green Door Store.  Recent single 'King' is an infectious, anthem-like tune that will almost certainly be coming to a sports montage near you this summer.  The rest of their set was equally strong and went down very well with a crowd that initially seemed like they weren't entirely sure what they were about to see. The singer's friendly crowd interaction helped, and resulted in a great atmosphere and a very likeable band.

The late night show at The Arch saw Electro outfit LITTLE CUB take to the stage.  The singer came across as a bit of a perfectionist and insisted that one of the songs was re-started after a mistake about a minute in... a mistake that I am 99% sure not a single person in the crowd noticed.  They need to learn the art of styling it out!  They had some good tunes but lacked personality and the crowd reaction was quite muted.

In contrast, the night closed with Manchester's TEN FE.  Another band to be 'promoted' this year, after their early afternoon set at Sticky Mike's in 2016.  They have improved enormously, and the release of their debut album and subsequent touring has given them a real confidence.  The best-known track is 'Elodie', but the standout tracks live were opener 'Twist Your Arm' and the cover of Underworld's 'Born Slippy' which closed the set.  They are such a talented band with a multitude of different styles even within one short set.

That brought a very successful day one to a close.  Bring on day two!

TEN FE at THE ARCH

Album Review: NOBODIES BIRTHDAY - "All You Ever Want Is Everything"

When the first line of a newly released album is spat out with a Liam Gallagher drawl (Pleased to meet you / you'll never forget my name) it would be easy to assume you're listening to the latest in a long line of indie bands trying to bring back the halcyon days of 1995 era Britpop.

But listen on, and Nobodies Birthday's debut album is much deeper than that. Yes the influences are clear and the band unashamedly borrow from the likes of Ride, The Stone Roses and of course, Oasis.  But not only have they used these influences to create their own sound, they also manage to move seamlessly between styles on "All You Ever Want Is Everything". 

While opener "Take My Time" is all angry guitars and snarly vocals, the album quickly moves on to NB's lighter side with "So High", complete with hazy sound effects of what sounds like a late night babble of band banter. "Lemonade Wages" is the first to showcase the guitar talent of the band with a superb opening riff before the woozy vocals kick in. The album swiftly goes full-on pop with "Boomerang" which has a melody and lyrics that wouldn't be out of place on a Now! album (You are my boomerang / come flying back to me x100).

Things get serious again with one of the standout tracks, recent single "She's The World" which was already improving with every listen, and within the context of the album somehow becomes even stronger. It's probably singer Dom Rolfe's best moment on the album as he moves from tender verses to a genuinely uplifting chorus.

That's quickly followed by another switch in style, to the fantastically upbeat re-worked version of "Hiding In The Dark". Almost unrecognisable from the single version of the track, but thankfully guitarist Ryan O'Brien's superb work is still there, brought to life by a quicker beat and much more powerful vocals.  "Benefits" brings heavier guitars into the mix but doesn't quite hit the mark, although that may be partly due to the fairly abysmal lyrics (in between the wo-oh-ohs).

Any fears the album is petering out into generic three minute rock and roll ("Timewaster", "White Knuckle Ride") are put to bed with the brilliant "No Secrets".  This song has everything - a rousing drum intro, brooding verses and a big emotional chorus. Without doubt the standout track of the album, and it's followed swiftly by another highlight with closer "Jigsaw Pieces". This is another change of pace and after a storming guitar intro the chorus moves the album back to the poppier end of the Nobodies Birthday spectrum. A fitting closer, a nice contrast from the Oasis-esque opener, and a reminder that Nobodies Birthday are not just a 90s tribute act, but the real deal.

IT'S ALL JUST NOISE VERDICT - 8/10