Issue 29 / Dec 2012/Jan 2013

FREE 

Issue 29 

Dec 2012 / Jan 2013 

Eva Petersen by Brian Roberts 

Eva Petersen 

Organ Freeman 

Craig Charles 

Non, Monsieur 

Percy Gulliver’s

Bido Lito! Dec 2012 / Jan 2013 3 

Editorial 

It was always, always going to happen. I write a sprawling ode to the devastating beauty of Tranmere’s 

start to the season in last month’s Editorial, I compare us to Barcelona and include an image of Ronnie Moore 

as Grand High Pontiff and...we get beat twice in a week. I really should learn to keep my fat mouth shut. Yet 

despite my best efforts, at the time of writing we are still top of League One. This is regardless of a run of four 

home games without a win and our wafer thin squad being predictably tested by injuries and suspensions. 

However, it seems this isn’t enough for a small section of Tranmere ‘supporters’ who decided to boo the team 

off after an admittedly underwhelming goalless draw with Walsall. Yes, you read that correctly. Six months ago 

we were rooted bottom of the league and the team were booed off, while top of the pile. I begrudgingly give 

the issue the acknowledgement of column inches, but such is the utter ludicrousness of the situation that I 

can’t help myself. This is somewhat akin to deriding Sir Isaac Newton after unearthing a botched mathematical 

equation in an early draft in his notebook. It really does make you wonder why on earth these people bother 

coming at all, and the really disappointing byproduct is the 

potentially toxic effect it has on the players and the coaching 

staff. We’re top of the league for fuck’s sake. Who goes to 

a gig, waiting for the band to be shit so they can heckle 

them? It really, really, really makes my blood boil. It’s a very 

small minority I know, but they should all be banned and 

publicly flogged. Stupid, stupid nob ‘eads. I’ve resorted to 

expletives...I must be wound up. 

Now I’ve got that out of my system, we can divert to a 

wholly more positive subject, The Borough Road Shuffle. We 

are constantly aware of how much of a central role music 

plays in defining places, times and cultures. As a supporter 

of a lower league football team, music plays an equally vital 

role in soundtracking the culture that surrounds the whole 

Nob ‘ead 

ritual of going the match. Music is as central to it all as any 

matchday folklore, or as any pair of Sambas. We’ve teamed up with the good, good people at the Tranmere 

Supporter’s Trust to create The Borough Road Shuffle, which will essentially be an ongoing series of gigs 

to bring together the large set of discerning Tranmere supporting musos, to celebrate Wirral’s new musical 

visionaries and also to throw support behind the trust’s campaign to bring Tranmere into fan ownership - an 

aim we firmly believe is the future of real, community led football. 

At Tranmere we have our very own outcast, indie (in the true sense of the word) heroes in Half Man Half 

Biscuit, who perfectly reflect the infectious, unfashionable oddness of our club. So, hosting our debut show at 

Cammell Lairds Social Club in Rock Ferry (also the name of the band’s ninth LP) was just too perfect to pass. For 

this first event - onto which we’ve bestowed the rather glorious, Biscuitian moniker, All I Want For Christmas 

Is A Dukla Prague Away Kit - we’ve somehow managed to convince Tranmere’s Welsh international keeper 

Owain Fon Williams to DJ, via digital video link up from the training ground. We shit you not. The technical 

practicalities admittedly still need some clarification, but don’t let cold hard logistics get in the way of a 

brilliant concept eh....(he says). 

We’ve a marvellous live bill in addition, as Wirral favourites BY THE SEA, THE LOUD and OXYGEN THIEVES are 

joined by BILL RYDER-JONES on the ones and twos. We’ve also a Terrace Grotto in store, with some of the best 

terrace brands and retailers peddling their wares. Music loving football nuts of any persuasion are welcome, 

just leave your boos (and booze for that matter - the bar does a cracking pint of mild) at the door. 

Merry Christmas n that... 

Craig G Pennington 

Editor 

Features 

6 

EVA PETERSEN 

8 

CRAIG CHARLES 

10 

ORGAN FREEMAN 

12 

14 

16 

18 

NON, MONSIEUR 

THE RAVEONETTES 

PERCY GULLIVER’S 

WONGA FROM THE WIRELESS 

Regulars 

4 NEWS 

20 

PREVIEWS/SHORTS 

22 

REVIEWS 

Bido Lito! 

Issue Twenty Nine / Dec 2012 / Jan 2012 

bidolito.co.uk 

4th Floor, Mello Mello 

40-42 Slater St 

Liverpool L1 4BX 

Editor 

Craig G Pennington - info@bidolito.co.uk 

Assistant Editor 

Christopher Torpey - 

reviews@bidolito.co.uk 

Assistant Reviews Editor 

Naters Philip - live@bidolito.co.uk 

Sub Editor 

Mo Stewart - subeditor@bidolito.co.uk 

Online Editor 

Natalie Williams - online@bidolito.co.uk 

Designer 

Luke Avery - info@earthstudios.net 

Proofreading 

Debra Williams - 

debra@wordsanddeeds.co.uk 

Words 

Craig G Pennington, Christopher Torpey, 

Naters Philip., Mo Stewart, Jonny Davis, 

Amy Greir, Mike Townsend, Joshua 

Nevett, Richard Lewis, Jack Stanley, 

Jennifer Perkin, Lisa O’Dea, Rob Syme, 

Karl Fairhurst, Petricia Mogos 

Photography, Illustration and Layout 

Luke Avery, Brian Roberts, Graham Cheal, 

Keith Ainsworth, Robin Clewley, Gareth 

Arrowsmith, Johanna Wilson, John Howard, 

Marie Hazelwood, Matthew Ball, Michael 

Sheerin, Daniel O’Toole, Mike Brits 

Adverts 

To advertise please contact 

ads@bidolito.co.uk 

The CALM helpline is now open every evening from 5pm ‘til midnight, plus you can text us too, 

meaning you can get stuff off your chest, privately. 

Free, confidential and anonymous, we’ve been helping men on Merseyside sort their heads out 

since 2000. Get back to enjoying your life, call CALM... 

Call: 0800 58 58 58 or text: 07537 404717 

Start your first text “CALM2” We don’t charge for texts, but your network might. 

www.thecalmzone.net 

Text & helpline open every day of the year, 5pm – midnight. 

Calls are free from landlines, pay phones and selected mobile networks and will not show up on your phone bill. 

CALM is Charity reg. no. 1110621

News 

Do The Borough Road Shuffle 

Readers may be aware that Bido Lito! is something of a Tranmere outpost. Well, we’ve teamed up with the Tranmere Supporters 

Trust and their campaign to bring the club into fan ownership. THE BOROUGH ROAD SHUFFLE will bring together BY THE SEA, THE 

LOUD and OXYGEN THIEVES at Cammell Lairds Social Club (as per the classic Half Man Half Biscuit LP) for our first event. As a nod 

to Wirral’s indie finest, the show will be presented as ‘All I Want For Christmas Is A Dukla Prague Away Kit’. BILL RYDER-JONES will 

be spinning the 7”s alongside Tranmere’s Welsh international keeper OWAIN FON WILLIAMS. theboroughroadshuffle.tumblr.com 

Bido Lito! Dansette 

Our pick of this month’s wax wonders… 

COMPETITION! 

Noisy Table And The Ping Pong Challenge 

NOISY TABLE at FACT is a ping pong table with a difference. Created by artist Will Nash, the table is programmed with digital 

instruments and samples. The vibrations created when the ball hits the surface are turned into live sounds. Obviously we had to 

get our mitts on such a madcap project, hence the Bido Lito! Inter-Band Ping Pong Challenge! Eight artists including CLINIC, LOVED 

ONES, ORGAN FREEMAN and AFTERNAUT will play a knockout tournament during the two-month exhibition, and Clinic DJs will be 

spinning disks at the opening on 6th December.. fact.co.uk/projects/noisy-table 

CALM Goes Seven Days A Week 

Unfortunately, not everyone manages to embrace the child-like wonderment of Yuletide joy that Christmas can bring along. For 

some, the festive season can be a time of great isolation and anxiety. To alleviate this pressure Merseyside charity CALM (Campaign 

Against Living Miserably) is now offering a seven days a week helpline and text support service. To celebrate this expansion 

they’ve announced the acquisition of three new local ambassadors, MOBO Award winner ESCO WILLIAMS, prolific singer/songwriter 

STEPHEN LANGSTAFF and DJ/producer ANTON POWERS. For advice and support visit CALM at thecalmzone.net 

Winter Arts Market Returns 

Instead of stockpiling a forlorn rank of unwanted gifts this Christmas, why not head down to the largest arts and crafts market in 

Merseyside this December and bestow your loved ones with something truly original. On 8th and 9th December from 10am – 5pm 

St George’s Hall will host 150 artists and makers to offer shoppers the chance to buy homemade artwork and gifts to avoid those 

self-obliging wry smiles. With entry at £1.50 and fantastic live music curated by Mellowtone, ditch the gift vouchers and immerse 

yourself within a vibrant village of independent arts. To preview exhibitors visit winterartsmarket.com. 

Caledonia Christmas Single 

It wouldn’t be Christmas without a charity song or two. So, we’re pleased to bring you news that the lovely folks at the Caledonia 

have written and recorded a festive charity single of their very own, recorded at Sandhills Studio. All the tinsel wrapped proceeds 

are to be donated to the above mentioned charity CALM. Musicians involved include THE CUBICAL, PETE BENTHAM AND THE 

DINNERLADIES, LOOSE MOOSE STRING BAND and THE SPEAKEASY BOOTLEG BAND. Laura King, Landlady at the Caledonia, said of the 

project: “I love CALM and making money for charity at Christmas is boss.” For more info go to facebook.com/caledonialiverpool. 

The Sundowners Release Debut Single 

Extinguish those wintery blues with THE SUNDOWNERS and their airy assortment of dream pop as they launch their bracing 

new single, Hummingbird this month. Produced by The Coral’s James and Ian Skelly the record manages to distill the group’s 

effervescent Americana which is so infectious live and is set for release on Thin Skin Records on 3rd December. Having recently 

toured across the UK with rising starlet Ren Harvieu to great acclaim, the release marks the close of what has been a year of great 

progress for the group. You can check out their wistful, melting pot of a release at facebook.com/sundownersUK. 

For this month’s competition we have teamed up with the fine folk at Wirral based Fallen Industries Recording Studio & Rehearsal Rooms. As well as 

providing marvellous rehearsal spaces for local musicians and a brilliant in-house recording studio, Fallen also host a wide range of professional music 

education and training services, including individual and group lessons, workshops and arts award accredited courses which convert into UCAS university 

entry points. January can be a tight time on the band purse, so we’re pleased to offer a brilliant prize for the lucky winners of this month’s competition - a 

free weekly three hour rehearsal session for the whole of January! 

To be in with a chance of winning this brilliant prize, all you need to do is answer this question - 

Before being the home to Fallen Industries, the building in which the studios are housed was home to Champion, a company 

who were famous for making which car part? 

a) Tyres b) Brakes c) Spark Plugs 

To enter, email your answer to competition@bidolito.co.uk 

by 21st December. The entries will be placed into a large pink 

tombola, the winner chosen at random and notified by email. Good luck! 

Bos Angeles 

Taking Out The Trash 

TYE DIE TAPES 

BOS ANGELES’ wilfully lo-fi approach to 

recording is both their biggest appeal 

and their Achillees heel. The 21 tracks here 

comprise their first and last full-length 

release, with a beach surf via Joy Division 

snarl that places them as a British answer 

to Smith Westerns. Simultaneous rejoicing 

and mourning then for the passing of one 

of slackerdom’s best-monikered bands. 

Peaking Lights 

Lucifer In Dub 

WEIRD WORLD RECORDS 

This LA husband and wife duo confound 

listeners yet again as they give their 

calypso mish-mash of an album Lucifer 

a rub-a-dub scrub up, with Sonic Boom 

on mastering duties. Mr Kember ensures 

that the seductive and hypnotic bottom 

end wobbles stay on the danceable side 

of psychedelic, as perfectly distilled in 

the warmth of My Heart Dubs 4 U. 

The Family Monroe 

Hotel Room 

UNSIGNED 

Love, loss and longing are what make 

up this introductory set of navel-gazing 

ballads from Liverpool duo THE FAMILY 

MONROE. Managing to be both heartwarming 

and gut-wrenching at the same 

time, the quiet-quieter dynamics on 

Hotel Room, and lush string and guitar 

meshing on Let’s Go Live On The Moon, 

eke out a sliver of hope to cling on to 

amid the melancholia. Bruised hearts 

never sounded so good. 

The Cubical 

Arise Conglomerate 

HALFPENNY RECORDS 

Brass-led primal garage punk with soul 

is the order of the day here for THE 

CUBICAL’s third album, the majority of 

which was recorded in the analogue only 

Lightning Recorder Studios in Berlin. Dan 

Wilson’s gravelly voice is as tormented 

as ever, veering between Them and The 

Sonics on 1,2,3 Girl, and bar-room blues 

on Daily Grind. Scorching. 

Gig Guide and Ticket Shop live at www.bidolito.co.uk

Fri 30th Nov • £10 adv 

 

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Saturday 22nd December

Words: Christopher Torpey 

Photos: Brian Roberts


Many moons have waxed and waned over Liverpool since EVA 

PETERSEN’s sultry vocals last graced a record, but the Huyton-born vocalist 

has not exactly been in hiding since her previous outfit The Little Flames 

disbanded five years ago. It is the lot of the chanteuse to be in search of 

the perfect setting for their vocal style, just the right band or line-up who 

provide the backdrop required to best showcase their talents, and Petersen 

has ventured down several of these avenues since going solo. But now she 

seems to have happened upon the right formula, one that has resulted in the 

release of her strident debut solo album Emerald Green Eyes on Porcupine 

Records. Though it has not been without trial and tribulation: as the lord of 

hellfire himself Arthur Brown remarked after witnessing Petersen support 

him for a live show, “that was great, but you need a baaaand.” Recalling 

this and many other similar scenarios, Petersen rolls her eyes as she drops 

Jewelled Moon is 

a signal of intent, 

entering on a 

wave of shifting 

guitars and 

bubbling synths 

in to her seat for our 

chat, and sighs, “If I 

had a pound for every 

time someone said 

that to me…” 

A stylish and 

glamorous 

figure, 

Eva Petersen meets 

up with us on her 

lunch break to talk 

about the five-year 

process of forming 

her debut album, yet 

she still manages to 

turn up looking like she’s just left a classic vintage fashion shoot. Talking 

quietly and with a certain modesty about how things have come together, 

Petersen’s eyes light up when we touch upon moments of real interest to 

her (70s Italian horror soundtracks and rare BBC sound FX). Those who have 

seen Petersen live over the past three or four years will get a shock upon 

listening to Emerald Green Eyes: gone are the blatant Velvets and retro 

stylings, and in comes a blast of surging electronic krautrock to add a muchneeded 

impetus, as well as a shifting theatrical canvas, to Petersen’s songs. 

It is perhaps not surprising to jump to Velvet Underground comparisons 

upon first hearing Petersen’s distinctive voice: deep, sultry and demure, it 

has more than a faint echo of Nico in its delivery and style (hence the wellplaced, 

ponderous cover of Femme Fatale). There is also something in there 

that recalls the thematic setting of Marlene Dietrich’s husky tones, with 

each syllable loaded with dramatic intent. It is easy to stick to the tried 

and tested formulas, as highlighted by the Nancy Sinatra-esque chamber 

pop of Candie Payne’s solo record I Wish I Could Have Loved You More, 

Liverpool’s latest great addition to the realm of the sultry female vocalist. 

By branching out in a new, up-tempo direction, Petersen has freed herself 

from these shackles, which is largely due to a serendipitous encounter 

with her newfound collaborator Will Sergeant. 

Not every chanteuse gets to find her muse, but it seems as though 

Petersen definitely has in Sergeant. Bonding over a mutual love of Neu!, 

Can and film soundtracks, Petersen soon found that the Bunnyman was 

on a similar wavelength to herself, and deemed that he’d be the perfect 

person to work with on the collection of songs she had written since 

going solo. “It’s very rare that, to have that connection,” she openly admits. 

“I’m very lucky.” That the record has had such a long gestation period is 

mainly due to the fact that the pair started collaborating so late in the 

day. Petersen: “He [Sergeant] was perfect for the album. I’d been doing 

stuff before with other people but when I met him we just clicked. Then 

I thought, ‘Right, this is the person I need to do my album with.’ So why 

rush it and do it half-hearted when you’ve met the right person?” Petersen 

took her batch of songs to Sergeant to re-work, and make them sound 

how she wanted, over a two-year period. Originally coming from a sound 

that was admittedly “a bit 60s”, the duo collaborated to give the songs an 

altogether different feel. This distinct new direction is apparent right from 

the attention grabbing opening onslaught of Jewelled Moon: the album’s 

lead track is a signal of intent, entering on a wave of shifting guitars and 

bubbling synths that hint at the electronically psychedelic pulses of Baltic 

Fleet’s Towers. Title track Emerald Green Eyes gets a similar treatment; 

with its Bond theme dynamics benefiting from Sergeant’s full weight of 

production it now boasts more of a dark insistence than the grandiosity 

of its former guises, yet still retains the strut that has always placed it as 

Petersen’s most accomplished song to date. 

In a compositional sense this was a real weight off Petersen’s shoulders, 

as she could now truly realise her goals for these songs through Sergeant. 

“Because I don’t play any instruments it was difficult [for me] to put it 

in the way I wanted it to sound,” she explains. Was this hard then, to 

relinquish control of your songs and pass them over to someone else? 

“No it was great,” comes the instant and unabashed reply. “I don’t have 

the tools to do it, and he does. I mean, he’s an amazing musician.” That 

must have required a certain amount of trust then? “Complete trust, yeah. 

I’d send over a song to him and say ‘Tales of the Unexpected.’ If I said that 

to someone else they wouldn’t get it. But Will didn’t say anything, he just 

took it on board and sent back Sunday Love Affair and got it spot on!” 

Sunday Love Affair is one of the simpler tracks on the album, dominated by 

Petersen’s deadpan vocal delivery and not as adorned with as many bells 

and whistles as the others. This really lends the record that air of classic 

spaghetti westerns that Petersen seemed to be aiming for. The strings and 

plucked guitars on Sunday Love Affair conjure up vivid scenes of old Sicily 

from The Godfather, or the bleached landscapes alluded to as a backdrop 

for Jack White and Danger Mouse’s Rome project. 

I’m intrigued by this connection the pair have, and I want to know 

more about how the songwriting process manifests itself if Petersen can’t 

express her vision for her songs via an instrument. “I hum melodies in to a 

Dictaphone,” she explains, “or in the past I’ve sung a song in to my phone, 

and then sent that to Will.” Though they seem to have made it succeed in 

this case, it does seem like it a pretty frustrating way to work. “Oh yeah it is,” 

comes the admission, but Petersen has other ways of realising her visions 

for her songs too. “I see writing these albums as like little films. Each song 

is like a chapter or scene of a film.” Take one sense away and another 

heightens: so, in this case it seems that Petersen’s inner eye has taken 

up the strain of her song composition. She presses on. “It’s storytelling as 

well, but it’s not reality. It’s a cinematic way of doing it. I always wanted to 

write a short film, and I wrote Emerald Green Eyes a long time ago, but all 

at once, like a continuous piece, 

or film.” 

This is an avenue I can quite 

easily see Petersen moving 

down, as she has designs on 

scoring her own soundtrack at 

some stage, but, “doing it the 

other way about, so doing a 

film without the visual, just the 

soundtrack.” Having already 

worked with animator John Davide on a short soundtrack, this could be a 

reality sooner rather than later, but for now Petersen’s attention is focused 

on playing live. Accompanied by Paul Duffy (The Coral) on guitar and Nick 

Kilroe (Echo & The Bunnymen) on drums, she admits that it’s a challenge to 

find that balance of replicating the “Eva and Will sound” on stage, but also 

bringing a fresh element to it. Again giving in to her innate theatricality, 

Petersen admits that one day she’d love to do a full-blown live show with 

Sergeant and a full band (“full-on masks and capes and visuals!”), but it’s 

one step at a time for the moment. It’s been five long years since Petersen 

has had a release to call her own, but she’s in no mood to rush it. I wonder 

if there was ever at any point during those five years where she worried 

she’d never get to this stage, holding her own record in her hands? The 

answer comes after only the briefest of pauses, accompanied with the 

smallest of laughs. “No! I always knew it would get done. But then, you 

don’t know until you meet the right person how it is going to happen. If 

you really love something it’s just a labour of love, isn’t it?” 

evapetersen.co.uk 

“If you really 

love something 

it’s a labour of 

love isn’t it?” 


8 

Bido Lito! Dec 2012 / Jan 2013 

There are times when working as a music journalist feels like 

anything but work. As I await a phone call from arguably the 

nation’s favourite Scouser, this is definitely one of those times. 

CRAIG CHARLES has been in the public consciousness for a quarter 

of a century, in a variety of guises - from cult TV to Corrie, poetry 

a new generation of fans: “We deal mainly with golden era black 

American music, but most of those guys are passing away or have 

passed away. For this album we concentrated on the response 

to that golden era here in the present. It’s no surprise that the 

two most successful artists of this century, Amy Winehouse and 

Out of this scene came a rare national success for black 

musicians from Liverpool, when The Real Thing topped the charts. 

Only The Christians have come close since, a fact Charles finds 

baffling: “It’s been a disgrace. In the 80s there were so many 

bands from Liverpool in the charts - Echo & The Bunnymen, 

to playing records. 

He’s the man 

Icicle Works, Teardrop Explodes, OMD, 

who educated this Kent teenager 

about real Liverpudlians, beyond 

the plastic stereotypes portrayed by 

Harry Enfield and Brookside. 

As presenter of BBC 6Music’s 

longest-running and most popular 

show - The Craig Charles Funk and 

Soul Show - Charles has been 

responsible for getting the Saturday 

night party started for over a decade 

now. After calming my fanboy nerves 

with a simple “How’s it goin?”, he 

reveals how the show’s success has 

taken him completely by surprise: 

“I thought it’d be this curious little 

niche programme on a niche station, 

but I didn’t care as it gave me the 

chance to play the records that I 

loved. It’s amazing how the audience 

has grown over the last ten years. 

When we started most of the 6Music 

output featured white boys with 

guitars, but we’ve been able to take 

it somewhere different.” 

To commemorate that growth, 

Charles is releasing a compilation, The 

Craig Charles Funk & Soul Club, out 

later this month on Freestyle Records. 

It’s an absolute gem of an album, 

guaranteed to ignite any dancefloor. 

Flock of Seagulls, and none of them 

were black. The talent was there but 

back then there wasn’t that much 

support. When the record companies 

were flocking to Liverpool with their 

chequebooks flapping they weren’t 

going down to the shabeens.” Charles 

has been a keen supporter of Liverpool 

talent, inviting the likes of 6toys onto 

his show for live sessions. “I’d love to 

help put Liverpool on the map. I’m a 

fan of Manukah, and I’m always on the 

lookout for more local acts.” 

A love for music has been a constant 

companion throughout Charles’ career. 

His first big break, as a performance 

poet, was jumping up on stage at a 

Teardrop Explodes concert to recite 

a less than complimentary poem 

about the lead singer. Since then he’s 

written songs for others as well as 

starting bands himself, including the 

fantastically named Craig Charles and 

the Beat Burglars, and Sons of Gordon 

Gekko. At the height of his Red Dwarf 

fame he even signed to legendary 

record label Acid Jazz. “I’ve always 

been involved in music, but I saw it 

as a bit of a hobby. There were a few 

times where it threatened to take over, 

Press play, start dancing. 

There’s 

but honestly I don’t see it as work. It’s 

a potent mix of classic tracks from 

the likes of The White Stripes, Rage 

Against the Machine and the Rolling 

like I’ve been invited to a party where I 

get to choose the music.” 

Right now Craig is busier than ever, 

Stones, energetically reworked; 

with a well-received new series of Red 

stalwarts of the UK funk scene like 

Lack of Afro and The Haggis Horns; 

and a selection of the brightest new 

talent from across the world, from 

Barcelona’s The Excitements to The 

Bamboos’ Aussie funk. 

Far from being the preserve of the 

old and backwards-looking, funk and 

soul is growing in popularity - a fact 

I see borne out on a weekly basis 

in my view from the booth of the 

dancefloors of Liverpool. There’s a 

Dwarf just off our screens as well his 

continued role in Coronation Street 

as loveable cabbie Lloyd. He’s also 

taking The Funk and Soul Show back 

on the road, after wowing the crowds 

at some of the UK’s biggest festivals 

over the past 18 months. Alongside 

his monthly residencies in Leeds and 

Manchester, there’ll be a UK Christmas 

tour in support of the album. Despite 

his celebrity status, Charles is adamant 

it’s the power of the music that keeps 

vibrancy and excitement in these 19 

the crowds coming: “People come to 

Words: Mo Stewart Illustration: Johanna Wilson 

tracks that’s sorely lacking elsewhere 

the Funk & Soul Club for the music. 

in the musical landscape. This second generation soul gives a tasty 

Adele, are both heavily influenced by classic soul.” As was a 

new flavour to a tried and trusted format - like sushi on a pizza. 

young Craig Charles, whose parents rocked to the sounds of the 

Charles’ hardest task was trimming the tracklist down: “I’ve got 

Temptations and Otis Redding, when all about them were still 

so many great records that I want to share. The album could have 

obsessed with mop tops: “My dad arrived in Liverpool in the late 

featured 19 other tunes and still been brilliant! What we wanted 

50s with a couple of quid in his pocket and a bag full of records. 

to do was recreate the feeling that you get from coming to one of 

Whether it was Ray Charles or Reverend Al Green, our house was 

our live club nights on a CD, but we didn’t want to put out a dead 

always alive with music. As I grew up and started going clubbing, 

album. Over 70% of the bands selected are still playing now, so 

I saw there was a thriving underground scene. While everyone 

people can still get out to a show and experience them live.” 

else was down at Eric’s or Brady’s I was down at the shabeens in 

That live element is a key component in bringing the funk to 

Liverpool 8 listening to P-funk and Parliament.” 

Gig Guide and Ticket Shop live at www.bidolito.co.uk 

We sell out wherever we go, but not because Dave Lister is the 

DJ. Celebrity DJs aren’t my bag, which is why I love 6Music. Our 

station is full of people like Jarvis (Cocker), Lauren (Laverne), Guy 

(Garvey) and Huey (Morgan) who are really passionate about their 

music, and the audiences really buzz off it.” 

The Craig Charles’ Funk & Soul Club is out on 26th November on 

Freestyle Records. 

Listen to The Craig Charles Funk and Soul show on BBC 6Music 

every Saturday from 6pm to 9pm.

Richard 

Hawley 

plus special guests 

Bellowhead 

ead 

Monday 25 February 

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Friday 1 February 

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Richard 

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Friday 1 March 

7.30pm £20-£30 

Robert Vincent 

& Peter Bruntnell 

Saturday 2 Februaryry 

8.30pm £12 

Sam Lee 

& Friends 

Thursday 21 March 

The Epstein Theatre 

7.30pm £16 

Amelia 

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Friday 8 Februaryry 

8.30pm £12 

Edwyn 

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Saturday 20 April 

7.30pm £17.50, £23.50 

Ginger Baker’s 

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Sunday 24 Februaryry 

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Lau 

Saturday 20 April 

St George’s Hall 

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Box Office 

fi 

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liverpoolphil.com

10 


ORGAN FREEMAN 

Words: Mike Townsend 

Photography: Robin Clewley 

ORGAN FREEMAN are four young lads from The Wirral, 

comprising the unusual combination of two frontmen and two 

stand-up drummers. When asked to describe their sound, singer 

Luke Bather affectionately suggests that it is “music inspired 

by aliens”, which makes a surprising amount of sense if you’ve 

ever been to one of their shows, largely thanks to the influence 

of their fifth and most important member, an old Yamaha QY700 

MIDI Sequencer. Resisting the urge to describe it as out of this 

world, their unique style of frenetic, messy, synth-infused garage 

rock, delivered by two of the most excitable and yelping frontmen 

about, will certainly sound alien to most. With no recorded 

content online and almost no media interaction, Organ Freeman 

have somehow found themselves being one of the most talked 

about new bands in Liverpool. 

The genius is in the name. Puns, play on words, doubleentendres 

- keep ‘em coming. Describing its conception, cofrontman 

Simon Gabriel explains that they had a collection of 

organ-based puns to choose from and this was the “best of a bad 

bunch”, although with the other options including Pianu Reeves, 

Keyboard and Kel and Bruce Forsynth you might argue otherwise. 

The key thing, he adds, is that it creates a “lasting impression 

with their audience”, which is so important in today’s local music 

scenes. Gigs, especially at local level are becoming increasingly 

busy affairs. The wealth of local bands, local venues and local 

promoters has meant that the headliner/support act format has 

been usurped by more of a showcase with five or six bands on 

the bill, making it even harder to achieve any lasting exposure 

from gigging than ever before. “We wanted to make sure people 

could at least associate our performances, good or bad, with a 

name,” explains Simon as he laments the occasions on which 

he has seen a good band but can’t remember who they are. The 

danger is that with a name like this, correlations between how 

many people are talking about you and how many are listening 

can become dangerously skewed. Cerebral Ballzy, !!! (Chk Chk 

Chk), Danananakroyd, and Mumm-Ra have all fallen victim to this, 

disappointing with their first and second releases as the charm of 

their name eventually wears off and we all forget why we liked 

them in the first place. For now though, Organ Freeman’s moniker 

has acted as an invaluable tool for their guerrilla, word of mouth 

style promotion, giving them the platform to express themselves 

to ever wider and more eclectic audiences. 

Simon and Luke claim to have played Wheatus’ Teenage Dirtbag 

at every show they’ve ever done. At their show in Liverpool last 

month the song was the set closer and the audience screamed 

every word as if they had been waiting for it all evening. 

Wheatus covers, planned and prearranged matching outfits, 

and choreographed audience participation have all become 

synonymous with an Organ Freeman show. This very much stems 

from their early reputation as a ‘party band’, as their shows 

became more and more associated with alcohol-fuelled mayhem, 

a reputation Simon and the band are keen to move away from: 

“We got such a good response from being a positive, party based 

band early on, and some people can rely on that and continue 

to do that forever, but for us, that gets boring. We didn’t want to 

be expected to do something at all of our shows.” Simon and 

Luke go on to describe a time when a promoter enthusiastically 

booked them based on the premise that they would turn the 

show into a wild party, so in response they set up their stage as 

an office and played the songs at half speed and without any 

drums. Whilst you might argue that bands as new as this can’t 

afford to be so petulant, it’s nice to see a band sticking to a cause. 

For a new artist, reputations can be easy to earn and impossible 

to get rid of. Remember Be Your Own Pet? Weren’t they the ones 

who made themselves sick on stage at all their shows? Of course 

a reputation for putting on wild, fun shows is an admirable aim 

for many bands and even Simon admits that it has “served them 

well”, but something like that can so quickly be cheapened and 

turned into a gimmick as it starts to precede all discussion and 

surpass all their creative intentions. These days their shows are 

still the funnest and most exhilarating you’ll attend all year, but 

underpinning this is their desire to keep themselves and their 

audience moving forward. Playing with expectations perhaps 

more shrewdly than they might admit, they ensure that people 

are talking about them for the right, wrong, or indeed any reason 

at all. Because as soon as you stop becoming a talking point, then 

all the promotion in the world doesn’t mean a thing. 

This is what drives Organ Freeman, proving that doing things 

differently speaks for itself without the need to tell everyone 

about it. The standards to which we commend live performances 

are alarmingly low these days, and with Lady Gaga and Katy Perry 

et al bringing more and more extravagance to their shows, Organ 

Freeman recognise that audiences’ attention spans are getting 

shorter so shows must become more engaging. Luke even 

suggests that he and the band “often go to Taylor Swift and Ke$ha 

concerts and take notes.” I suspect that he is only half-joking, as 

he clarifies that the band ultimately aim to create a new form of 

“DIY Pop Music and performance”, challenging the expectations of 

their audience with a performance that engages both their ears 

and their eyes, making it memorable beyond how well the songs 

were performed or that prick who kept talking behind you. 

‘Oversaturation’ is a term that’s all too familiar with British 

independent music these days. I’m not suggesting that an artist 

can’t still excel based on some extraordinary songs, but if guitar 

music in Britain needs saving, it won’t be by a new three-chord 

chorus from The Vaccines. So perhaps an interesting and exciting 

live performance is what it takes to break out in 2012, and with 

no songs even released yet, Organ Freeman can attribute their 

already impressive success to almost this alone. 

Simon reveals that the band have their long awaited first 

single recorded and ready to release in early 2013 with an album 

to follow. But their ambitions for the year remain firmly rooted 

in their live show, as they look to embrace bigger budgets and 

bigger ideas in an attempt to change how we feel about live 

performances. An ambitious aim it may be, but succeed or fail, the 

beauty lies in the attempt. 

facebook.com/TheOrganFreeman 

@TheOrganFreeman 




12 


Words: Naters Philip 

Illustration: Graham Cheal 

In last month’s Bido Lito! 

Dansette column we waxed 

lyrical about one of our current 

favourite, and for now lesser known, 

Liverpool lovelies on the folk pop 

scene. This month, 

Naters 

Philip 

has 

the 

pleasure of roaming 

a 

comfortable 

word 

count 

and expanding 

into the world 

of adverbs in 

order to tempt 

you into loving 

NON, MONSIEUR 

as much as she 

does. This will be 

easy. 

Unlike many of our 

musical geniuses, Non, 

Monsieur are not intent on 

restricting themselves to the 

realms of obscurity at the 

point of contrition. Not a bit of 

it. When I meet Craig Lamb (Vocals, 

Percussion) and David Mooney (Guitar), 

clad in suits with pocket watches and hip 

flasks, they are keen to tell me everything 

about themselves, both as a band, and also 

as people. Naturally, trying to understand the 

characters behind the music is where I start and 

they’re the first band to genuinely shock me with an 

answer as Craig beams, “We’re radiographers.” Well of course. 

“This all started because we worked together, we actually 

listened to a lot of Crystal Castles and thought about doing 

some electro stuff but when we went for a jam we were going 

through a folky time with Jay Jay Pistolet and Simon & Garfunkel, 

so we decided to go with it!” 

Every exclamation mark is a true testament to Craig’s 

effervescent personality; he’s wonderfully excitable about, well 

everything and you’ll feel that seeping through when listening 

to the first song they recorded together, I Wish We Were Young. 

It’s impossible not to beam when listening to his tangents, 

and simultaneously it’s as easy to wonder how on earth they get 

any music written at all. Craig explains they practise regimentally 

and are complete perfectionists, “Those samples of Picturebook 

[the band’s new single] I sent you are so far from done – it nearly 

killed me to let you have them!” 

In fact the boys recently spent some time in the studio to 

record an EP, to give their old four-track machine a rest. But 

in the style of a true perfectionist Craig assures me that, “The 

engineer was bloody useless and they won’t let me mix the 


tracks at all!” So back to their four-track 

they went to record If Only To Be With 

You. Another pretty little ditty with husky, 

stripped-back vocals and an antiquated 

quality to set them apart from other bands 

on the folk market. 

Folk pop might actually be the perfect 

phrase for these two, not only as musicians 

but as friends. Dave, 

who is as 

charmingly 

soft 

spoken as Craig is exuberant, 

seems a bit more folk than pop. As he’s the shy 

one I was interested to glean some more about his music 

background, and it seems that folk pop may actually be the 

antithesis of his usual music taste. He talks much of his love for 

Metallica (hey, someone has to) and classic rock favourites Thin 

Lizzy. He tells us, “I was in a band with the bassist out of The 

La’s – we didn’t have a name and we played one gig. It was more 

like Foo Fighters stuff and because of uni I wanted to put things 

on the back burner.” Which, by the sounds of it, was probably 

for the best. 

It’s a pesky necessity bands are faced with: The Name, and 

it was a problem plaguing our boys, too. So when I ask why 

French, Craig comes into his own: “Things just look sexy in 

French! English words are dead dull, I spent so much time on 

Babbel French, trying to come up with something that made 

sense. But honestly, Non, Monsieur sounds so much better than 

No, Mister – I’m a fan of the antiquity it has and I want that 

across all of the stuff we do with our music.” 

It’s a good enough reason as any, and sets their name apart from 

others on the current Liverpool music scene. But what of the folk 

genre: where do they 

sit 

within that? The boys explain that 

they see folk music as something quite 

individual, as Craig reels, “It’s a different thing: 

when you play acoustic instruments or go to an 

acoustic gig, you don’t see the same thing five times 

over, it 

isn’t like reggae or ska.” They herald Slow Club as one of their 

biggest folk influences: “That first album is delightful; it’s 

like two people just want to make nice songs together, 

which is so lovely.” 

And perhaps there’s something to that: 

do you have to be so damn artistically 

tortured in order to make excellent 

music, or is there room for a bit of nice? 

Surely, it doesn’t have to exclusively 

be a paradoxical experiment, 

perpetually lost up the arse of a 

character in Pan’s Labyrinth. 

Sometimes, it has to be 

okay for it to be as 

simple as, “I was 

listening to Jay Jay 

Pistolet’s Only To 

Be Young Again 

and 

thought 

the notion of it 

was really sweet 

and decided to rewrite 

the chorus, from 

my point of view.” Craig cites 

this as the creative process 

for I Wish We Were Young, and 

gives a nod to professional poet Mark 

Grist (@montygristo) as the fuel for this 

particular inspiration. 

All of their hard work and frustration over 

recording saw its first live outing at the start of November 

at Lime Street’s, The Head Of Steam. An interesting choice of 

venue for a first outing but the band assure me the night was 

faultless and, for a first gig, surprisingly well received. 

I can’t say I’m surprised though, Non, Monsieur’s songs are 

designed to chirp you up and actually leave you with little choice 

in the matter. Songs like I Wish We Were Young are the kind to 

grab everyone; even if you decide you hate it you’ll probably 

be caught listening to it on your own while your head does 

happy little bobs in time. Luckily you’ll get an opportunity to 

fall for their infectious energy and dulcet tones soon enough as 

they’re playing support for Admiral Fallow at The Kazimier on 4th 

December. Craig’s rocket-fuelled personality mixed with David’s 

‘Tim from The Office’ sense of humour leaves me to describe 

their music in one sentence: Non, Monsieur are like a relaxing 

Sunday afternoon, eating an entire bag of Skittles and washing 

them down with a bourbon whiskey. J’aime beaucoup. 

For a free download go to nonmonsieur.bandcamp.com 

@nonmonsieur

RAVE ON 

Words: Amy Greir 

THE RAVEONETTES is the project of Danish duo Sune Rose 

Wagner and Sharin Foo, and this year marks the tenth anniversary 

of the release of their debut EP Whip it On. Their latest album, 

Observator, sees them being reunited once again with producer 

Richard Gottehrer (known for his work with Blondie and The 

Go-Gos), who worked with them on their earlier 60s-girl-groupinspired 

LP Pretty in Black. Observator adds a darker, contemplative 

streak to the Raveonettes’ repertoire, using subtle delicacies of 

piano weaved into guitar riffs for good measure, but still throwing 

in that familiar 50s’ surf sound drizzled with noise. Following in 

the footsteps of Jim Morrison, the new album took the band to 

the legendary Sunset Sound Studios for recording. Whilst they 

found this experience inspiring, the band claims Observator did 

not become ‘The LA’ album. “It’s a collection of observations that 

occur in life...and life happens everywhere,” Sune tells me. 

Although he’s just moved to Los Angeles from New York City, 

and is still surrounded by boxes, I manage to grab Sune for a 

quick cross-Atlantic chat to find out more about the magic and 

meaning behind that Great Love Sound. 

Bido Lito!: We know you’ve spent a lot of your life in the States, 

but tell us about the Danish scene when you were growing up. 

Sune Rose Wagner: At the time there was a lot of good music 

in Denmark, and there were lots of bands who I was inspired by. I 

think that because I grew up in Sønderborg, a small town near the 

German border, I always had an urge to move outward and discover 

the world... So that was the driving force behind it all, really. 

BL!: 

Do you think you bring a particularly Danish stamp to your 

work? Did you come from a music background or were you seen 

as the breakaway child? 

SRW: [laughs] I didn’t grow up with music on my parents’ side, 

so I had to discover it myself. Being a child of the 70s and 80s I 

was introduced to hip hop music. I really fell in love with it and 

I’ve been in love with it ever since! After that I had to discover 


more music. I went to the library and read a lot of books about 

music history. I stumbled upon a lot of music from the 50s and 

60s, and so I fell in love with that type of music as well. 

BL!: 

How much would you say you’ve been able to incorporate 

this love for hip hop into your music? Your third album Lust Lust 

Lust is pretty drum machine-heavy and uses a great mix of beats 

and noises. 

SRW: Yes I think we’ve always done that...we sample a lot of 

old records and use break beats, and then twist them around a 

little bit. I got a drum kit when I was five years old so I’ve always 

loved the whole drum part of music... Using samples you could 

always get the sound you wanted for each song so all the songs 

sounded different in their drum approach, I’ve always found that 

very appealing. 

BL!: Whatever the blend of genres, there always seems to be 

that recognisable thread of the ‘Raveonettes Sound’; your voices 

and use of harmonies are so distinct. But each album sounds 

unique at the same time. What do you think ties the albums 

together? 

SRW: We were always very much interested in all things 

electronic. People thought we were this garage sort of band who 

would only listen to a certain type of music, and that we always 

used instruments from a certain era, but it couldn’t be further 

from the truth. All our music was made on computers and used 

samples, even the guitars weren’t played with amplifiers, they 

were just played directly into the computer. So we were always 

much more electronic than most people think. 

BL!: On both Whip it On and Chain Gang of Love you wrote all 

the songs in a set key. What was the thinking behind that? 

SRW: I was experimenting with different guitar tunings at the 

time, and I found that tuning the low E string down to a B flat 

made a really nice sound. It was good to challenge yourself as 

a songwriter... It forced you to come up with something that was 

different from whatever everyone else was doing. So yes, I guess 

it was a conscious decision after I figured out what the key was! 

BL!: 

Did you have a clear idea of what you wanted to achieve 

with Observator? 

SRW: Not really, the new album was kind of open. We don’t 

make anything complicated. I was always in love with simple 

music, everything from Buddy Holly to Suicide to the Velvet 

Underground. You know Hank Williams made a legend for 

himself by just using three chords? And for that matter so did The 

Ramones. It seemed very honest and simple music and I always 

admired that. 

BL!: So, after releasing your sixth album are you tempted to 

get more into film? 

SRW: It’s something I’d like to explore, but these things take 

time. Now I’m in LA I’ve got many great contacts [for] film music; 

it’s definitely something I want to do more of. But The Raveonettes 

will always be my first love, no matter what I do on the side. 

BL!: You released a solo album in Danish a few years back, 

would you do another? 

SRW: I’d like to do another solo album, yeah. Maybe... a solo 

in English, something like that? Out in LA there won’t be as many 

distractions so I think I’ll be writing a lot more than I’m used to. 

BL!: As the ‘observator’, are there any bands out at the moment 

you’ve been keeping your eye on? 

SRW: Yeah, Savages. They’re four girls from London. They are 

very confrontational in their songwriting which is great and 

they’ve got the potential to be a really amazing band. 

The Raveonettes play Eric’s 5th December 2012 

theraveonettes.com


John Howard lands at Percy Gulliver’s 

Words: Jonny Davis 

Artwork: John Howard 

For some time now Gary ‘Horse’ 

McGarvey has been the go to guy for 

gig posters in Liverpool and he has 

gradually become a formidable name 

nationally and internationally, taking 

his Screenadelica exhibitions around 

the world. In 2011 he opened a popup 

shop on Bold St named Percy 

Gulliver’s, showcasing his and others’ 

work for sale to the curious. The 

collection was pleasantly surprising 

in its variety, quality and appeal to a 

wider audience but, alas, what pops 

up must pop down and Percy Gulliver’s 

vanished as quickly as it appeared. 

Horse is now back with renewed 

vigour to reopen Percy Gulliver’s. This 

time, for good. The dead space above 

the Shipping Forecast has been 

reformed to become a permanent 

home for this multicoloured venture. 

Horse hopes the venue will be a 

space where everybody will feel 

welcome to view, buy, socialise and 

learn. Far from an excuse to flog his 

own goods, Percy Gulliver’s features 

a wealth of poster art from artists 

across the globe, thus providing a 

delightful variety of work. One such 

featured artist is the Californian gigposter 

lifer JOHN HOWARD, who we 

managed to spend some time with 

recently in order to gain an insight 

into the working mind of one of the 

genre’s finest proponents. 

Even after years in the business, 

Howard is still acutely aware of 

the importance of spaces like Percy 

Gulliver’s. “I love that gig posters 

are being shown in galleries and 

exhibitions for the opportunity to take in a chunk of the 

work all at one time in person. I’m always blown away by the 

consistency of ingeniousness within the diversity of styles in 

the gig poster community. A few hot spots around the world 

like Percy Gulliver’s are instrumental in providing space for a 

scene like this to flourish.” 

Allowing for a range of artists’ work to be displayed 

simultaneously, the room will no doubt breed creativity through 

inspiration. With such a receptive arts crowd in Liverpool, Percy 

Gulliver’s is an essential catalyst for budding artists to forge 

their own path in visual art, whether it is music-related or 

otherwise. Howard hopes that these spaces do in fact offer a 

wider appeal. 

“On the ground, the awakening of an appreciation of poster 

art opens opportunities to connect with people and show work. 

I hope it inspires people to do something that means something 

to them personally, in whatever form it might take.” 

John Howard is well known in this field for his mind-melting 

psychedelic prints. But his work is more than 

just an acid trip for the sake of a high. Artists 

of all disciplines can learn a lot from his work 

ethic and methods, as he is a keen researcher 

of his subjects, putting in the leg-work to 

obtain a detailed understanding of the music. 

“I want to come at it in a way that is related 

to how the band thinks about their music, so I 

read interviews, and look up lyrics, but in the 

end it’s mostly a sonic thing.” 

Of course this drive must be backed up by 

skill and innovation, which John has in spades. 

His 3D posters are something to behold, 

pushing his LSD vision to its logical conclusion 

without losing sight of the main aim of a 

poster: to draw attention to the content. 

“I hope to create something that has 

the initial appeal of something much more 

minimalist, yet more to chew on should 

one choose to look further. The 3D prints 

exemplify that in that I try to make them 

work first as pictures without the 3D glasses, 

but if you choose to try them... welcome to 

my world.” 

John’s continued passion for his work is 

representative of this scene as a whole. As one 

of a very select number of art forms that form 

the axis of music and visual art, gig posters are 

far more than mere signposts to a venue; they 

are lovingly crafted artworks that use music 

as a gateway into a parallel visual dimension. 

They are music for the eyes masquerading as 

informative instruction. Each one may hold an 

album’s worth of stories to devour. 

Percy Gulliver’s, then, should be considered 

the equivalent of a brand new record shop; a 

trove of wares for the curious and a space for 

shared knowledge and discovery. For those 

seeking advice on delving into this inky world, 

I’ll leave you with these profundities, offered 

by John Howard: “I don’t know if this is a tip 

exactly, but I think you are going to be happy 

if you are coming from an honest place. Carve 

out your living elsewhere while you do what you believe in. 

Then, down the line you will come to a crossroads. Tell the devil 

to fuck off, as nicely as possible, and keep going. That’s basically 

my business plan.” 

Percy Gulliver’s is open now above The Shipping Forecast, 

Slater Street. 

percygullivers.com 

monkeyink.com 


18 


£££’s Of Royalty Payments Go Unclaimed By Musicians Every Year in The UK. 

If you’re a band gigging in Liverpool, you should be receiving your share. 

with Peter and ask him to shed some light on this whole PRS and 

PPL business. Pay attention, it may just put a few quid 

in the band kitty... 

Bido Lito!: 

We hear all this talk about PRS 

and PPL and the fact that they play a really 

important role in musicians receiving much 

needed income. But, what is the difference 

between PPL and PRS? 

The Roscoe Foundation: Both PRS and 

PPL are UK based royalty collectors, in that 

they collect money on behalf of the people 

that they represent, which in this case we’re 

talking about is musicians and composers. The 

main difference between the two is which rights 

holder they represent. PPL represent the performers of a 

work (i.e. the musicians who actually play on a recorded 

piece of music) and PRS represent songwriters, composers 

and publishers. Broadcasters, including TV, radio and 

certain online platforms, venues and a whole range 

of business, pay these organisations a licence fee to 

be able to play music. That money is then distributed 

to the people who own those rights. Whilst they 

each represent different rights holders, both PRS 

and PPL work with the widest possible range of 

musicians, from emerging grassroots 

artists right through to established 

international artists. In other words, 

it’s well worth signing up even 

if you’re just starting out. 

BL!: 

Is it possible for a new 

local artist with no traditional- 

Words: Craig G Pennington 

Illustration: Gareth Arrowsmith 

style record deal, who may be putting out their music themselves 

and getting bits of airplay, to get paid through PRS and PPL? 

TRF: Absolutely. There seems to be a bit of mythology with 

band and/or any other third parties such as a record label. What 

grass roots bands starting out may do is make a decision to 

keep all the PRS and PPL income within the band, to cover costs 

At the start of November, Bido Lito! took part in an afternoon of 

workshops for local musicians as part of the Wirral International 

Guitar Festival Of Great Britain. The sessions were an opportunity 

for emerging artists to hear from music industry professionals 

about various aspects of this murky business in which musicians 

find themselves. The event was a real success, but we couldn’t 

help but think of the thousands of local musicians who weren’t 

there and missed out on some really valuable pieces of advice. 

One of the main discussion points that came up during the 

sessions was that of PRS and PPL, and the idea that large sums of 

royalty money each year go unclaimed, mainly because musicians 

- particularly grassroots emerging artists - don’t actually realise 

that they’re entitled to payments. Yes, it may sound like we’re 

pulling your leg, but even completely independent local artists are 

entitled to royalty payments when their music is broadcast, even 

on particularly modest platforms, and also when they play live. 

regards to having to be signed or professionally represented to 

tap into PRS and PPL revenue. This certainly isn’t the case, and 

really anybody can sign up online. The rate of pay varies with 

regards to which station your receive airplay on, though generally 

speaking the more mainstream a station the bigger the royalty. 

A song being played on BBC Radio 1 is about £70, to give you 

an example, which is then shared out between a publisher, 

songwriter, etc, according to the contract that is in place. But even 

if you don’t have a publisher, you can sign up as the rights holder 

yourself, meaning you’ll receive the whole lot; and even local BBC 

radio pays a reasonable fee for each play. Over the course of a 

year, it soon starts to add up. 

BL!: How about in the situation where the singer in a 

band may write all the songs. Does that mean 

that only the singer gets paid? 

of recording, getting to gigs, rehearsal costs, etc, irrespective of 

which member of the band is personally entitled to which stream 

of income. Obviously, once record deals and larger organisations 

come along things will change, but the money can be a really vital 

source of income during the early days. 

BL!: Do artists also get paid royalties for performing live? 

TRF: Yes, yes and yes. Live music venues are license fee payers 

and it’s these monies which are collected and re-distributed to 

artists. How much depends entirely on the gig itself but any money 

that an artist is entitled to is paid in addition to any performance 

fee from the promoter or ticket commission. All the main local 

venues are registered, so those shows you play at O2 Academy, 

The Kazimier, Eric’s, The Zanzibar, etc, could all be earning you 

additional money. If you play an average of a gig a week over 

the course of the year at venues across the UK, that will add up 

Alongside Bido Lito! at the event was Peter Shilton from The 

TRF: Everyone will still get paid, but 

to a healthy chunk of cash come the end of the year. 

Roscoe Foundation, a Liverpool based organisation who work probably not as much as the main writer. If your 

directly with local artists to help them develop their understanding singer is credited as the writer then she or 

BL!: OK, sound, we’re convinced. So what do bands need to 

of the music business and give them the necessary tools and 

advice to progress their music careers. We decided to catch up 

he will be entitled to a bigger pie, as they will be 

slice of the 

registered 

do? And is it best to sign up direct with PPL and PRS or go through 

an agency to do the leg-work? 


as the composer 

through 

TRF: Both PRS and PPL have online registration services which 

PRS. Everyone who plays 

anybody can use to sign up and it’s really easy to do. Joining 

on the tracks, 

however, will 

PPL is free and there’s a small charge for joining PRS for writers, 

be entitled to their 

cut of the PPL 

but really when you look at what you’re missing out on by not 

income. How big a 

slice depends 

being a member, it’s a no brainer. Alternatively, folk may wish 

on 

the agreement 

to use the services of a specialist agency who do this work on 

with 

the 

your behalf but take a cut of the revenue they collect. There are 

rest 

of 

the 

some benefits of signing up with agencies, such as them being 

able to backdate royalty claims and having associated expertise 

with synchronisation and various other services. Locally, Sentric 

do a great job. But, it is easy to sign direct with PRS and PPL 

independently. The choice to go DIY or use an agency is for the 

artists to make. 

BL!: 

So, where does The Roscoe Foundation fit in to 

all this? 

TRF: Throughout 2012 we’ve been working with a range 

of grassroots musicians as part of a music development 

programme funded by Arts Council England and Youth Music. 

The artists involved have been given a range of support, but 

part of it is some guidance with regard to copyright, PRS 

and PPL. We’re looking to repeat the programme again next 

year, so interested artists reading this who would like to 

get involved please feel free to check out our website 

around spring next year for details on our future work. 

For more information and to sign up to PPL 

and PRS you can visit their respective websites at 

ppluk.com and prsformusic.com. 

For the latest information on their 

upcoming projects, keep tuned in to 

roscoefoundation.org.uk

20 


Previews/Shorts 

Edited by Richard Lewis - middle8@bidolito.co.uk 

ALLAH-LAS 

Harvest Sun round off the year 

with their own Christmas party 

headlined by the critically lauded 

LA quartet ALLAH-LAS. Splicing the 

Stones’ swagger with the melodicism 

of Love, the date is part of the Californian’s first tour of these Isles. Support includes the 

much-hyped TEMPLES recently signed to Heavenly and expected to make waves next year. 

Leaf - 12th December 

DEEP HEDONIA PRESENT ARK01 

Rounding off a successful 

debut year in style, promoters 

Deep Hedonia launch a new regular 

night at Drop the Dumbells Gallery. 

Billed as ‘An Exposition of Liverpool 

Electronica’, the series of shows aims to give greater exposure to the rich seam of electronic 

music currently being mined in the city. Headlined by HEATSICK and YOLA FATOUSH, the 

support bill features seven of the city’s premier underground electronic acts. 

Drop the Dumbells – 7th December 

On the road to plug LP Sweet 

Sour that landed back in February, 

BAND OF SKULLS 

BAND OF SKULLS’ upward trajectory 

continues with the disc gaining the 

three-piece attention on the other 

side of the pond. Touring partners with Muse and their presence at Lollapalooza 2012 should 

guarantee an impressive turnout. Strong support comes in the shape of FOLKS. 

O2 Academy – 1st December 

Stealing Sheep 

After an incredible year that has seen their debut LP Into The Diamond Sun garlanded with critical 

praise, STEALING SHEEP have effortlessly steamrolled their way into the national consciousness. Having 

seemingly performed at almost every festival across Europe they now return to more familiar territory to 

play at The Kazimier on 14th December. 

Described as a Homecoming Christmas Party, the trio aptly play at the venue where it pretty much 

all started for them when they scored impressive early support slots two years ago. This date follows a 

year of almost non-stop on the road activity for the trio, including a recent stint supporting Mercury Prize 

winners Alt-J last month. 

Also appearing on the extended Christmas line-up are former Bido Lito! cover stars, BARBEROS, who 

bring their uncompromising percussive brutality to proceedings, ensuring there’s no shortage of skincrawling 

deviancy from the spandex crusaders. Ambient avant gardeists EX-EASTER ISLAND HEAD appear 

as main support, using abstract rhythmic discordance and a shifty blanket of shimmering guitars to 

ensure formidable disorientation. The foreboding dirges of THE LEFT HAND are sure to go down a treat as 

well, as they infuse psychedelia with their heavy sense of dread. 

The three-piece are promising a “no-holds-barred extravaganza of a party utlizing the whole venue.” 

Beyond doubt a full-capacity gig; interested parties are best advised to secure tickets post-haste. 

The Kazimier - 14th December 

CHRIS DIFFORD 

Most famous for his work with 

Squeeze, CHRIS DIFFORD returns 

to The Brink for another intimate 

performance, following last year’s 

well-received show. Difford is open 

about the problems he faced with alcohol during his late 1970s success and is a keen 

supporter of the vibrant social enterprise. At a mere £10 - which includes your lunch - this is 

not to be missed. 

The Brink - 10th December (1pm) 

DIRT BOX DISCO 

In truly bad taste, but sporting 

perfect harmonies, Spunk Volcano 

leads his band of giant babies in 

balaclavas through fifty shades of 

wrong. We’re reliably informed that 

DIRT BOX DISCO make Kunt And The Gang look and sound like a broken Gameboy operated by 

Frank Gallagher. If that’s even half true, we’ll be set for an interesting evening. 

MelloMello - 26th January 

Now into their third decade 

THE SMITH QUARTET remain at new 

THE SMITH QUARTET 

music’s leading edge, championing 

the works of the world’s most 

celebrated composers. For this 

concert, two new compositions have been commissioned from Liverpool-based composers 

Ian Percy and Matthew Fairclough, which combine string quartet with live electronics. 

Capstone Theatre - 3rd December 

Martha Reeves & The Vandellas 

When it comes to defining the essence of Motown you can argue over your Marvelettes and your 

Supremes, but no-one really comes as close to embodying the soul spirit of Detroit quite like Martha 

LaVaille. As MARTHA REEVES, and backed with THE VANDELLAS, she topped the charts and became a global 

icon during the 1960s, really putting Motor City’s ‘Hitsville USA’ headquarters on the map with a succession 

of hits that are now everyday staples. Anyone who claims not to have danced along to Nowhere To Run, 

Jimmy Mack, or the legendary Dancing In The Street truly hasn’t properly set foot on a dancefloor before. 

In recent years, Reeves has repaid the city that made her a star by serving on the Detroit City Council 

for a four-year stint, but now the 71 year-old is hitting the road again with the Vandellas, showing that 

“the voice of young America” is still as vibrant today as it was in her 60s pomp. Coming four days before 

Christmas, you can extend your enjoyment of this show by opting for a festive pre-event meal at Matinee 

Idol on Castle Street too. 

Our very own Jamie Bowman was fortunate enough to catch a few moments with Martha ahead 

of this show, and you can read the fruits of his conversation with the voice of a generation over at 


now. 

Erics – 21st December 


22 


Reviews 

These are the kinds of shows that this venue 

excels at: a winning combination of promoter 

muscle, venue versatility and, most importantly, 

an artist who defies categorisation. 

Jonny Davis 

SUBMOTION ORCHESTRA 

Cornelia 

Eric’s 

ARIEL PINK’S 

HAUNTED GRAFFITI 

Geneva Jacuzzi 

Evol @ The Kazimier 

GENEVA JACUZZI is Ariel Pink’s girlfriend, which 

is without doubt the most deserved reason for 

her being in attendance tonight. That and her 

camera trickery (we’ll come to that later). It’s 

not that she is devoid of talent as her robotic 

synth pop songs offer a plethora of quirky hooks 

that a young Ariel would be proud of himself. 

It is the performance that grates. Beginning 

her performance criminally late and dressed 

as an undead toy soldier, she wraps herself in 

a plastic sheet suspended from the ceiling and 

gradually forces her way out onto the stage, all 

the while singing along to a backing track. It is 

a performance that is not sane enough to be 

taken seriously yet not quite wacky enough to 

stimulate any senses, and leaves you wondering 

who is to gain from such an arrangement? Not 

us, that’s for sure. 

Fortunately, Geneva Jacuzzi’s lack of 

instruments means that the changeover time is 

short and ARIEL PINK’s group of misfits bumble 

on stage in good time. Ariel delivers the first few 

songs from the raised ledge behind the stage 

into a live-feed camera which projects his face 

onto a screen behind the band. The simplistic 

brilliance of this act already demonstrates 

the artistic difference between Ariel and his 

girlfriend. The visual splendour that this basic 

set-up provides is greater than the sum of its 

parts. It offers a new perspective on some of 

the shorter, quirkier sleaze pop ditties that are 

at times difficult to get behind on record (think 

Kinski Assasin and Symphony Of The Nymph). 

Fairy lights, rudimentary camera FX and Ariel’s 

karaoke stage presence contextualize this 

side of his music by giving an insight into his 

kaleidoscopic LA mindset. 

When he does grace the stage with his 

presence, he is greeted with genuine warmth 

from a surprisingly varied crowd of psych 

Scousers, Pitchfork hipsters and everyone inbetween. 

His benevolent and childlike talking 

voice endears people to him, especially on 

new album Mature Themes’ lead single Only 

Ariel Pink’s Haunted Graffiti (Marie Hazelwood) 

In My Dreams. With Ariel now front and centre, 

Geneva picks up the camera and films band and 

audience through a series of deforming filters 

creating a sizzling rainbow of downtown neon 

that cascades over the room. The compelling 

stage presence of Ariel begins to take a 

backseat to the mesmerising haze of retinalicking, 

stroke-inducing live film. The music at 

times becomes a soundtrack to be heard but 

not actively listened to, while you soak in the 

sugar-rich chromatic overload. 

Crooked stairwells, reverberant fixtures and 

the faint aroma of an outmoded post-punk 

sub-culture are all attributes that still linger 

around the sunken passages of the venue 

formally known as Eric’s Club. The sound system 

installation in this subterranean space, though, 

is more akin to the bass weighted wobbles 

that the headstrong rabble of youngsters in 

attendance are acutely familiar with. Game on. 

Support act CORNELIA initially seems as 

self-assured as any within her leftfield realm 

of discombobulated, dub-hinted synth pop. 

She’s an unmatched female solo act yielding 

an armoury of spectral synths paired with wispy 

vocals, slight and fine-grained in her projection. 

Flickering between rash experimental flurries 

of ambience and wholesome moments of 

esoteric melody, there’s an intriguing undertone 

to her exploits that’s difficult to pinpoint. She 

possesses all the attributes of a pop-primed 

fledgling, but the whole arrangement seems 

almost contrived and, in truth, slightly forced, as 

if beckoning wisps in to the limelight has taken 

precedence. However, something seems to be 

working and, after all, she was a participant 

Submotion Orchestra (Mike Sheerin) 


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24 Bido Lito! Dec 2012 / Jan 2013 

Reviews 

in the first season of Swedish Idol - just some 

food for thought. Latest single Stormy Weather 

is underpinned by a sugar-coated, jaunty funk 

line but her cumbersome lyrics and un-defined 

vocal range fail to capture the imagination, yet 

the more experimental side of her repertoire is 

warmly received. 

Soon after, a stage shrouded in gloom 

and dread is inconspicuously occupied by 

the instrumental proficiency of SUBMOTION 

ORCHESTRA and their immersive environment 

of alluring crescendo. The twinkling hum of 

a crawling piano escalates in tandem with 

counterbalanced drum patterns as sharp, staccato 

honks of trumpet wade in for Intro, the first track 

from new album Fragments. Watching eyes are 

suddenly focused on Ruby Wood (Vocals), as she 

struts to the stage with tremendous elegance. 

A lush vision of majestic beauty, her sensuous 

vocal shrills are enough to make your heart 

melt and your eyes bulge with overstimulation. 

A melodious cacophony unfolds for Sunshine 

as Wood’s ethereal tones emit the soulful 

tranquillity of an Ibizan sunset a la Café Del Mar, 

onlookers looking on suitably engulfed. What’s 

most impressive about Submotion Orchestra is 

that they fuse an amalgamation of genres and 

instruments to cultivate an expansive blanket 

of acid-jazz, percussive garage and, dare I say, 

introspective shades of dubstep. As spotlights 

vaguely illuminate the seven-piece ensemble, 

Wood unexpectedly vacates the stage as 

the band jettison their placid blends for an 

turbulent outbreak of bass-heavy, instrumental 

improvisation. A subtle sway of harmony makes 

way for a swell of boisterous jerks as keyboardist 

Taz Modi goes off on uncontrollable tangents 

of euphoria. The slow groove is soon resumed 

upon the introduction of Finest Hour though, as 

smooth and seductive vocals cascade behind a 

hypnotic explosion of drums. After leaving the 

stage for a short-lived intermission, they return 

with crowd pleasing favourite It’s Not Me It’s 

You, a track which epitomises their capacity 

for diversity. With an eclectic and intensive 

sprawling soundscape of mellow jams and 

instrumental digressions, Submotion Orchestra 

provide a rare middle ground between the 

pensive and the rapturous. 

CLINIC 

Clinic (Keith Ainsworth) 

Joshua Nevett 

The Production Line @ Static Factory 

After a hiatus of almost a year as a venue 

for hosting live music events, Static Gallery 

re-opened its doors to punters after its forced 

cessation under the authority of Liverpool City 

Council. In an on-going struggle to safe-guard 

Liverpool’s cultural heritage, Static is currently 

embroiled in an ambiguous backlash of red 

tape and restrictive orders. With licensing 

issues, planning discrepancies and a noise 

abatement order to boot, Static foreman Paul 

Sullivan has been continually forced to think 

outside the proverbial box. When it eventually 

came to the fore that the Council’s Planning 

Enforcement Division deemed Static a ‘light 

industrial factory’ with no planning consent 

to run as a gallery, studio or a social space, an 

astute loop hole was identified. With renewed 

transparency, Static Gallery ripped the glut of 

red tape into decorative tatters and made way 

for Static Factory, a newly attributed industrial 

space for creative assembly line production. 

What better way to inaugurate Static Factory 

into the Liverpool music circuit than by hosting 

a live installation co-curated by Liverpool’s 

deranged post-punk revivalists CLINIC? 

The premise behind the project is that of a 

production line broken down into four stages 

of basic manufacture. It begins with Clinic 

performing the world premiere of their latest 

album, Free Reign. Analogue tape machines 

then record the gig in its entirety. Operatives 

then unload and package the cassette tapes 

into branded packages for consumers (lots of 

arty types) to buy for the nominal fee of three 

gold coins at the factory shop, following the 


Reviews 


Liverpool’s International Arts Venue 25 

Forthcoming Events & Liverpool Jazz Festival 2013 

For full listings visit www.thecapstonetheatre.com 

The Smith Quartet 

Monday 3rd December 

7.30pm 

£10 (£5 students) 

Chilly Gonzales 

Wednesday 5th December 

8pm 

£13 

Fallen Fruit 

Thursday 6th December 

7.30pm 

£10 (£5 conc) 

Joe Stilgoe 

Friday 8th February 

7.30pm 

£12.50 

Ethan Johns 

Wednesday 13th February 

7.30pm 

£10 

Juan Martin Flamenco 

Dance Ensemble 

Sunday 17th February 

7.30pm 

£17.50 

Roller Trio 

Thursday 28th February 

7.30pm 

£12.50* 

Led Bib 

Friday 1st March 

7.30pm 

£12.50* 

Robert Mitchell 

Saturday 2nd March 

2pm 

£10* 

Kit Downes Quintet 

Saturday 2nd March 

7.30pm 

£12.50* 

Denys Baptiste’s 

Triumvirate 

Sunday 3rd March 

3pm 

£12.50* 

Courtney Pine House of 

Legends 

Sunday 3rd March 

8pm 

£17.50* 

*Free when you buy a Liverpool International Jazz Festival Pass. 

Venue Information: 

The Capstone Theatre, 17 Shaw Street, Liverpool L6 1HP. 

Tel: 0151 291 3578 E-mail: creative@hope.ac.uk 

Further information and tickets available at www.thecapstonetheatre.com 

Box Office: TicketQuarter, Merseytravel Travel Centre, Queen Square, Liverpool L1 1RG. 

Tel: 0844 8000 410 Web: www.ticketquarter.co.uk


Reviews 

conclusion of the gig. Pretty clever, eh? Supply 

and demand, analogue versus digital - there are 

plenty of overriding themes to muse over. In 

truth, it becomes hard to pay them any attention 

at all with impending dirges of apocalyptic 

organ reverberating around the factory floor. 

Aesthetically, Clinic are a rather daunting 

prospect, and paired with their discordant, 

transportive guile, they’re a difficult package to 

digest. Garbed in medical scrubs and surgical 

masks, Clinic’s notoriously unconventional 

tendency to adopt an unnervingly sinister 

appearance has become the subject of myth 

and disputation. Static becomes reminiscent of 

an operating theatre with Ade Blackburn (Vocals) 

performing a musical lobotomy of psychiatric 

stimulation aided by his whimsical male nurse 

interns. Surreal drones of ethereal samples 

are tamed by neatly arranged sequences of 

a staid guitar line as they perform their latest 

single Miss You. Then the conceptual rumbling 

of I.P.C. Subeditors Dictate Our Youth reminds 

consumers of their earlier hypnotic brawn, Ade’s 

twisted melodic grumbles looming behind a 

perpetual kick drum. While production operatives 

frantically twist knobs and fumble cassette tapes 

across the assembly line, Clinic shuffle around 

the performance area, interchanging roles 

within their unrefined panorama of versatility. 

Regardless of the soft airy-pop inflections 

they undertook for their 2010 acoustically-led 

album Bubblegum, they’ve managed to retain 

their sordid, unbecoming disposition, which is 

noticeable as they drift into Cosmic Radiation for 

an interstellar jam, littered with seamless funk 

and experimental wah wah fuzz. You is a slowly 

off-kilter freak show of haunting grooves, while 

the sputtering vocals of Cement Mixer moan 

with a jaunty haste. From compact pockets 

of synth-laden dread and whimsy to whirring 

soundscapes of discombobulated electro-punk, 

Clinic continue to squirm through the cracks to 

weave an elaborate patchwork of eclecticism. 

Although Static’s future as a venue for hosting 

live music still remains opaque, one thing is 

The Wicked Whispers (Keith Ainsworth) 

clear, Clinic’s inherently strange disposition still 

induces an extraordinarily, spine-chilling quiver. 

Joshua Nevett 

THE WICKED WHISPERS 

The Sundowners - Edgar Summertyme 

O2 Academy 2 

On a bill that assembles like-minded 

Americana-inspired acts for the launch of 

Dandelion Eyes, THE WICKED WHISPERS’ debut 

45, first up EDGAR SUMMERTYME is brilliantly 

placed to begin an evening of US-Liverpool 

cultural exchange. 

Building on the warm reception that greeted 

his critically garlanded Sense Of Harmony LP, the 

former Stairs man is in especially good voice, 

hollering his way through an impassioned set. 

Appearing solo after recent outings with full 

band in tow, his allotted time strips his songs 

down to their raw delta blues essence. 

A group likely to give Rock Family Trees 

historian Pete Frame severe cramp when 

mapping out their connections to fellow 

Merseyside bands, THE SUNDOWNERS’ twelvestring 

guitar shimmer is in rude health live. 

A composite of Los Angeles’ sounds from times 

past, the unified vocals of Hummingbird marks 

the peak of their Byrds/Fleetwood Mac inspired 

mélange. With 70s-era ‘Mac now back in vogue 

after several years of being unfairly maligned, 

the Wirral band’s emergence is especially 

fortuitous: co-lead vocalist Fiona Skelly whirls 

around her mic stand replete in a black shawl 

and tambourine and maracas in hand, a dead 

ringer for Rumours-era Stevie Nicks. 

After a teasing wait THE WICKED WHISPERS 

emerge from the shadows and set their spiralling 

psych pop in motion in front of a near-capacity 

crowd. Beginning with the uptempo stomp of 

Odessey Mile, the ‘Whispers boast a deeper live 

sound, the rhythm section combining to propel 

the songs forward with greater force. 

With Ste Penn’s cascading Vox Continental 


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organ riffs framing Mike Murphy’s whimsical 

vocals, Toby Virgo’s bass pushed up in the mix 

lends the band a vintage RnB spark redolent 

of Motown. Retro? Undoubtedly, the quintet 

certainly don’t claim to be anything other. Their 

exacting mixture of pastoral English psych-folk 

melodies with US garage rock instrumentation is 

carried off with such aplomb, however, that such 

reservations are rendered void. 

After his memorable appearance at the 

Liverpool Psych Fest a few weeks back, mysterious 

perma-rabbit mask wearing Odrah Zackor puts in a 

fleeting appearance at the rear of the stage during 

set highlight Dandelion Eyes, holding up placards 

like Dylan in the video for Subterranean Homesick 

Blues via Lewis Carroll. Another guest, this time 

musical, appears as former The Big House/current 

Ren Harvieu guitarist Paul Molloy joins the band 

to add refracted FX to Amanda Lavender, the twominute 

psych pop sliver turned into an impressive 

mini-epic with the additional layers. 

The best moment is saved until almost the 

very end as the penultimate song in the set 

Chronological Astronaut edges the ensemble 

into full-blown astral voyage territory. Returning 

to earth following the extended, improvised 

coda and an audience-sating encore, the band’s 

consummate melding of vintage psychedelic 

sounds continues to impress. 

JOSEPHINE FOSTER 

Richard Lewis 

The City Walls – Pip Mountjoy – Nadine Carina 

Harvest Sun @ Leaf 

Those who brave the elements getting to Leaf 

tonight are greeted by a warming evening of folk 

and Americana, kick-started by the diminutive 

NADINE CARINA, whose looped guitars and 

recorded samples have the handful of early 

birds mesmerised. Despite the odd mistake 

and profuse apology, the crowd remain onside 

and urge her on with handclaps and hugely 

appreciative applause. As the crowd continues 

to grow, PIP MOUNTJOY then takes her place at 

centre stage. Opting to ignore her set list and 

play (almost exclusively) new songs, her set, 

along with her sometimes nervous on-stage 

chat, perfectly suits the intimate nature of the 

evening. The undoubted highlight of her set is a 

cover of Bon Iver’s Skinny Love, which Mountjoy 

makes her own with her distinctive voice, and 

ukulele accompaniment. 

By the time two-fifths of local favourites THE 

CITY WALLS have taken to the stage, interest from 

the crowd appears to be falling. Regardless of 

the reaction from the crowd, and the occasional 

tuning issue, the stripped-back set from The City 

Walls begins to win people back round. By the 

time they wrap up their set with the upbeat Wild 

Flowers, almost everyone in attendance has 

shunned their conversations and phones in favour 

of giving them their unwavering attention. 

JOSEPHINE FOSTER and her band are greeted 

with a warm reaction as they humbly shuffle on 

stage, and the delicate Americana harmonies of 

set opener Waterfall indicates that her set is to 

lean heavily on new album Blood Rushing, and 

will be all the better for it. It’s left to the title 

track from this album to offer the undoubted 

highpoint of the set: beginning with just an 

acoustic guitar and Foster’s breathtaking and 

instantly recognisable voice. This is a feature of 

Foster’s performance tonight, as her trademark 

operatic range is often reined in by Foster until 

it is unleashed at the perfect moment, and 

with devastating beauty. Another side of Blood 

Rushing is displayed on the track Panorama Wide, 

as the crowd is treated to the Hispanic guitars 

of the album for the first time. When combined 

with haunting violins and Foster’s unique voice, 

these Hispanic tones offer a strange mixture for 

the crowd, but a mixture that is enthusiastically 

appreciated nonetheless as a warming tonic to 

the harsh winds outside. 

TRIOVD 

Tempest 

Jack Stanley 

The Kazimier 

Experimental jazz is a divisive genre and highly 

susceptible to emperor’s new clothes syndrome. 

It can seem at times with jazz, as with expensive 

wine, that you have to check with an aficionado: 

“Is this actually any good?”Certainly TRIOVD have 

received accolades from people who know about 

jazz – both MOJO and Jazzwise gave them album 

of the year back in 2009. But seeing as Bido Lito! 

is not a specialist jazz mag we can only offer our 

opinion based on the tools we are given – our 

own ears. And tonight, the emperor is starkers. 

The Kazimier has transformed itself beautifully 

into a Parisian-style wine bar, with mood lighting, 

incense and tables set up on the dance floor. 

There may be only a scattering of people in for 

tonight’s relatively niche entertainment, but it’s 

hats off to the venue yet again for being ever 

brave and experimental. First there is a screening 

of a short film RHAPSODY FOR CLARINET AND 

WHEELCHAIR BASKETBALL TEAM, a Bluecoatfunded 

project that artfully uses the musical 

rhythms of the game to dramatic effect. It’s a 

clever mood piece, working with repetitive black 

and white shots against climaxing clarinet. 

TEMPEST are a Manchester flute trio, and while 

we’ll admit to never having seen a flute trio before, 

we’ll go out on a limb and say they’re a flute 

trio with a difference. The three elegant young 

ladies explore the possibilities of the instrument, 

ranging from the classical (a beautiful Debussy), 

to the unconventional (flute beatboxing and 

drumming), and even the recognisable (Flight 

Of The Bumblebee). While the trio are incredibly 

poised and clearly extremely gifted musicians, 

however, and even though they utilise a range of 

different flutes, there really is only so much flute 

a person can listen to.


Reviews 

So as the wine flows and a few more 

people wearing chunky cardigans wander in, 

experimental jazzters trioVD take the stage. If 

there was a Venn diagram to explain trioVD in 

terms of mainstream music, at even their most 

listener-friendly they would be overlapping 

only at the most insanely wacky moments of 

Mr Bungle, Battles or Mogwai. These guys piss 

all over such pedestrian concepts as ‘lyrics’, 

‘chorus’, ‘melody’ or even ‘time signature’. There 

are clicks, hisses, squawks, and lots of seemingly 

random bursts of sound; the saxophonist uses 

his knee to play and at one point the drummer 

has ditched his sticks to play with his hands. 

Experimental, yes; improv, yes; but we’re not 

sure - is this even jazz? We never considered 

ourselves conventional when it comes to music, 

but on the odd occasion that the trio relinquish 

the disjointed noises and hit on a repeated 

groove tonight, it’s as comforting as a warm 

mug of tea. We want to take that groove home, 

love it, nurture it, stroke its hair. 

But alas, those moments are fleeting, and for 

the most part it’s just really…challenging. And that’s 

their point: conventional boundaries don’t really 

exist for this outfit, and sometimes it’s refreshing 

to have those well-accustomed boundaries 

removed, to open up all the avenues of musical 

possibility. Oh and the band’s name comes from 

the fact that they formed on Valentine’s Day by 

the way – why, what were you thinking? 

Jennifer Perkin 

FANTASTIC MR FOX 

Ninetails - Throwing Snow 

Constellation @ HAUS 

35-39 Greenland Street, next to the CUC and 

across the road from Camp & Furnace, now 

has new tenants and a new name. The Waxxx 

crew have taken over the previously empty 

warehouse space, named it HAUS, and are back 

in the Baltic Triangle for the foreseeable future 

after short-term stays in various city centre 

Fantastic Mr Fox (Matthew Ball) 

locations. Tonight marks the first Constellation 

event, a new club night curated by Everisland, 

Waxxx and Aperture. Headlined by FANTASTIC 

MR FOX, the Manchester-based DJ/producer 

who dropped a number of highly-rated releases 

a few years back and toured extensively with 

The xx before seemingly dropping off the map. 

After his widely lauded San’en EP was released 

in June, he’s been busy re-establishing himself 

across the UK with a swell of activity and tonight 

makes his Liverpool debut alongside THROWING 

SNOW and the usual suspects that form the 

cream of the city’s DJ talent. 

Upon entering, Constellation #001 looks 

fantastic – the darkness of the cavernous space 

lit by visuals and projections provided by those 

involved with the Enclosure exhibition that is 

currently in residence at HAUS. The event also 

acts as a launch night for NINETAILS’ new EP Slept 

& Did Not Sleep. It is interesting to note that 

dance music is often associated with feelings 

of euphoria, but Ninetails arguably provide 

those vibes more so than any of the electronic 

acts that feature later tonight. The blissed-out, 

atmospheric sound of Maybe We and set-closer 

Rawdon Fever serve as perfect soundtracks to the 

surrounding visuals, and though the audience is 

subdued and sparse at this early hour, those in 

attendance are spellbound. The band are as tight 

as you’d expect any so-called ‘math’ leaning 

outfit to be and, though they undoubtedly 

possess a technical ability you would associate 

with the genre tag, focus on melody and song 

over virtuosity and showboating. 

Fantastic Mr Fox is another one of those DJ/ 

producers destined to be burdened with those 

desperate tags ‘future garage’ and ‘post-dubstep’ 

though he has an instantly recognisable sound 

on record that sets him apart from most of 

his peers. It is a shame that more of his own 

material is absent on this occasion, the peaktime 

set largely focusing on a cocktail of heavy 

hitters from the last couple of years. The abrasive 

synth-stabs of Thunder Bay by Glaswegian beat- 

Alan Paine 

Barracuta 

Barbour ToKiTo 

Barbour 

Carhartt 

Common People 

Dockers 

Edwin Japan 

Farah Vintage 

Fjallraven 

Folk Clothing 

Folk Shoes 

Han Kjobenhavn 

Herschel Supply Co 

Gloverall 

Grenson 

Natural Selection 

Norse Projects 

Nudie Jeans Co 

Oliver Spencer 

Penfield 

Red Wing Shoes 

Sandqvist 

Sperry Topsider 

Suit Denmark 

Sunspel 

Superga 

Universal Works 

Wolsey 

YMC

Reviews 


maker Hudson Mohawke elicit the biggest 

response, measured by volume of drink spilt as 

the crowd bounces in unison. His most recent 

release Power is a highlight of the set, a standalone 

single which aims for the dancefloor more 

than any of his previous efforts. Though featuring 

Fantastic Mr Fox’s signature synths and melodies, 

it is driven by a deep rolling bassline, the kind of 

which has been inescapable this year. 

Though it is a shame that Throwing Snow’s 

earlier set of darkly atmospheric bass music 

doesn’t fall on more ears, Constellation provides 

a welcome alternative to the heavyweight 

bookings of Chibuku that will see it return for 

#002, #003, and many more besides. 

Rob Syme 

EUGENE McGUINNESS 

Coves - The Dirty Rivers 

Evol @ O2 Academy 

Support for EUGENE McGUINNESS tonight 

comes in the form of the youthful exuberance 

of THE DIRTY RIVERS, a five-piece rock band with 

moody riffs, catchy hooks and unapologetic 

lyrics. Following them are COVES, who specialise 

in trippy, drowsy pop tones that seduce us 

with smoky tendrils before jarring us out of a 

daydream with visceral slices of jagged noise. 

The honeyed vocals of Beck Wood are the 

perfect accompaniment to noisy beats, and a 

sultry version of Chris Isaak’s Wicked Game is an 

unexpected highlight. 

When the ever impeccably dressed Eugene 

McGuinness takes to the stage, he is received 

warmly and launches into Harlequinade, a 

hyperactive, impossibly catchy piece of pop rock. 

McGuinness is visibly inspired by the sixties, 

from his slick quiff and tailored threads, down 

to spy film elements within his music. Frenetic 

observations delivered in a high-paced stream 

of consciousness is a recurring theme, whilst 

Eugine McGuinness (Robin Clewley) 

others include the over-stimulating lyrics in 

more than one track referring to self-pleasure. 

Carnal desires aside, McGuinness delivers a 

polished performance, hitting his stride with 

the superb Sugarplum, an energetic, electro pop 

song that has the crowd moving with its bouncy 

beats. Lion is received predictably well with its 

predatory bassline and innovative breaks, but 

it is Moscow State Circus that is an unexpected 

highlight. Taken from his 2008 eponymous 

debut album, it is up-tempo and whimsical 

and emphasises the directional shift in music 

between his debut and his current album. 

Excellent vocals and surfy basslines ensure 

that the majority of the songs on Invitation To 

The Voyage are of a high standard but there are 

times, although rare, that McGuinness seems 

to flounder slightly and sink under the weight 

of some of his tracks. Shotgun is an absolute 

gem and triumphs over the rest of the album. 

A formidable bass behind stormy lyrics - an ode 

to a mischievously dark relationship where he is 

left battered and bruised but cares not. Fusing 

a flurry of horns, electro and rasping guitars, 

Shotgun is dramatic and anthemic. 

Perhaps one of McGuinness’ greatest talents 

is his ability to story tell through the bizarre 

medium of comedy noir metaphors. He is the 

voice of a stylised youth and although this 

performance is more modest than previous 

outings, his talent is undeniable. Long may the 

voyage continue. 

TAFFY 

Lisa O’Dea 

Young Times – Baby Brave And The Love Bites 

ROPE @ The Compass 

The Compass is a great little pub and a 

welcome addition to the limited options for 

live music in Chester, and since opening up 

just a few months ago they’ve demonstrated 

Out 

Now evapetersen.co.uk 

also available on 

iTunes


Reviews 

a commitment to interesting bookings (see Bo 

Ningen and DZ Deathrays). 

It feels like a bit of a love-in tonight, with 

most of the crowd comprising band members 

and their friends. Chester, not the edgiest of 

places, is a fitting spot to see BABY BRAVE AND 

THE LOVE BITES, who in their bio unashamedly 

use words like ‘adorable’, ‘earnest’ and ‘ukulele’. 

You get the idea. In fairness, this deliberately 

twee fivesome create the kind of sunny 

handclap pop that some people really do lap 

up. We just don’t particularly want to be friends 

with those people. 

Next up is the pop rock of YOUNG TIMES, 

and here everything gets a little bit schoolband-competition. 

They are indeed very 

youthful, but that’s not really an excuse for 

self-consciousness so palpable it’s awkward, 

and band members who sound like they’re all 

playing different songs at the same time. Which 

is a shame because the young lady out front 

has a gorgeous voice, and given the chance and 

a better band would no doubt shine. 

TAFFY may technically be a four-piece from 

Japan, but really they are from England circa 

1995, the heady days of horizontal stripes, 

feedback and learning how to use an MP3. And 

this revisiting of Britpop, when delivered with 

such skill and enthusiasm, is no bad thing at all. 

They are a fun band to watch – the drummer has 

the most loveable grin you’ve ever seen – and 

singer Iris has the kind of voice you just want to 

hear more of, smooth and husky with more than 

a touch of the Kim Deals (which is pretty much 

the highest order of compliment going). With the 

members having played in various Tokyo bands 

before coalescing in Taffy, there’s a feeling of a 

meeting of kindred spirits, and their slickness 

belies their newness. There’s no doubting they’re 

deft songwriters but a criticism would be that 

there are no real surprises, everything is where 

it belongs, and the only time they change tack is 

when they go a little bit 1960s psychedelic. 

This is their first UK tour but the sense tonight 

is they would be welcome back any time. With 

their fuzzy pop rock they do that rare thing of 

transcending the nostalgia and making it sound 

fresh; no small feat. We dash to the unfairly early 

last train to Liverpool with a heavy heart – even 

though we know the end of the gig would have 

been more of the same, we sure as hell would 

have liked to have seen it. 


NORTH BY NORTH WEST 

Someone Else Presents @ Liverpool Olympia 

“Is there a fight on tonight?” asks the cabbie, 

highlighting that, indeed, boxing haunt The 

Olympia is an unconventional choice of venue 

for tonight’s showcase of local talent. Cavernous 

grand venue or not though, NORTH BY NORTH 

WEST is a fantastic way to snapshot what’s 

going on in the city, and resists summing up 

with a pithy line. It’s a mixed bag tonight. 

DEAD DUKES are the first band we catch, and 

unfortunately the first of many bands who invite 

comparisons to other bands rather than forge 

their own sounds. In this case it’s The Cribs, and 

more overwhelmingly the Kooks - mostly due to 

the lovely vocals and jauntiness they share with 

said Brightonians. At this point the timid audience 

is still hanging back, but as the beers kick in and 

THE LOUD arrive things start creeping forward. 

The Loud peddle a distinct brand of 70s glam 

and wear their influences proudly (hello, Slade!). 

Where currently the 80s seems to be the most 

commonly mined decade their sound does stand 

out, albeit the delivery feels a tad understated. 

So far things have been nice but it’s not until 

BROKEN MEN get onstage that we feel like we 

should be feeling – excited. With the exception 

of THE HUMMINGBIRDS, they are the only band 

The Tea Street Band (Marie Hazelwood) 

of the night that really perform as a unit, albeit in 

an entirely different way, and they carry a spark 

and energy that we see so little of tonight. The 

band look sharp, and more than a little pissed 

off, and play a very American style of hard-edged 

indie that brings to mind such diverse bands as 

The Walkmen, Cold War Kids and Kings Of Leon 

(back when they were good). The video for recent 

single Oversold can be found kicking about on 

the net but doesn’t do justice to the inspired, 

memorable show we see tonight – we can’t wait 

to see where these guys go next. 

COLD SHOULDER are incredibly talented in 

your more classic rock sense, and while they 

couldn’t be faulted on musicianship there are 

no hair-standing-on-end, let alone pulse-raising 

moments here. A class act nonetheless. Now for 

The Hummingbirds, purveyors of spectacularly 

commercial sounding acoustic country/folk that 

on one hand flies the Liverpool flag high (see 

SUBSOUND, FINGER LICKIN MANAGEMENT AND INSTANT NT VIBES PRESENTS 

AN EVENING WITH 

SATURDAY AY 

2ND FEBRUARY 2013 

@ HI-FI, SEEL STREET, T, 

LIVERPOOL 

FOLLOW US ON 

@THESUBSOUND AND LIKE US ON 

FACEBOOK.COM/THESUBSOUND TO RECEIVE LINE UP AND TICKET NEWS

INCLUDING THE SINGLE ‘OVERSOLD’ 

AVAILABLE NOW ON iTUNES 

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tune Back in Liverpool) and on the other hand 

sounds more like the product of Midwest USA 

via the English countryside. The five-piece have 

nailed their image and target market, and are 

moulded to within an inch of themselves; you 

can imagine the memo about band uniform 

reading something like, “pastels, linen and 

light-coloured denim only. Waistcoats, braces 

and flat caps optional.” 

Then it’s BY THE SEA, who are probably the 

most ‘now’ sounding band of the line-up, and 

certainly the moodiest. While we fumble around 

for words like ‘shoegaze’ and ‘dreamy’, they’ve 

helpfully described themselves as ‘escape pop’ - 

file them with Beach House. While some of their 

subtlety is lost in the vast venue tonight, as 

their growing popularity attests, they definitely 

have something, and warrant checking out 

somewhere intimate. It would probably help if 

you were wearing something American Apparel 

when you go. 

And since the theme of the night has been 

bucketloads of talent, not a lot of innovation, 

THE TEA STREET BAND are the perfect headliners 

for a room full of punters who are by now ready 

to dance. Their explicit aim is to bring the sound 

and spirit of acid house to those who weren’t 

there the first time round and, going by the 

fairly ecstatic response tonight, they’re filling a 

gap in the market and then some. 

A great idea, and yet more a great night out 

(and we haven’t even mentioned the after party), 

here’s hoping for a NXNW 2013. 


COSMO JARVIS 

Mad Dog Mcrea – The Robin Pierce Band 

MelloMello 

Things have definitely gone beyond control 

for COSMO JARVIS after his biggest single, Gay 

Pirates, went viral this time last year. Still just 

23, the British singer has managed to keep 

himself busy by pursuing a plethora of artistic 

endeavours since he gave up on school when 

he was only 16. It could have been so easy 

for him to have settled for just producing and 

directing videos or composing addictive songs 

but instead he chose to do them all. It is that 

hugely dynamic fusion that makes him the 

complete artist, so hard to find these days. 

Coming to Liverpool to promote his newest 

album, Think Bigger, Jarvis manages to gather 

quite a number of impatient, loyal fans at 

MelloMello; a venue which despite battling 

closure once again proves to be able to 

generate the usual incredibly intimate and 

warm atmosphere. The support is granted 

by two folk bands that tend to transcend the 

traditional aesthetics of the genre. Both MAD 

DOG MCREA, a group that combine an unusual 

rock sound with elements of gypsy jazz and 

Celtic folk, and the acoustic trio that go by the 

name of THE ROBIN PIERCE BAND, make wellcrafted 

music, hence the splendid connection 

they have with the audience. 

For his third outing in Liverpool, Cosmo starts 

off with a relatively controversial song, Sure As 

Cosmo Jarvis (Daniel O’Toole)

Sat 2nd February, 8:00pm. 

FAIRPORT 

CONVENTION 

Fri 8th February, 8:00pm. 

KELLY JOE PHELPS 

BROTHER SINNER & 

THE WHALE TOUR 

Sat 9th February, 7:30pm. 

LIVERPOOL MOZART 

ORCHESTRA 

Fri 15th February, 7:30pm. 

RICHARD DIGANCE 

Sat 16th February, 8:00pm. 

MIDGE URE 

Sun 17th February, 2:30pm. 

THE ELEPHANT 

BRIDESMAID 

Thu 21st February, 7:30pm. 

BARBARA NICE IS 

MRS. NICE 

STARRING PHOENIX NIGHTS’ 

JANICE CONNOLLY 

Sat 23rd February, 8:00pm. 

ZOE LYONS: 

POPUP COMIC 

Thu 28th February, 7:30pm. 

FLORAL JAZZ NIGHT 

MARLENE VER PLANCK 

Sat 16th March, 7:30pm. 

DAVE SPIKEY 

WORDS DON’T COME EASY TOUR 

Wed 20th March, 7:30pm. 

BLACK BOX THEATRE COMPANY 

OTHELLO 

Sat 23rd March, 7:30pm. 

LIVERPOOL MOZART 

ORCHESTRA


Reviews 

Hell Not Jesus. Looking extremely comfortable 

on stage, as if he’s been doing this for his entire 

life, his first song represents a bold approach 

towards a slightly touchy issue. Stylistically, it 

confirms the artist’s own refusal to be defined 

as a part of a specific genre. 

Love This – his most recent single – is a 

more upbeat piece, highlighted by one of the 

catchiest choruses that can be heard on the 

current market. The echoing refrain, based on an 

extremely danceable bassline, is shaping into a 

genuine radio-friendly tune. 

Assisted by two fellow musicians, Harry 

Meads on percussion and Harry Mackaill on bass 

and backing vocals, Jarvis carries on with what 

seems to be a witty love declaration, ingeniously 

interpreted in the form of a dulcet tune called 

She Doesn’t Mind. The simple reggae-inspired 

rhythm plucked on an electric guitar is mirrored 

by the complexity of his creativity; it might take a 

while for the audience to understand the actual 

meaning behind the lyrical content. Conversely, 

this is a song that brings a different substance 

to his own style by mixing ska elements with 

power pop that weirdly brings about an early 

2000s Weezer, or Mando Diao sound. 

However, the highlight of the night is the 

appearance of Mad Dog Mcrea’s members onto 

the stage for an ad-hoc jam which includes Gay 

Pirates, the provocative song that probably 

deserves its current hype. Demonstrating his 

glowing ability for writing verses, Jarvis’ Gay 

Pirates is in fact an observation of the ongoing 

stereotypes as he makes an inspirational point 

within existent social issues. Emphasized by 

his grainy voice, this slice is based on multiple 

build-ups and simple chord progressions played 

on a mandolin. 

Receiving public praise from the likes of 

Brian Eno and Stephen Fry, Cosmo Jarvis still 

has to pay the price for his unconventional 

and uncompromising approach. Intelligent and 

talented, he still lacks a certain something to go 

mainstream. 

CLOCK OPERA 

Bright Light Bright Light 

Petricia Mogos 

Evol @ The Kazimier 

London-based Welsh singer BRIGHT LIGHT 

BRIGHT LIGHT is so bad that it’s almost 

existential. Rod Thomas, the talent and pretty 

face behind the name, comes across as quite 

possibly the nicest man in music. Which makes 

it all the more unfortunate that his particular 

brand of outrageously clichéd dance pop, which 

may as well be written from the pre-programmed 

songs you get on a keyboard, is so karaoke it 

actually causes wincing. To his credit though, 

Thomas, along with his keys man and drummer, 

actually do manage to get some of the more 

lubricated in the crowd to loosen their limbs. 

Clock Opera (Mike Brits) 

While we can’t abide his pulsating Eurotrash, or 

his X-Factor-style emphatic hand gesturing, he 

gets full credit for coaxing a euphoric few into 

a bonafide dance-off. At least they’re having fun. 

This is where our revulsion turns philosophical – 

has this man taken the concept of cheesy so far 

that he’s actually reclaimed it? 

And to sounds of ticking and tocking arrive 

CLOCK OPERA, wound up and ready to go. Guy 

Connelly, the driving force behind the band, 

is nothing if not ambitious and, since having 

fronted The Fallout Trust and The Corrections, 

has also made a name for himself as a remixer 

of the likes of The Drums, Feist and Everything 

Everything. Clock Opera is a fully fledged fourpiece 

now, with Connelly, who is luxuriant of 

beard and hair, up the front whacking some kind 

of electronic box with a drumstick and grooving 

to his own beat. 

There’s a lot going on here: experimental 

percussion, samples, falsetto vocals and 

above all crescendoing drama. At times there’s 

a suggestion of Caribou, an occasional flash 

of Afrobeat, and on track Man Made there’s a 

bit of Talking Heads. But ultimately it adds up 

to not a lot. 

The excitable crowd are getting a bit stadium 

rock as girls at the front are actually reaching 

out to touch Connelly’s hand, but fan of the 

evening award goes to Sergei, who we are 

told has come all the way from Latvia tonight. 

Single Once And For All is dedicated to him, 

and is followed by similarly emptily anthemic 

Belongings, but it’s not until evening highlight 

Lesson No.7 that we start to think there might 

be something interesting going on. What 

so much of the time can sound overblown 

somehow gels here - it’s dark, it’s powerful and 

it’s a cracking tune. Alas, it may be their only 

one, as encore Fail Better reminds us what they 

ultimately are: uninteresting. 

LAZY HABITS 

Manukah 


The Kazimier 

I have goosebumps. A night of rap and jazz 

fusion is imminent and I can imagine throngs 

of people absorbing every brass-led beat LAZY 

HABITS have to offer. So I’m surprised to see so 

few turn up to see these wordsmiths in action. It 

is Friday night, right? 

Even the dim lights of the Kazimier can’t 

hide the absence of the cult following this 

band has acquired over the last five years. It’s 

a real shame as this Hackney eight-piece hip 

hop collective are something special, having 

already smashed sets at Glastonbury and 

Bestival, and big venues such as Shepherd’s 

Bush Empire and KOKO. I can’t say I’m 


disappointed though, as the support act take 

to the stage and promise an intimate gig. 

Seamlessly blending elements of hip hop, 

funk and nu-soul, Liverpool’s own MANUKAH 

bounce with an infectious groove of horns and 

drums, while smooth guitar and keys balance the 

set perfectly. For those who aren’t familiar with 

these up-and-coming heavyweights, Hypnotise 

best introduces Lauren Spink’s soaring vocals, 

which have the attitude and jazz stylings that 

are in the same vein as Jill Scott. 

Not content to leave the crowd floored 

by the set which features a cover of Erykah 

Badu’s Apple Tree, Manukah also unleash the 

aptly named crowd pleaser, Big Tasty Riffs. The 

sidesteppers of the venue struggle to search 

for more expressive shapes to pull that justly 

convey how blissfully heavy this tune is. 

Headliners Lazy Habits are on next, looking 

rather dapper in their white shirt and clipped 

tie combo as they promote their eponymously 

titled debut album. The track Memory Bank, with 

its unapologetic sci-fi references to Philip K. Dick 

and Doctor Who, has slick rhymes and a smooth 

brass section that exposes their New Orleans 

‘ragtime’ jazz influence but also their firm grip 

on modern British culture. 

We’re all moving in unison to the swing of 

the horns on The Road. MC Skin Horse leads 

the articulated, gritty verses and MC Lazy 

provides a catchy, metaphorical chorus. The two 

complement each other well, switching positions 

on stage and bringing a fluidity to proceedings. 

The group take a pause before their next track 

to tell us what we were told about the nursery 

rhyme Jack and Jill is but a lie, before smashing 

into Even Out, a storytelling masterpiece that 

uncovers how piece-of-work Jill steals Jack’s 

crown. Highlight of the night is definitely their 

latest single, The Bulletin, entering with a tense 

staccato style trumpet and a sing-along chorus 

that makes this well-produced piece irresistible. 

This group may have had a small crowd 

to play to this time around, but none of the 

frenetic energy, groove and lyrical rhythmics 

were compromised. They say old habits die hard, 

but it seems Lazy Habits won’t be abandoned 

anytime soon either. 

Karl Fairhurst 

LUCY ROSE 

Peter Roe 

Ceremony Concerts @ The Kazimier 

Sifting through a venue rammed with 

prepubescent teeny boppers wailing in inaudible 

high pitch shrieks of elation usually comes with 

the territory of a High School Musical stage show. 

Tonight the Kazimier has taken on a similarly 

juvenile aesthetic; the floundering, girly angst 

is almost tangible as keen younglings tactically 

position themselves at coveted vantage points. 

Solo acoustic soul man PETER ROE is perched 

on stage to provide an early evening entrée for 

this dedicated rabble. 

An unassuming chap, 

Roe seems humble with a friendly and warm 

demeanour, but perhaps all a bit too nice. 

Clearly an accomplished guitarist, he plucks his 

way through a drawn-out sequence of intricate 

arpeggios occasionally complemented by 

intermittent strums of fuzzy distortion. Latest 

single Strange Kind Of Mystery is pensive but 

impassioned, with shades of Jose Gonzalez 

and tuneful folk inflections. Although his 

cumbersome lyrics fall flat at times, failing 

to blend with his soothing melodies, there’s 

definitely passion behind those desperate tones; 

however, it lacks the fundamental substance to 

underpin the talent he has with the instrument 

in his hands. 

With supporting act foreplay at an end, it 

suddenly becomes an all-or-nothing contest 

to occupy the front row. Outbursts of screams 

suddenly explode as the petite figure of LUCY ROSE 

emerges from behind the drawn curtains that 

engulf the width of the stage. Without delay her 

supporting band take their positions and launch 

straight into a subdued rendition of First, initially 

seeming a little taken aback by the sheer volume 

of avid Lucy Rose aficionados in attendance. 

Is she provocative? Probably not, but Rose 

is endearing, inviting you into her bubble of 

folk-scented mourning that wraps you in a cosy 

blanket. There’s a moment of self-languish and 

retrospective woe for Shiver, as the foul stench 

of a tender relationship gone sour leaves a 

twinkle in the eyes of every lovelorn victim. 

Place has its chirpier, more uplifting moments, 

cantering along at a mid-tempo, while Scar has 

that homely touch, where Rose’s delicate vocals 

are at once wholesome, deft and brittle. 

The gloomy overtones present throughout the 

duration of her set are somehow inexplicably 

moreish. There’s even more heartfelt gooiness 

for Middle Of The Bed as staccato keys build to 

collapse into a sturdy kick drum and super-fans 

clap along in unison, mouthing every lyric with a 

worryingly clinical level of accuracy. Rose seems 

as shocked as anyone with the amount of overzealous 

crowd participation: being vigorously 

heckled by a swarm of heady riff-raff is something 

she’s obviously not accustomed to. 

Her latest single Bikes is the crowning 

centrepiece. The acoustic guitar sighs once more 

with a soft compassion as her breathy tones 

are complemented by subtle flurries of gentle 

electronic guitar. She discreetly shuffles off 

stage to another wave of high frequency shrieks, 

politely reminding audience members to come 

and purchase her home-made tea and jam from 

the back of their van. Although at times her lyrical 

content comes across as strained, cluttered and 

slightly befuddled, Rose is cute and quirky and 

possesses all the attributes of a primed folk 

pop revivalist. With a little nudge in the right 

direction there could be something gritty and 

sinister bubbling under the surface, if only she 

can penetrate that sugar-coated outer shell. 

Joshua Nevett 

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Tickets currently on sale at bidolito.co.uk 

Plump DJs 

Hi-Fi 

Metrofest 

The Lomax 

Admiral Fallow 

The Kazimier 


The Capstone Theatre 

Allah-Las 

Leaf 

Stealing Sheep Christmas Homecoming Party 

The Kazimier 

Antipop’s Fuck Xmas 

MelloMello 

The Borough Road Shuffle w/ By The Sea 

Cammell Lairds Social Club 

Neck Deep 

The Shipping Forecast 

Wave Machines 

The Kazimier 

Local Natives 

The Kazimier 

Mazes 

Camp & Furnace 

Stornoway 

The Kazimier 

Wild Nothing 

The Kazimier 

Liverpool Sound City 2013 

3-Day Wristbands 


Comprehensive gig listings can be found on the Gig Guide /gig-guide 

Full ticket listings can be found on the Ticket Shop /ticket-shop 

22/12 

1/2 

12/2 

22/2 

11/3 

18/3 

2-4/5 

1/12 

1-2/12 

4/12 

5/12 

12/12 

14/12 

14/12 

15/12 

disappointed though, as the support act take 

to the stage and promise an intimate gig. 

Seamlessly blending elements of hip hop, 

funk and nu-soul, Liverpool’s own MANUKAH 

bounce with an infectious groove of horns and 

drums, while smooth guitar and keys balance the 

set perfectly. For those who aren’t familiar with 

these up-and-coming heavyweights, Hypnotise 

Hypnotise 

best introduces Lauren Spink’s soaring vocals, 

which have the attitude and jazz stylings that 

are in the same vein as Jill Scott. 

Not content to leave the crowd floored 

by the set which features a cover of Erykah 

Badu’s Apple Tree, 

Apple Tree, Manukah also unleash the 

aptly named crowd pleaser, Big Tasty Riffs 

Big Tasty Riffs. The 

sidesteppers of the venue struggle to search 

for more expressive shapes to pull that justly 

convey how blissfully heavy this tune is. 

Headliners Lazy Habits are on next, looking 

rather dapper in their white shirt and clipped 

tie combo as they promote their eponymously 

titled debut album. The track Memory Bank 

Memory Bank, with 

its unapologetic sci-fi references to Philip K. Dick 

and Doctor Who, has slick rhymes and a smooth 

brass section that exposes their New Orleans 

‘ragtime’ jazz influence but also their firm grip 

on modern British culture. 

We’re all moving in unison to the swing of 

the horns on The Road. MC Skin Horse leads 

the articulated, gritty verses and MC Lazy 

provides a catchy, metaphorical chorus. The two 

complement each other well, switching positions 

on stage and bringing a fluidity to proceedings. 

The group take a pause before their next track 

to tell us what we were told about the nursery 

rhyme Jack and Jill is but a lie, before smashing 

into Even Out, a storytelling masterpiece that 

uncovers how piece-of-work Jill steals Jack’s 

crown. Highlight of the night is definitely their 

latest single, The Bulletin, entering with a tense 

staccato style trumpet and a sing-along chorus 

that makes this well-produced piece irresistible. 

This group may have had a small crowd 

to play to this time around, but none of the 

frenetic energy, groove and lyrical rhythmics 

were compromised. They say old habits die hard, 

but it seems Lazy Habits won’t be abandoned 

anytime soon either. 

Karl Fairhurst 

LUCY ROSE 

Peter Roe 

Ceremony Concerts @ The Kazimier 

Sifting through a venue rammed with 

prepubescent teeny boppers wailing in inaudible 

high pitch shrieks of elation usually comes with 

the territory of a High School Musical stage show. 

Tonight the Kazimier has taken on a similarly 

juvenile aesthetic; the floundering, girly angst 

is almost tangible as keen younglings tactically 

position themselves at coveted vantage points. 

Solo acoustic soul man PETER ROE is perched 

on stage to provide an early evening entrée for 

this dedicated rabble. 

An unassuming chap, 

Roe seems humble with a friendly and warm 

demeanour, but perhaps all a bit too nice. 

Clearly an accomplished guitarist, he plucks his 

way through a drawn-out sequence of intricate 

arpeggios occasionally complemented by 

intermittent strums of fuzzy distortion. Latest 

single Strange Kind Of Mystery 

Strange Kind Of Mystery is pensive but 

is pensive but 

impassioned, with shades of Jose Gonzalez 

and tuneful folk inflections. Although his 

cumbersome lyrics fall flat at times, failing 

to blend with his soothing melodies, there’s 

definitely passion behind those desperate tones; 

however, it lacks the fundamental substance to 

underpin the talent he has with the instrument 

in his hands. 

With supporting act foreplay at an end, it 

suddenly becomes an all-or-nothing contest 

to occupy the front row. Outbursts of screams 

suddenly explode as the petite figure of LUCY ROSE 

emerges from behind the drawn curtains that 

engulf the width of the stage. Without delay her 

supporting band take their positions and launch 

straight into a subdued rendition of First, initially 

seeming a little taken aback by the sheer volume 

of avid Lucy Rose aficionados in attendance. 

Is she provocative? Probably not, but Rose 

is endearing, inviting you into her bubble of 

folk-scented mourning that wraps you in a cosy 

blanket. There’s a moment of self-languish and 

retrospective woe for Shiver, as the foul stench 

Shiver, as the foul stench 

Shiver 

of a tender relationship gone sour leaves a 

twinkle in the eyes of every lovelorn victim. 

Place has its chirpier, more uplifting moments, 

cantering along at a mid-tempo, while Scar has 

that homely touch, where Rose’s delicate vocals 

are at once wholesome, deft and brittle. 

The gloomy overtones present throughout the 

duration of her set are somehow inexplicably 

moreish. There’s even more heartfelt gooiness 

for Middle Of The Bed as staccato keys build to 

collapse into a sturdy kick drum and super-fans 

clap along in unison, mouthing every lyric with a 

worryingly clinical level of accuracy. Rose seems 

as shocked as anyone with the amount of overzealous 

crowd participation: being vigorously 

heckled by a swarm of heady riff-raff is something 

she’s obviously not accustomed to. 

Her latest single Bikes is the crowning 

centrepiece. The acoustic guitar sighs once more 

with a soft compassion as her breathy tones 

are complemented by subtle flurries of gentle 

electronic guitar. She discreetly shuffles off 

stage to another wave of high frequency shrieks, 

politely reminding audience members to come 

and purchase her home-made tea and jam from 

the back of their van. Although at times her lyrical 

content comes across as strained, cluttered and 

slightly befuddled, Rose is cute and quirky and 

possesses all the attributes of a primed folk 

pop revivalist. With a little nudge in the right 

direction there could be something gritty and 

sinister bubbling under the surface, if only she 

can penetrate that sugar-coated outer shell. 

Joshua Nevett 

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Plump DJs 

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Plump DJs 

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Plump DJs 

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Hi-Fi 

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Hi-Fi 

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Hi-Fi 

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Metrofest 

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Metrofest 

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Metrofest 

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The Lomax 

Admiral Fallow 

The Kazimier 


The Capstone Theatre 

Allah-Las 

Leaf 

Stealing Sheep Christmas Homecoming Party 

The Kazimier 

Antipop’s Fuck Xmas 

MelloMello 

The Borough Road Shuffle w/ By The Sea 

Cammell Lairds Social Club 

Neck Deep 

The Shipping Forecast 

Wave Machines 

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Wave Machines 

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The Kazimier 

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The Kazimier 

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Local Natives 

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Local Natives 

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The Kazimier 

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The Kazimier 

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Mazes 

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Mazes 

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Stornoway 

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Stornoway 

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Stornoway 

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Stornoway 

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The Kazimier 

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The Kazimier 

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Wild Nothing 

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Wild Nothing 

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Wild Nothing 

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Wild Nothing 

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The Kazimier 

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The Kazimier 

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22/12 

1/2 

12/2 

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22/2 

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11/3 

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11/3 

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18/3 

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18/3 

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2-4/5 

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2-4/5 

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1/12 

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1/12 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

1/12 

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1-2/12 

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1-2/12 

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4/12 

5/12 

12/12 

14/12 

14/12 

15/12 

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Noisy 

Table 

make music and sounds on our interactive ping pong table! 

FREE to play at FACT from 6 December 

- 

follow the Bido Lito! Inter-Band Ping Pong Challenge 

featuring Clinic, Afternaut, All We Are, Organ Freeman and more! 

fact,co.uk / #WinterSparks

THE FIRST FESTIVAL 

to bring you 

FLORENCE & THE MACHINE, django django, 

pond, PALOMA FAITH, SBTRKT, jake bugg, JAMIE 

XX, BLACK LIPS, WHITE DENIM, the maccabees, 

the temper trap, the wombats, animal 

collective, holy f*ck, forest swords, by the 

sea, the sand band, animal outfit, Alt-J, 

Black Lips, Caribou, Cast, Chain and the 

Gang, Clinic, Deerhunter, Dinosaur Pile Up, 

Dutch Uncles, DZ Deathrays, Ed Sheeran, 

Emmy the Great, Enter Shikari, Eugene 

McGuinness, Florence and the Machine, 

Foals, Forest Swords, Frank Turner, Fucked 

Up, Ghost Poet, Gill Scott-Heron, Handsome 

Furs, James Vincent McMorrow, Kid British, 

Kurt Vile & the Violators, Laura Marling, 

Metronomy, Michael Kiwunka, Mystery Jets, 

Noah & the Whale, Paloma Faith, Pete and 

the Pirates, Pulled Apart By Horses, 

Sanitgold, Set Your Goals, Sheepdogs, Slow 

Club, Stealing Sheep, Steve Mason, The 

3-day festival wristbands on sale at £25 

facebook.com/liverpoolsoundcity 

@soundcity

Issue 29 / Dec 2012/Jan 2013

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