Issue 33 / May 2013

FREE
Issue 33
May 2013
All We Are by Robin Clewley
All We Are
Liverpool Sound City
GhostChant
Soho Riots

Thursday 18th April
Rockaoke
CAMP / 8pm – 12pm / Free
–
Thursday 25th April
Mellowtone at Camp and Furnace
THE LOBBY / 7:30pm – 12pm / FREE
–
Tuesday 30th April
Darkness after light presents
Gallery / 8pm – 11pm / £3
–
Thursday 2nd May
Johnny Acoustic Caravan Club
THE LOBBY / 8pm – 11pm / FREE
–
Thursday 9th May
LIGHTS OUT
THE Lobby / 8pm – 11pm / FREE
–
Friday 17th May
Light Night Food Slam After Party
Look 13 Launch Party
Gallery/ THE Lobby / The Furnace / Camp /
6pm – 2am / FREE
–
Saturday 25th May
The Village
The Furnace / 6pm – 2am / £3 adv
–
PLAY
every Wednesday in CAMP:
Free
The Big Screen Quiz / Retro Gaming / Ping Pong /
Tournaments / Board Games / The Playlist Juke box
SATURDAY 27th APRIL
REHAB PRESENTS:
Phil Weeks, David Glass & InfInite Soul
–
Friday 10th MAY
Novice Mathematic:
Album Release Party
–
TUESDAY 14th MAY
Blade Factory & YDTM presents:
Rolo Tomassi, Bastions & The Bendal Interlude
–
FRIDAY 17th MAY
Not Just Collective:
‘Recurring’ Exhibition Launch
–
SATURDAY 18th MAY
HD EVENTS PRESENTS:
LOOSH: John ross junior / day maguire
–
SATURDAY 1ST JUNE
Risin’ Frenzy:
Best of the 90s
–
friday 7th june
evol & bbb PRESENTS:
fair ohs plus support
–
thursday 13th june
behind the wall of sleep PRESENTS:
naam & mind mountain
–
SATURDAY 15th JUNE
Liverpool Philharmonic PresentS:
Skip ‘Little Axe’ McDonald
DJs / Chefs / Mixologists
Music / Street-food / Cocktails
FOOD SLAM
FRIDAYS
Underground supper-party
Devour / Drink / Dance
–
20.00hrs – 02.00hrs
In The Furnace,
every Friday
Free entry
www.campandfurnace.com

Bido Lito! May 2013 3
Editorial
I can remember when I was a kid, my mum used to tell me to stop and count to 10 before I said
something. As with much of her advice, this is something that has proved a really handy tool over the
years, helping me bite my tongue before getting embroiled in a whole manner of sticky situations.
What she failed to tell me though was that, on some rare, unique occasions, you can count to a
hundred and think “Fuck it, I’m gonna say it anyway.”
One of those rare occasions played out this week when, following the announcement that from
the start of next season Tranmere are to have their shirt sponsored by Home Bargains, the loveable
folks over at Radio City decided to stick a microphone in front of my gob and ask if I’d like to share
my thoughts on the news. Still in the throes of bemused embarrassment I agreed - against my initial
hesitation - and delivered a ten-minute tirade denouncing this latest symptom, a further oozing bubo
within the metaphorical armpit of modern football.
I found the reaction to my outburst quite strange, as football fans and non-football fans (always
have to be wary of those, by the way) alike questioned my lack of ‘rationality’ on the issue. Since when
has the idea of being a football fan been rational? Festering on a Happy Al’s bus on a 14-hour round
trip to an away game, getting drilled 5-nil and arriving back
home at 5 in the morning is categorically irrational. Spending
a large proportion of your annual income on a perpetually
disappointing letdown is completely irrational.
I have no problem per se with Home Bargains. If flogging
short-dated tinned vegetables and low-priced cleaning
products gets your juices flowing, then I’m sure you’ll positively
love them. After all, we could play with the name of a sullied
financial institution across our shirt which, for the best part of
10 years, was facilitating billions of dollars’ worth of illegal Iranian financial dealings. But, I find the
prevailing idea that Tranmere should ‘take what they’re given’ and ‘can’t be choosy in these tough
economic times’ just mere shorthand for an institutionalised lack of ideas at the football club.
Moreover, the disconnect between football clubs and football supporters is shocking; there is such
a clear lack of mutual understanding. When unveiling the new deal with Home Bargains, Tranmere
Chairmen Peter Johnson (yes Everton fans, he’s still kicking around) proclaimed that, “there are many
similarities between Home Bargains and Tranmere Rovers.” Aside from our penchant for fielding
ageing players just shy of their sell-by date with marked success - John Aldridge, Paul Rideout, Jason
McAteer et al - I really do fail to see the comparisons.
A football team’s strip is their gladiatorial uniform, the armour we wear into battle. It says
everything about who you are. For over 20 years, Tranmere entered the field of combat with ‘Wirral’
emblazoned across our shirts, proudly proclaiming the club’s heritage, its homeland. Now we have
Home Bargains. The cheapest of the cheap. You can feel the opposition quaking.
I accept it could be worse. Blackpool’s sponsorship by Wonga is just plain distasteful and I know
most Tranmere fans dreaded the arrival of one of the faceless betting websites which seem to be
slowly consuming football. At least Home Bargains are a local company, creating jobs on Merseyside,
and perhaps we’ve been spoiled for the past 20 years. God, I can feel that dreaded rationality
creeping in.
But wait, no, there it goes again....click. A tap of my mouse and I’ve renewed my season ticket,
£329 to the football club I’d spent 10 minutes of the same day berating with steaming vitriol on the
radio. Fuck rationality.
Craig G Pennington / @BidoLito
Editor
Features
6
ALL WE ARE
8
GHOSTCHANT
10
LIVERPOOL SOUND CITY
12
14
16
18
SOHO RIOTS
EAST VILLAGE ARTS CLUB
LIGHTNIGHT
HAS YOUTUBE KILLED
THE VIDEO STAR?
Regulars
4 NEWS
20
PREVIEWS/SHORTS
22
REVIEWS
Bido Lito!
Issue Thirty Three / May 2013
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
Online Editor
Natalie Williams - online@bidolito.co.uk
Designer
Luke Avery - info@luke-avery.com
Proofreading
Debra Williams - debra@wordsanddeeds.co.uk
Intern
Laurie Cheeseman
Words
Craig G Pennington, Christopher Torpey, Laurie
Cheeseman, Phil Gwyn, Jennifer Perkin, Richard Lewis,
Joshua Nevett, Jack Graysmark, Ade Blackburn, Joseph
Viney, Steven Aston, Flossie Easthope, John Wise, Pete
Charles, Jonny Davis, Kev McCready, Tom George, Tilly
Sharp, Lisa O’Dea
Photography, Illustration and Layout
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Ainsworth, Rebecca Currie, Rhian Askins, Leon Russell,
Alex Nicholson, Michael Sheerin, Adam Edwards, Jack
Thompson
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The T
views expressed in Bido Lito! are those of the respective
contributors and do not necessarily reflect the opinions of the
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News
Baltic Fleet Triumph At The GITs
After months of build up and an evening of Liverpool music glitz and razzmatazz, BALTIC FLEET were bestowed with the title
of GIT Award winners for 2013. Scooping a cool £1000 first prize will be welcome indeed, but probably even more treasured will
be their performance slot at Yoko Ono’s Meltdown Festival, which comes with the award this year. In addition, prodigious young
talent TYLER MENSAH scooped the People’s Choice Award, voted for by Liverpool’s music loving public. For a full photo gallery
from the awards evening at Leaf, pop along to bidolito.co.uk
Psych For Sore Eyes
The first wave of announcements for the second LIVERPOOL INTERNATIONAL FESTIVAL OF PSYCHEDELIA has been unveiled for September’s
happenings at the UK’s largest celebration of psychedelic sub-culture, housed at Camp And Furnace. This year’s festival will host Trouble
In Mind Records’ FUZZ (pictured), Liverpool’s own masked rapscallions CLINIC, New York City’s PSYCHIC ILLS, and Chilean space cadets THE
HOLYDRUG COUPLE. Make sure you lovely folks get down there – at a cool £30, and with more kaleidoscopic merriment to come, you’ll go
out of your mind if you miss it, and off your barnet if you don’t. liverpoolpsychfest.com
The Art of Relaxation
New Liverpool-based NuNorthern Soul must be walking on air at the minute as, after the rip-roaring success of BJ Smith’s
Dedication To The Greats, comes the latest EP from RAGZ NORDSET. After supporting the likes of Laura Marling, her new EP
Sleepdancing fits neatly into the label’s ethos (“quality music suited to the art of relaxation”). It also marks a change in emphasis
for the beguiling chanteuse, with an electronic direction making the already ethereal troubadour’s voice sound positively ghostly.
There are also remixes aplenty on the horizon from the likes of BJ Smith and Capac. For more info go to nunorthernsoul.co.uk
Liverpool Arabic Arts Festival
The award winning LIVERPOOL ARABIC ARTS FESTIVAL returns for a 12th year, with some intriguing musical highlights. Born in Damascus
to Syrian-Armenian parents, songwriter LENA CHAMAMYAN (pictured) is hugely successful in the Middle East. Her work harmonises old
and new, creating a wonderful blend of medieval and renaissance Arab music. Born in the Palestinian camps in Lebanon, KATIBE 5 are
one of the Middle East’s most dynamic hip hop bands. Growing up with civil war and facing discrimination has had a huge influence on
Katibe 5’s music, which tells the story of how they rose above poverty and prejudice. For listings and details visit arabartsfestival.com
Music To Drink By
It’s no secret that our second love here at Bido Lito! is proper beer. Not the mass produced, nasty chemically stuff, but the
lovingly brewed, independent craft beers that populate the taps and fridges of our favourite hangouts. We’re suitably giddy to
announce therefore that we will be curating the music programme at this year’s inaugural LIVERPOOL CRAFT BEER EXPO, from 14th-
16th June. Expect an eclectic array of live performances and DJ adventures, all presented within the surroundings of the Expo’s Beer
Barrel Musical Bunker. As ever with alcoholic audio indulgence, please listen responsibly. liverpoolcraftbeerexpo.com
Bido Lito! Dansette
Our pick of this month’s Sound City
wax wonders…
Mount Kimbie
Blood And Form
WARP
Ambient dubstep pioneers MOUNT KIMBIE’s
new single Blood And Form, from their
highly anticipated second album Cold Spring
Fault Less Youth, is chock-a-block with their
trademark dusty sound and spectral imagery
which evokes lazy summer nights. Even the
primitiveness of the damped drums doesn’t
deter this track from being a tantalising hors
d’oeuvre to the full album.
Savages
Silence Yourself
MATADOR/POP NOIRE
From the opening sample of John
Cassavetes’ Opening Night right through
to the daringly delicious sax on closer
Marshal Dear, Silence Yourself
will have
you pinned to your seat in sheer awe.
As faultless a debut as we could have
hoped for, SAVAGES come good on their
manifesto that their “music and words
are aiming to strike like lightning, like a
punch in the face”. Jaw-dropping.
Wolf People
Fain
JAGJAGUWAR
Liverpool Calling
COMPETITION!
Gig Guide and Ticket Shop live at www.bidolito.co.uk
Here comes another festival for our fine city (they seem to be multiplying!) as LIVERPOOL CALLING launches in June across two
venues: St Luke’s (Bombed Out Church) and the Shipping Forecast. Some of Liverpool’s finest up and coming bands will take part,
including Oxygen Thieves, fresh from their debut single release, and the recently Bill Ryder-Jones produced Death Masks in one
neat little package. But, it gets even better yet...with the awesome BRITISH SEA POWER (pictured), in support of stellar new LP
Machineries Of Joy, returning to the city to headline. Tickets are available from
bidolito.co.uk
On third LP Fain, WOLF PEOPLE continue
to meld classic British rock, blues and
traditional Celtic folk in such a visceral
way that you can’t help but think that
their balls-out fuzz rock is peeling the
skin off your face like a blowtorch. Hints
of Dungen and Trees infuse the mix
throughout, as expertly witnessed on
the track All Returns.
Baltic Fleet
The Wilds
THE UNSIGNED GUIDE, ever the emerging musicians’ bible, is ten whole years old this year. That’s ten years of helping grassroots
artists, music students and new independent businesses in the digital era. With almost invaluable 9000 contacts from across the music
BLOW UP RECORDS
biz, from PR companies to publishers, gig promoters to radio stations, and much more, it has proved invaluable in many early careers.
BALTIC FLEET’s Paul Fleming is back once
And the cherry on the cake? Each month five bands get their songs selected for the Spotlight blog to help their music get heard.
For immediate again to release:
take you on a journey in to
To celebrate this landmark achievement, Bido Lito! have two 12-month subscriptions to the Unsigned Guide to give away. All you
The Unsigned the hinterlands Guide of his soul celebrates with this EP. 10 yea
chaps and chapettes need to do to be in with a chance of winning is answer the question:
Frosklia builds on the relentless, motorik
with special offers for bands & artists
pulses of The Wilds and feeds them
Which Mancunian legend has set up a scholarship and bursary for SSR’s Audio Engineering Techniques & Technology courses in London and Manchester?
through an eerie prism of mystery, while
a) Bernard Sumner b) Ian Brown c) Johnny Marr
“The Unsigned Guide is better than Disinclusion a foot in the sounds door, like it blows it would the door be off a
its hinge
Tony Wilson, Factory Records co-founder
sure-fire dancefloor filler in Kraftwerk’s
To enter, e-mail your answer to competition@bidolito.co.uk
by 9th May... good luck folks!
warped fantasy world.
Since publishing their first music industry directory in 2003, The Unsigned Guide has become an essential res
for aspiring bands & artists, producers in the making, music students, plus new record labels, promoters star
and anyone else working towards a career in the music business.
Celebrating a decade in the music industry this March, The Unsigned Guide will be marking this milestone
anniversary by doing what they do best – helping independent bands and artists. Throughout the whole of M
anyone signing up to The Unsigned Guide’s service will receive an extra birthday bonus in the form of a bund
money-saving discounts for a variety of music services vital for any band or artist, featuring exclusive deals fr
Ditto Music, UK Music Jobs, Dawsons Music, Castle Rock Studios, Awesome Merchandise, Media Plant and

Sat 4th May • £15 adv
6pm
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Sun 5th May • £20 adv
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6
Bido Lito! May 2013
ALL
WE
ARE
Words: Phil Gwyn / notmanyexperts.com
Photography: Robin Clewley / @robinscamera
Gig Guide and Ticket Shop live at www.bidolito.co.uk
“We don’t see ourselves as a folk band.” This might not be the
first thing you’d expect to hear from ALL WE ARE, a band who have
spent the past year and a half having people tell them they’re a
melodically-driven folk band but, as Guro Gikling (Bass, Vocals)
from the band explains, “That element of us is gone, as far as we
see it.” There’s another, even more convincing explanation that
comes in the form of a song called Utmost Good, the band’s next
single, which will be surfacing during May. It’s a giant of a single:
simple and unassuming, yet so instantaneous and euphoric that
the slowly warping bassline which bleeds into the rest of the
psych-tinged track will be lodged into the brain for many a month.
Pointedly, its woozy three minutes of left-field pop are far more
indebted to Metronomy than Bon Iver, yet more important than
this transition is the fact that the single’s understated brilliance
really sounds like something special.
The trio seem aware of the appeal of the song, too: “Most
people who have heard the song come back to us and sing it
back,” says Luis Gustavo Santos (Guitar, Vocals), before Rich O’Flynn
(Drums, Percussion, Vocals) summarises that “We just like to write
earwormy tunes that stick,” as if any more proof of that were
needed. The band are quick to emphasise that it hardly represents
a conscious change in direction though. “Our development in
that direction is really very natural,” explains Rich. “Our style is
certainly evolving and changing, but it still retains the core of All
We Are – it’s really strong melodically and has that psych element
as well.” There’s a lot of truth in what he says, too. Utmost Good
may sound a world away from the ethereal soundscapes of the
We Hunt EP, but they’re now just taking those expansive guitars,
strong hooks, and psychedelic edge, and doing something more
groove-driven with them; a case of the core elements of the band
being re-arranged, rather than re-imagined entirely.
So if the band are adamant that the transition to their new
sound was organic, then how did it come about? “I think a lot
of it has to do with the drum kit,” comes the answer from, of
course, the drummer, Rich. But there’s a lot of logic to what he
says. “I only started playing drums when the band started a year
and a half ago, and I started with a tom, a snare and a crash. It’s
been developing, and I got a kick drum and some hats, and it has
completely changed my perception of the drums. I just started
getting into simple grooves, like the R&B groove on Utmost
Good.” Luis and Guro seem to agree, too, and all have the same
moment in mind when asked if there was a particular point when
they made this transition to a new sound: “We went into the
studio to record a tune, and a hi-hat was introduced to Richard,
and everything just changed after that.”
The revelation of discovering the hi-hat aside, the band are
quick to turn talk to producer Joe Wills. “I think that Joe really
brings out the best in tunes,” enthuses Rich and, though Utmost
Good was almost finished by the time they took it to Joe, they
credit him with shaping the final product by explaining that, “He
stripped it down, slowed it down, and made it more of the basic
skeleton of the song; simpler, but more effective.” Joe’s influence
is evident on Utmost Good more than once, too, as the single will
be the first release on Obscenic Records, the record label that he
founded with Pete Darlington.
The band also had a slightly more rock and roll coming of age
in the form of an experience with producer Howie B, who was
such a fan of the We Hunt EP that he remixed one of the tracks,
and roped in All We Are for a project he was doing at Abbey Road.
“That was a huge learning experience; it was so intense,” says
Rich. “We actually recorded some songs in Studio 2, the Beatles’
studio.” “It was very, very special,” says a sincere Guro. “You just
walked in there and felt it on you.” The project, titled Seven Notes,
is now touring the world, but unfortunately without All We Are,
which the band attribute to the one night that Howie B travelled
to Liverpool, and a civilised evening meeting at a city centre hotel
escalated into stumbling out after “a champagne breakfast at nine
in the morning... I think the bar bill was extraordinarily high.”
The video to Utmost Good is something of a who’s who of the
Liverpool music scene, cycling through the well-known faces from
the city. Does this reflect a real communal atmosphere in Liverpool,
or are we inclined to exaggerate that element in the media? “It’s
definitely a reality,” comes Rich’s answer, almost before we’ve
finished asking the question. “It’s mainly just inspiring to hear
the stuff that people are coming out with. There’s definitely a
sense that there’s something happening around here.” All three
of them seem passionate about Liverpool, actually, talking about
how they seem to have “put down roots” here, so much so that
their gig in Leaf on the Thursday of Liverpool Sound City, coming
as it does after a European and UK tour, feels like something of a
homecoming for the band. Having not played a gig in Liverpool
since March, it will also be one of the first times to catch the
newly seductive tones of the band because, as Guro explains,
“We’ve actually written pretty much an entire new set; the only
old one that we still play is Cardhouse.”
All We Are seem confident and optimistic in their new sound, too,
and Rich sums up the situation well by saying that “We’ve learnt
so much over the last year about how things work, so our aim
hasn’t changed, but it’s become more focused; we know how to
go about it.” More than anything else, with the strength of Utmost
Good behind them, they have an ambition about them that Guro
justifies by saying “I think you need to believe in it. You have to
believe it’s going to go well, or else it won’t.” It’s hard to disagree
with them, too, as at the very least it would be a minor tragedy if
Utmost Good didn’t “go well”; it’s one slow-motion, kaleidoscopic
heartbreak of a song that’s too devastatingly melodic to let pass
by. Whilst they’re producing solid gold material like it, it’s tough to
mourn the passing of All We Are, the folk band; if reinventions can
be this good, we can’t wait to see what they might do next.
Utmost Good
is released in May on Obscenic Records
facebook.com/thisisallweare
A big thank you to Liverpool Watersports Club @lpoolwatersport

8
Bido Lito! May 2013
We are at the Willowbank pub on Smithdown Road, sat outside
M.J. Cole and you’re not really left with much when it comes to
to a symphony of car stereos and police sirens that mercifully
icons. Far from a revival though, what producers like GhostChant
distract from my relentless use of “I know what you mean” on
are doing is taking the best elements of garage music - the
the interview recording. 21-year-old producer GHOSTCHANT, or
syncopated bass lines, the shuffling hi-hats, the looped vocal
Joe Cornwell, was raised in South West London, before moving to
snippets - and blending them with current trends in underground
Liverpool to study for a music degree. Following an adolescence
as a guitarist, he discovered the likes of Burial, Whistla and Crypt,
prompting a love affair with bass music that has found him on
these pink pages today. “Producing music was something
I picked up myself. Up until I was seventeen, I was
playing guitar in punk and hard rock bands, just
teenage dreams really. Then, when there was
no one else to play with, I decided to pick
up Fruity Loops and try and write some
songs.” His modesty almost sounds
sincere, as anyone with a torrent
client who has woken up one
morning and decided they
want to be a producer
(everyone) will testify:
teaching yourself on
electronic much music to create something with
more each other in a hot tub and, before you know it, Duke Dumont
has a number one hit whilst everyone else tries to subtly unlike
his Facebook page. Over the last ten years, house and bass music
have existed as a constant series of Russian Dolls, as a subgenre
outgrows its underground origins and a new
sub-genre forms from the ashes. In this posteverything
age, it’s vital that producers like
GhostChant keep moving forward both
sonically and technically. Stop and
think for a moment, before you’re
standing there with a daft face
on as a load of students laugh
at your AU Seve T-shirt. Call
it an identity crisis if you
like, as different groups
of social, economic,
audio
workstation
and
culturally
software might as
contrasting
young
well be quantum
people attempt to
physics.
characterise
the
Over
the
scene in a way
course of two
GHOSTCHANT
with which they
EPs and several
are comfortable.
free downloads,
And I know you
GhostChant has
want to say that
quietly cultivated
it’s just about
a reputation as
the music, but
one of the city’s
next time you
most
exciting
local
bookings.
Last year’s Fables
EP (AudioRejectz) is
rich in texture, as soft,
sampled vocals float
gracefully over spacious,
cinematic synths. Follow-
up Late Night Talks EP saw
him find inspiration in much
darker places, with mournful
vocal loops and more bass-heavy
synths creating an almost menacing,
haunting atmosphere. Electronic music,
of course, has always been celebrated for its
intricacies, and GhostChant can be defined by his
precision. Every reverb snare, every synth pedal note,
Words: Mike Townsend / @townsendyesmate
Photography: Nata Moraru / natamoraru.com
every vocal loop: all so deliberate to the point where you
wonder if the poor lad ever leaves his bedroom.
A self-proclaimed celebrator of ‘future-garage’, GhostChant is
feeling.
Gone are
part of a growing movement of producers incorporating 90s UK
garage into their own forms of contemporary electronic music.
As we tentatively reminisce over a genre that we are probably
too young to even remember, it’s clear that Joe harbours a deep
affection for the 90s and early 00s scene: “Everyone enjoyed
garage at the time and people still love it now. It’s a different
aesthetic these days though, more revisionist, as producers
incorporate garage with different aspects of electronic music”. He
is not alone. You can find the once-ridiculed genre rearing its head
the Casualty theme tunes and So Solid Crew sex tapes and what’s
left is the bastard child of the genre which, at last, feels like it’s
heading somewhere constructive.
Joe is keen to remind me that, above all else, he is trying to be
as varied as he can, both in his DJ sets and his live act: “I mean, I
love garage music and it’s important to have some context, but
I’m not looking to remain hard-lined in one particular genre.” His
actions speak volumes in this case, as he balances a residency
at the student-centric house/garage night Release with the more
ever closer to mainstream electronic music these days. Garage
music has always seemed dated and retro. Perhaps that’s part
of its charm. I mean let’s face it, scrape away Grant Nelson and
Gig Guide and Ticket Shop live at www.bidolito.co.uk
arty, experimental Deep Hedonia shows. Joe’s references to Deep
Hedonia and influences like Tycho and Burial demonstrate a
desire to keep challenging himself and his audiences artistically.
I’m not saying that there isn’t an art to crowd pleasing, but
there is making sure you are up-to-date with current trends and
selections and there is making new ones for yourself. I mean,
credibility exists within electronic music in its loosest form. All it
takes is a sync placement as the cast of Made In Chelsea grope
see a fake-tanclad
young person
shuffling to Bicep
in a G E E K T-shirt
and a Comme Des
Fuckdown beanie, try
and tell me everything
isn’t fucked.
GhostChant’s
latest
release, a remix of Frenchfire’s
excellent Antique, takes on a
more immediate sound, allowing
Sarah Zad’s smooth vocals to linger
wistfully above a minimal, yet potent
drum machine/synth accompaniment. It sees
Joe open himself to a wider audience, and will
certainly draw the attention of RnB fans in the same
way as Shlohmo and Lapalux have done already this year. An
appearance at Sound City alongside the likes of Mount Kimbie and
Oneohtrix Point Never beckons, followed by his second appearance
at Release alongside an as of yet unnamed Swamp 81 Records
heavyweight. It’s early days in this young career of course, but it’s
rare that you see a young producer traverse through his ideas on
what electronic music means to him with such confidence and
such ease. In GhostChant, Liverpool has a real shot at finding the
homegrown icon that this vibrant electronic music community has
been longing for. And this is only the beginning.
GhostChant plays a rare live set at The Bido Lito! Social Club at
East Village Arts Club on 23rd May.
Visit bidolito.co.uk for an exclusive GhostChant guest mix.
soundcloud.com/ghostchant

Thea
Gilmore
with strings and special guests
Friday 10 May
8pm £15-£24.50
Steve Earle
& The Dukes
plus The Mastersons
Friday 31 May
7.30pm £26, £34
Pink Martini
Gretchen
Loudon
Peters
Wainwright III
Saturday 9 March
The Tuesday Epstein 7 May Theatre
7.30pm £19.50 £22.50, £28.50
Elvis Costello
& The Imposters!
13 Revolvers Tour
Monday 10 June
8pm £37.50-£47.50
Jimmy Carr
Gagging Order
Saturday 13 July
8pm £25, £31
SOLD OUT
EXTRA DATE ADDED
Nasher
with the Royal Liverpool
Philharmonic Orchestra
Friday 12 April
8.30pm Wednesday
£12
8 May
7.30pm £26.50-£42.50
Reginald
D Hunter
In the Midst of Crackers
Friday 14 June 8pm
£23, £29
Mike Oldfield’s
Tubular Bells
‘For Two’
Saturday 20 July
7.30pm £21, £27
Chris
Wood
Tuesday 21 May 7.30pm
St George’s Hall Concert Room
£15
Skip ‘Little
Axe’ McDonald
Saturday 15 June 8pm
The Blade Factory
at Camp & Furnace
£10
After 8
Lizzie Nunnery
Saturday 11 May 8:30pm
Rodewald Suite £12
After 8
Dead
Belgian
Friday 14 June 8.30pm
Rodewald Suite £12
Stewart Lee
Much A-Stew
About Nothing
Sunday 13 October
8pm £20, £26
Lee
Nelson
Tuesday 21 May
7.30pm £22.50, £28.50
An Intimate Evening with
Lucinda
Williams
Thursday 27 June
7.30pm £19.50-£29.50
ON
SALE
NOW
Box Office
fi
0151 709 3789
liverpoolphil.com

10
Bido Lito! May 2013
SOUND CITY
2013
Words: Jennifer Perkin / @jhperkin
Melody’s Echo Chamber
Ours
is
a city with a perennial
music heartbeat; this is a well-established
fact. LIVERPOOL SOUND CITY FESTIVAL is simply the perfect excuse
to hide the breakables, push the furniture aside, open all the
windows and amplify it to the max.
During these three days, the whole geography of Liverpool is
altered; the centre of the city shifts to the Ropewalks and music
fans of all persuasions flood the streets, brandishing wristbands
and gorging on the offerings. It’s a time to both welcome our
global musical brethren, and show off our own splendour.
Some of the best moments will come from the unplanned:
the stumbled-across, the mis-timed and the accidental. But
we wouldn’t send you out without at least a fistful of names,
Gig Guide and Ticket Shop live at www.bidolito.co.uk
places and ideas before you choose your own
adventure.
Of course there are the raise-the-roof, pull-outthe-stops
biggies; for one, eclectic pop rockers
EVERYTHING EVERYTHING, returning just a couple
months after their O2 Academy show, to entertain
and confuse us in equal measure at The Garage.
This venue is just one example of the festival
maximising the city’s potential and squeezing music
into every cranny. The rest of the year it’s a fairly
nondescript car park, but for Sound City it transforms
into a heaving gem of excitement, an epicentre for the
festival.
Those seeking instant gratification should hone in
on red-hot duo ALUNAGEORGE – to hear their fresh and
immediate pop nugget
Attracting Flies once is to
have it stuck in your head
forever. Likewise, LULU JAMES’
song Closer, a throwback to
80s disco fillers that pretty
much guarantees some
serious hoof-flicking.
The Anglican Cathedral is
another space that will be
gloriously re-imagined for
the festival; and the chance
to hear Friday headliners THE
WALKMEN’s The Rat resonate
in such splendid surrounds will
be a special one.
The Kazimier should be a
natural home for MELODY’S
ECHO CHAMBER, who shares
a link with Pond, one of the mindmelting
highlights at the venue last year. Melody Prochet is the
Parisian protégé of Tame Impala’s Kevin Parker (Pond’s producer).
Her gently swirling brand of psychedelia is a logical fit for his
retro stylings, as his producer’s stamp is clearly discernable. Come
sporting your finest paisley, and while you’re dressed for it you
want to check out TEMPLES who groove on a similar, if more
Austin Powers-y, wavelength. Yeah Baby.
Needless to say the line-up is liberally seasoned with some
of the best and brightest of this fine city’s offerings – for soulsoothing
sounds see the ethereal melodies of BIRD, or the
whimsical indie pop of ALL WE ARE and STEALING SHEEP. For
catharsis, bang your head to the dark, driving instrumentalism of
BALTIC FLEET, the post-rock weirdos known as ALPHA MALE TEA
PARTY, or the proper energetic punk of BAD MEDS. But to lose
your shit – or at least stand stunned at the sidelines as they
lose theirs - we have just one word: JAZZHANDS.
For the letting down of one’s (preferably long, quite possibly
matted) hair, do not miss Japan-via-London’s finest crazymakers
BO NINGEN - translation service not included. They’ll
bring their kinda punky, sorta psychey and wholly awesome
show to Sound City’s headbang hub, Screenadelica. Not only
will Screenadelica host some of our most anticipated bands
of the heavy variety, but for the festival the Liverpool Academy of
Arts space will be transformed into a pop-up exhibition of some
of the best music poster art in the world right now. Bring your
credit card.
Other acts ac Screenadelica include WET NUNS, whose music
can most accurately be
Lulu James
described as rawk, and the groove-heavy HAWK
EYES, who could be loosely be described as a melodic math-rock
Mastodon. Fans of skuzzy 90s style power pop (think Hüsker
Dü meets Foo Fighters) should not forget to check out locals
AEROPLANE FLIES HIGH, or to wear their most worn-in flannel.
Save some energy, however, for the blindingly brilliant FUTURE
OF THE LEFT. Headed by inimitable ex-Mclusky man Andy Falkous,
they have been building on that band’s furious legacy since 2005
while being one of the single best live acts in the country. Aw
heck, the world. You’ll laugh, you’ll cry and if you miss it you’ll hurl
with jealousy when everyone’s talking about it. Do it.

Bido Lito! May 2013 11
Bo Ningen
If your soul needs cleansing after all that we’ve got
just the trick: Australia’s CUB SCOUT make the kind of
joyful retro-pop that makes your heart happy – they’ve
already cracked the difficult US market and this will be
their first look-in on these shores. See them at Heebie
Jeebies. Others in the ‘most likely to incite a clap-along’
category are France’s upbeat
beauty that is sure to be stunning at
the Epstein. They were recommended
and will be supported by recent Bido
Lito! cover star NADINE CARINA.
What about the beer-clutching,
hip-swinging good-time bands? The
extremely hotly-tipped THEE OH SEES
of San Fran strut with a certain urban
cowboy swagger,
THE FAMILY RAIN
bring
southern
fried rock via
Bath, and Korea’s
GOONAMGUAYEO-
RIDINGSTELLA
may well be the
biggest gamble of
the
festival. Slightly sleazy pop that brings
to mind piña colada and perms, we’re
not sure if these guys are approaching
Tarantino-cool or Don Johnson-cheesy but
it’s probably worth a look just in case.
And finally, here are two unmissable
risen-from-ashes bands for nothing: postrock
all-girl band SAVAGES, featuring ex-
John and Jehn singer Camille Berthomier,
promise to be an intense and even brutal
affair. Contrasting is UNKNOWN MORTAL
ORCHESTRA featuring Ruban Neilson -
CONCRETE KNIVES, who play
formerly of ace Kiwi band The Mint Chicks
in The Kazimier Garden and will bring some sunshine
- whose vintage soulful indie rock is of the
regardless of the weather. As will SWIM DEEP, the latest of
woozy, slightly bittersweet, variety.
a clutch of Birmingham bands who seem to be rebranding
Have we missed a stack? Course we have, but we
the Midlands as West Coast America.
wouldn’t want to spoil all the surprises for you.
For beatseekers, Brooklyn’s ONEOHTRIX POINT NEVER
Happy hunting.
makes amazing experimental electronic music, using
synths and vintage sounds to create what has been
Liverpool Sound City runs from 2nd-4th May. Pick up your
called ‘gnomestep’. No, us neither, but if you’re into
copy of The Bido Lito! Sound City Daily every morning of the
boundary-pushing electronic music you’ll also wanting
festival for up-to-date news, interviews and reviews.
be checking out BROLIN, the mysterious Londoner
liverpoolsoundcity.co.uk
whose been giving off Burial-type vibes. Also on the
electro-spectrum are the genre-defying DARKSTAR, who
make warm, and often baffling, pop that owes as much
to The Beach Boys as to Liars.
Iceland’s SOLEY make music
of fragile
Savages
SOUND CITY
CONFERENCE
Each year, Sound City hosts its
groundbreaking music conference,
featuring some of the most important
names in the music industry. It is a
brilliant chance to keep up-to-date
with the music world’s ever-changing
trends. This year sees one of the
strongest conference programmes
to date, with iconic Rolling Stones
manager ANDREW LOOG OLDHAM
delivering the closing keynote speech. TRACEY THORN of Everything But The Girl
will be in conversation with Hacienda DJ DAVE HASLAM, while ENTER SHIKARI’s
tour and management team will talk about what it’s like to work with one of
the UK’s hardest working bands (and their staunch DIY ethos).
At the business end, the industry’s top artist managers, label owners and
strategists will talk about their work with bands and artists. Sync agents JOHN
BISSELL (Mothlight Music), MARK GORDON (Scoredraw Music) and JONATHAN
TESTER (Creative Bucks Music) will discuss the best routes to get your music
heard on television shows and adverts. Other panel topics look at the methods
bands should use to choose their management team, how they should tackle
the risky issue of booking their first tour, and JON MORTER, the man behind
the anti-X Factor chart campaigns, will share his insights into how to succeed
online.
Andrew Loog Oldham
All conferences will take place across two venues: the Hilton Hotel has two
panel rooms and The Epstein Theatre will host Andrew Loog Oldham’s closing
keynote speech. Not only does a delegate wristband secure you access to the
conference programme, it also admits you to the Delegates Bar at the Epstein
and, no doubt, a host of tipples.
JOHN PEEL WORLD CUP
After getting knocked out in the semi-final last year, Bido Lito! will be back
to play in the 2013 John Peel World Cup. We’re not bitter, but this year we will
win it. Other teams will be made up of The Farm, Elevator Studios, Cream and
Deltasonic Records, amongst others. The tournament will again take place in
Chavasse Park in Liverpool ONE on Saturday 4th May. Musical accompaniment
will be hosted at the Liverpool ONE Dome stage, and will include Laura J Martin,
Splintered Ukes and Esco Williams.
SCREENADELICA
Since its humble beginnings at Sound City in 2010, Screenadelica has
developed into one of the UK’s leading proponents of cutting edge poster
art, exhibiting around the world, including at SXSW and Primavera. The pop-up
exhibitions show posters from dozens of artists and are the best place to find
rare prints of some incredible music artwork. Screenadelica is run by Liverpoolbased
artist, Horse, whose previous work has included subjects such as Björk,
Battles, the XX and The Flaming Lips.
FILM FESTIVAL
After Andrew Loog Oldham’s closing keynote speech, the classic Rolling
Stones film Charlie Is My Darling, produced by Oldham, will receive a special
screening. Continuing the theme, Rolling Like A Stone and WIld Days will be
screened as part of the growing Film Festival hosted at Sound City.
14+ SHOWS
Sound City strives to include something for everyone. A special line-up for
those aged 14 and over has existed at the festival for a few years now. This
year the O2 Academy will host the 14+ stage, with Enter Shikari accompanied
by Marmozets, Hacktivist and Neck Deep, on Saturday 4th May from 6pm.

12
Bido Lito! May 2013
out, the melodies and stuff, it creates quite a poppy sound.” And
here lies the beauty of Soho Riots: while their music may not be
revolutionary, it is mercilessly infectious, gloriously accessible on
record and in a live setting.
Speaking of which, the band’s first taste of playing live came at
their Band Society’s live night at Baa Bar, which Andrew admits was
more like an “open practice session. We didn’t get a soundcheck,
so it was a bit crazy!” But, even then, there were glimpses of
potential and, after a positive response from the crowd, the
band have been playing shows relentlessly. Andrew appreciates
that Liverpool’s bustling live scene has been a huge advantage
in allowing them to not just develop their performances, but to
expand their experience as well, “There are so many good venues
with great nights on, so there is loads for us to get involved in.”
During their sets, the band retain a sense of control, playing
with a strong focus while savouring every minute. Highlights so
far have been supporting up-and-coming acts The 1975 and JAWS.
Both proved to be success stories, and rightly so - their music
is destined to excel in live performances. The Shipping Forecast,
venue of choice for show with The 1975, was left stunned as
the energy of the music swept across the crowd, resulting in a
rapturous response reserved for Soho Riots over the headliners.
After considerable debate, the band decided to release a
fully recorded version of previous demo I Only Want To Talk
at
the end of April, packaged with further new recordings of their
previous demo sessions. Andrew is confident that the new single
is an accurate representation of what the band have achieved
so far, losing none of the track’s early raw energy. It’s arguably
their finest moment to date, with a build-up that fits perfectly
with encouraging a crowd to respond - something that’s quickly
becoming the Soho Riots mantra.
With the single released, Soho Riots will launch their next
phase: fighting tooth and nail in the real world. With exams coming
up in May, the band will take a summer hiatus before regrouping
in September. Andrew will be spending five weeks travelling
across Vietnam, which seems an extravagant PR strategy, but he
hopes the trip will broaden his musical perspective. “I put my own
personal experiences into song-writing. I believe the more of the
LESSONS IN GUITAR POP
world you see, the more interesting songs you write!”
Despite his upcoming adventures in South-east Asia, Andrew
sounds eager for September to come. The success of Soho
Riots has been as a result of undoubted ability, true, but also
PERFECTION WITH SOHO RIOTS
of the band having
an agenda and,
with their plans for
later this year, this
Words: Jack Graysmark / @ZeppelinG1993
Tom Kelly, and they all come from similar courses at the University looks set to continue. They’ll be focusing on new material,
Photography: Keith Ainsworth / arkimages.co.uk
of Liverpool. Surprisingly, Andrew is glad that they took their time new promotions - they haven’t even begun tapping in to the
to come together: “I had a lot of song ideas by then, so we were marketing possibilities of a band member called Harry Potter –
Outside the lecture rooms and away from the study sessions,
able to get the ball rolling straight away.”
and, most importantly, new places. So far they’ve only ventured
university is a time where an abundance of opportunities urge
This is evident on the band’s demos, which sound like outside Liverpool to Manchester, but the band plan to get on a
you to try something new. In their final year, SOHO RIOTS have they’ve been tailored over time. Strained and vulnerable
tour bus and play as much of the UK as possible, getting the
taken this as gospel, throwing themselves into the Liverpool live vocals on Who’s Your Man? burst through blistering guitars:
words “Soho Riots” on everyone’s lips.
scene with a passion that reflects their musical style. In the few a beacon for anyone who’s been unsure of where they stand
And so ends the first lesson. With a blossoming live reputation
months they’ve been together, this group of friends have risen in a relationship. On I Only Want To Talk, the band seamlessly
and their first proper release, it’ll be shocking if Soho Riots
to the top of the student band landfill, armed with an arsenal transform from a delicate melody into a frenzied assault, full
struggle outside their regular stomping ground. I’m hoping we
of tracks jam-packed full of raw energy, determined to leave an of determination and spirit. The UK’s answer to Real Estate,
don’t have to fight to get them back. Having balanced the band
impression - and that’s exactly what they are doing.
the band’s melodies also evoke comparisons to Wolf Parade
with university life, this group of guitar-pop melodeers have
When I meet frontman Andrew Woodhouse (Lead Vocals, and The National. But, beneath the scuzzy indie pop, there is a
the real potential to expand their horizons far beyond the Band
Rhythm Guitar), his tone carries a sense of gusto, pleased with touch of true craftsmanship, a sense of control.
Society rehearsal room. Clearly, education has not been lost on
what Soho Riots have achieved to date and excited by their
When I ask Andrew about the band being labelled as indie
these lads; if anything, they’re setting the standards for other
future prospects. Having pondered the idea of starting the band
pop, he laughs. “We always get called indie, and it’s what I always
hopefuls to follow.
since his first year at university, the arrival of drummer KT last
listened to when I was growing up, so I guess it makes sense.
November finally sparked the ignition. The line-up also includes
But I don’t think you can take anything away from that. I think
Soho Riots’ debut single I Only Want To Talk
is out now.
Harry Potter on lead guitar (no really, that is his name) and bassist
we’ve got broader influences, but I suppose the way it comes
facebook.com/sohoriotsband
Gig Guide and Ticket Shop live at www.bidolito.co.uk

Bido Lito! May 2013 15
Words: Joshua Nevett / @joshuanevett
Illustration: Rebecca Currie
In the early nineteenth century, Liverpool’s esteemed writer,
historian and all-round academic polymath William Roscoe was
appointed president of a new learned society, the Liverpool
Royal Institution. The organisation took root within an imposing,
neo-classical building at the intersection of Colquitt Street and
Seel Street, which was speedily inhabited by the city’s devoted
exponents of literature, science, and the arts. As the first Royal
Institution outside of the capital, the poetic quirks of the rich of
mind were offered sanctuary, a breeding ground for brilliance
of academia, self-expression and philosophy. It is even said
that celebrated Victorian novelist Charles Dickens once shared
an affiliation with the building, giving one of his many public
readings within its hallowed amphitheatre.
You may find this historic prologue laborious, for which you
would be forgiven; however, consider the startling juxtaposition
of the context in which the building resided during its most
recent past, in which, for the most part, it has been known under
its affectionately held moniker, The Masque.
This writer remembers vividly how the stained ceilings
would throb and perspire with the fluids of countless years of
drunkenness, serotonin deprivation, and other forms of general
insobriety - and how you’d shuffle through the logistical minefield
of narrow corridors to gain access to the ailing theatre room,
where you’d suddenly melt into your two best friends, creating
a sweaty, amorphous puddle of addled minds that would swill
around upon a stamps-worth of space. It was great – if you consider
a dilapidated, loveable hovel with insufficient facilities and
haphazard infrastructure to be your stimulus – but it had its charms
and, for many of Liverpool’s weekend thrill-seekers, it was home.
However, in November 2011, The Masque’s operators were forced
to decommission it due to financial instability, and the future of
the popular venue looked to be in grave peril. The loss was felt
across our music community and a turbulent period ensued as
the promoters behind Liverpool club-night heavyweights Chibuku
and Circus were delegated as caretakers by default, taking the
keys for sporadic events; but in the long-term the venue looked to
be lost, another casualty of economic austerity.
Rich McGinnis, founder of Chibuku and Circus was one of the
first promoters to become conscious of the venue’s rough-aroundthe-edges
potential and utilise the space for events. He recalls his
initial scepticism about booking events in the venue and his first
impressions of the Theatre. “The Theatre was full of chairs - it was
an actual theatre - and I remember looking over from La’go (which
was booming) and I remember thinking, ‘what nutter would want
to put on a gig in that place.’” What nutter indeed; little did he
know then he would spend thirteen years putting on events
at the venue that’s recognised as Chibuku and Circus’s spiritual
home. He continues: “I remember sitting on the edge of the stage
in the theatre and thinking, ‘What would happen if we threw a
Chibuku party in here?’”
Rich struggled to find a permanent slot at an alternative venue
to host his club-nights and fill the insurmountable void that The
Masque had left in its wake. So, in the latter stages of 2012, he
sought to secure the future of the Seel Street venue and called
upon revered music organisation MAMA Group to register their
interest. After a period of negotiation, it was decided that a sea
change would be set in motion and MAMA Group agreed to
invest in the revitalisation of the entire building from the ground
upwards. The rotund sum of £1.5million was promised and a
complete overhaul of the structural interior, events programming
and (most controversially) the name was to be implemented. The
second renaissance of Seel Street had begun - and the new EAST
VILLAGE ARTS CLUB had been initiated.
David Laing, Managing Director of MAMA Group, has close
family ties to Liverpool and, when Bido Lito! meet him, calls
the renovation his ‘pet project’ - he even maintains it’s his most
favourite project, ahead of all he’s been involved with. “Doing
that building justice and giving it a future that’s sustainable is
the key impetuous behind its renovation. It has to expand, it
has to do more, otherwise it’s just going to sit there and be
unloved.” David’s track record speaks for itself, with one of his
most notable accolades being successfully revamping The Ritz
in Manchester. His vested interest in Liverpool and its culture
is as prevalent as his passion, which is only preceded by his
aspiration. “We want to be more entrenched into the creative
communities so we’re introducing so many other elements
of programming that haven’t really happened in here before.
The whole idea behind that from the food to the arts, culture,
and music events is about utilising the building on a Monday
afternoon to a Saturday night at 2am in the morning.”
The modernisation of every aspect of the venue will include
the installation of a new bar and kitchen area and investment
in sound and light amenities that will seek to complement the
city’s already thriving creative arts scene. No cost has been spared
and, with experienced local booker Revo, aka Steven Miller (Club
Evol), appointed as the driving force in expanding the Arts Club’s
live events programming, a new remit has been assumed to
recapture the essence of Liverpool’s eclectic music scene. “We
want to bring the pinnacle of every genre to Liverpool and reestablish
the city as a category A city for touring bands rather than
category B, which is where we sit in this current moment in time,”
declares Revo. “Evol has brought acts from all over the world to
Liverpool that would’ve otherwise missed playing the city.” Live
events announced thus far include Kate Nash, Mystery Jets, CSS
and Ghostpoet with Liverpool Sound City also set to utilise the
venue to host events during the festival from 2nd-4th May.
The Seel Street area will always be regarded as a burgeoning
district of the city - and the building itself is surely a presiding
bastion of this Capital of Counter Culture, a relic for posterity and
a fixture that’s enlisted in the dichotomy of culture that makes
this city such an interesting place to live in and engage with.
As Rich puts it, “The energy that was behind that venue at its
peak was formidable. We’re at home in that building - and with
it coming back with the new investment, it feels like a new
beginning for us.”
David alludes to a reformed mission statement of increased
interaction with Liverpool’s creative scene, diverse programming,
and high quality culinary produce as the intrinsic link between
the building’s noble lineage and its new function as a space for
live music, comedy, artistry, poetry and culinary delights. This only
goes to augment the distinctions of its usage – and, perhaps in
a metaphorical sense, acts as an emblem of Liverpool’s cultural
ethos: aspiration borne out of degradation and creative flair
summoned from necessity.
Opinion may be polarised, but David’s self-assured enthusiasm
and unquestionable experience in handling venues confirms
that MAMA are more than capable of returning the venue to its
former glory – and, with the assembly of an A-Team of Liverpool’s
shrewdest promoters, I for one have every faith in him. As David
concludes, “There’s an undefinable atmosphere that some
venues have and some venues don’t; money can’t buy it, you
can’t design it, and you can’t even plan it. Sometimes there’s
nothing wrong with a venue that you can spot, but it never quite
has that soul to it. That building does. And that’s something
we’ve tried to be respectful of. We’ve improved some of the
things that were drastically wrong, which hopefully gives the
venue a new lease of life.”
mamacolive.com/evartsclub
Gig Guide and Ticket Shop live at www.bidolito.co.uk

16
Bido Lito! May 2013
As one of the driving forces behind iconic Liverpool band
CLINIC, Ade Blackburn has seen, and been a part of, various
sea changes within our city’s creative sphere. This month Ade
shares with us his enthusiasm for LIGHTNIGHT; the annual onenight
festival that sees a mix of huge light installations festoon
some of Liverpool’s most prestigious buildings, and an evening
programme so broad that the event can credibly lay claim to be
one of Liverpool’s yearly highlights. This is LightNight, through
the surgeon’s mask...
Growing up in Liverpool, it always seemed like we had our fair
share of credible music and clubs. It was easy to love music, it
was everywhere. Visual art though always seemed, to me, like
something distant, dusty and a bit archaic. I think that was more
down to not knowing what art could be or even what Liverpool
had to offer.
Obviously, Liverpool has changed and really stepped up a
gear culturally in the past few years and the LightNight festivals
have played a large part in that. It’s a way to discover the new
creativity that Liverpool has to offer as the city is brought to life
visually and spectacularly. More than anything, the evening is full
of surrealism and fun, something that - to me - the city seemed
to lose for a while.
Some of Liverpool’s most interesting venues and art spaces
keep their doors open late, which gives the night a kind of
magnificent party feel to it. Over 130 events are free, which adds
to the democratic feel and is pretty welcome at the moment.
For me, LightNight’s biggest achievement is bringing together
all the disparate but really great artists we have in Liverpool. By
doing so it makes the city just that bit stronger culturally and
more attractive. I think there’s a similar feeling now in the music
community as well.
Previous years’ highlights have been the Candlelit Labyrinth at
LJMU Art and Design Academy, a delightfully trippy maze which
was fantastic and made even more sense as the night wore
on. Find it this year in the new setting of Liverpool’s Anglican
Cathedral.
The Radical Route walking tour was another classic: a
celebration of Liverpool’s radical history, revisiting sites of
revolt and demonstration, in particular focusing on the city’s
massive transport strike and ensuing riots of 1911. Again, this
is back for 2013.
There was also the Sense of Sound event at the Anglican
Cathedral - that was astonishing. Beautiful a capella vocalists.
Their contemporary harmonising style absolutely transformed the
cathedral and they’ll be appearing this year at the Bluecoat.
Brouhaha’s International Carnival launch was also an essential
part of LightNight in 2011, with its scores of dancers, mad puppets
and general good-time vibes. You can catch it this year as it winds
down Rope Walks Square, Bold Street, Church Street, Whitechapel,
Williamson Square and finishes at Clayton Square.
It’s the diversity, from the audacious to the inventive and plenty
more besides, that appeals to me and helps make LightNight feel
like the city’s waking up again. Maybe more than that, it counters
the impression that the arts have to be elitist or something hard
to enjoy. It is a bloody good night out whichever way you slice it,
and above all there is a strong sense of playfulness.
The theme for 2013 is Memory And Identity, and there are
which features photographs showing the library’s books being
many quality standouts in this year’s line-up. I’d say don’t miss
the large-scale projections by media artist Andy McKeown.
They’ll be absolute mindblowers, projected onto the George’s
Dock Building, The Oratory at the Anglican Cathedral, and a huge
derelict building on Bridgewater St. Expect plenty of shifting and
shimmering on a cosmic scale!
Look/13, Liverpool Biennial’s International Photography Festival
launch, asking what happens when we create photographic
images of identity, subjectivity and the self, is another essential
highlight, including Rankin’s moving photographic exhibition at
the Walker Art Gallery, and identity exploration through a lens at
the Bluecoat.
Bakehouse, a night of pure vintage vinyl spun by The Dolls,
ace bread and local exhibits. At FACT, the wonderful
Bonnacons of Doom are also highly
recommended: an audiovisual journey
through inner and outer space,
commissioned by the
Liverpool
International
Festival Of Psychedelia.
On the comedy
front, Impropriety
will be doing
their
extremely
sharp and surreal
improvised sessions
in the old court cells
at St George’s Hall (I
hate a lot of improv
but Impropriety are
world class and pretty
unmissable).
In a more
traditional
vein,
the rather excellent
Central Library opens
its doors again, newly
refurbished and ready
for action. The Central
Library has always been
magical to me and to have
it back is a major addition to
the evening and the city. For more
background, also take in Mark
McNulty’s The Libraries
Gave Us Power at
Bold
Coffee,
Street
CLINIC’s Ade Blackburn
Guides Us Through
LIGHTNIGHT 2013
reassembled.
These are just a few highlights of what’s on offer this year;
there’s a good deal more to seek out and blow your mind further.
In fact, I think the thing that appeals to me most about the event
is not one particular element, it’s the countless independent
studios, galleries and smaller organisations which are also letting
people in to look around, enjoy their work and see that the arts
are open to everyone. It’s the openness that I love. It shows art
needn’t just be for the rich, or some secret cult you have to join
to be privy to. In particular, the ever-excellent Arena Studios in the
Elevator building on Parliament Street get my vote for some of
the best nights out (in a studio space) ever. They’re usually ‘out
For the music heads, there’s the Dilettante Disco at Baltic
there’ and testing reality, but all the better for it.
This fourth year, the festival is bigger than ever, and it really
feels to me like the culmination of something
we’ve been striving to see in the city for
a long time. A real celebration of
the depth of our creativity.
Long may it continue.
lightnightliverpool.
co.uk

18 Bido Lito! May 2013
HAS YOUTUBE Reviews
KILLED THE VIDEO STAR?
Words: Christopher Torpey / @CATorp
Illustration: Leon Russell / leonrussell.co.uk
Few could have imaged the sea change ushered in by The Buggles
in 1981, as their synth-pop reworking of Bruce Woolley & The Camera
Club’s lament morphed the previously cosy relationship people
had enjoyed with pop music forever. The ensuing journey through
music’s dalliances with the screen is explored by FACT’s current
exhibition, The Art Of Pop Video. It is in this context that Bido Lito!’s
Christopher Torpey
examines the future of the art form, ahead of an
event at FACT on 14th May, which will feature some of the leading
videographers of the YouTube age...
The way we consume music videos has changed
markedly in a very short space of time, with computer
screens and mobile devices usurping TV as today’s focal
point for pop’s three-minute wonders. A whole new
generation of creators has been switched on to the format
as the nodes of our computers fire with the production of
the new wave of videos to feed this desire. The traditional
idea of the music video star Video is slowly Killed being The Radio eroded Star by
a new digital wave of clever visuals and nifty special effects. So,
should we be asking… HAS YOUTUBE KILLED THE VIDEO STAR?
The music video is ingrained in the fabric of popular culture, and
the golden age of MTV helped to popularise it as both a genuine
piece of musical entertainment and a valid artistic form. From the
high art of Anton Corbijn to the glitzy bling of Hype Williams, an
entire generation of music lovers
experienced its music as much
through the visual impact of stunning
music videos as through conventional
audio formats. And with the prediction
that, by 2014, over 90% of all content
viewed online will be video (according
to net analysts Cisco, as well as YouTube Vice President Robert Kyncl),
this doesn’t look something that will stop soon.
Video-sharing sites YouTube, Vimeo and Dailymotion are the current
playgrounds for the vast majority of contemporary filmmakers.
Although the majority of YouTube’s one billion monthly unique
users settle for watching ‘Epic Fail!’ compilations and clips from their
favourite films, music still forms a huge part of the four billion hours
of content streamed each month: fourteen out of the top twenty hits
are music videos. These online film platforms
benefited from the slump in MTV’s ratings
that saw viewers defect en masse from TV
to the more fast-paced, on-demand, webbased
world. In the period 1995-2000,
over a third fewer
music videos
were played on MTV,
prompting
MTV president Van
Toeffler to admit that “clearly
the novelty of
just showing music
videos has worn off. It’s required
us to reinvent ourselves to a
contemporary audience.” MTV was
forced to reinvent
itself as a broader entertainment network, and
allowed the music video focus to shift
to the web.
Ease of use has also helped break
down
barriers in the rise
of one of Web 2.0’s biggest success stories (YouTube is the third most
viewed website on the internet, behind Google and Facebook), with
free basic hosting and online editing software making it a virtual
no-brainer for all musicians to have a YouTube presence. Couple
that with the ready (and cheap) availability of filming and editing
technology, and the production and dissemination of music videos
has never been so easy. This has opened up the medium to a whole
new generation of would-be producers, exposing it to a swathe
of new ideas that are starting to tug the music video in ever more
inventive directions. The delicious possibilities of digital editing are
exhibited by the deft work on Radiohead’s House Of Cards video
(which uses laser mapping in lieu of real cameras to capture shifting
digital realisations), and by the innovative animating of the prolific
Cyriak. Manipulation of stock footage, as seen in Cyriak’s work for
the brand new video for Benobo’s Cirrus, is becoming an increasingly
popular motif at which even amateur filmmakers can try their hand.
So, with the world and his wife able to make a music video at the
drop of a hat, it begs the question: does the sheer ubiquity of video
now floating about online cheapen the form, from a filmmaker’s
perspective? Lee Isserow has fifteen years of experience in the
film and TV industry (including producing music videos for Arrows
Of Love and The Helmholtz Resonators), and he sees the YouTube
explosion as a dilution of his trade. “Every moron with a camera
thinks they’re Kubrick now, and so I end up having to watch an awful
lot of lazy, boring videos by bands that in the past would have come
straight to me, just because their friend thinks they’re a music video
director now.” On the flipside of the coin, master of 3D animations
and visual effects Mike Isted of Deerstalker finds it hard to find any
disadvantages. “From an animator/director/filmmaker point of view
it’s never been so good. Exposure is important for any artist in any field
and YouTube and Vimeo etc. are the perfect platforms.” Isted’s lyric
video for Muse’s Madness is closing in on 10 million views, a project
created entirely on his computer. So,
at the cutting edge of film
like him, the computer is surely
important than the camera?
neither - I’d say your vision
the most important tool,”
clarifies. “I’d say the digital
film making is just as creative, if
The computer allows the
user to explore realms
that just wouldn’t be
possible
traditional
tools
of
filmmaking.”
Jack Whiteley
has built up
an
with
impressive
collection
of
short film work of
late, not
for someone
production
more
“No,
is
he
side of
not more.
least the music video for Stealing
Sheep’s Rearrange; his take on the
camera/computer debate is more
succinct: “The camera came before
the computer, but the mind came
before the camera.”
And still the innovation continues, with music videos hurtling
down virtual rabbit holes as film producers push the boundaries
even further. Passive consumption is next on the hit list: “I’m currently
working on an interactive music video
for Muse,” Isted explains, a result of the
runaway success of his first project for
the band. “The user will have to be on
the internet to view and interact with
the video. In terms of a normal video/
animation I don’t believe it makes a
massive difference how you view it.”
Chris Milk is already a pioneer in this
field, having dreamt up two interactive Google Chrome Experiments
around music videos that engage the user. Milk’s interactive pieces
for Arcade Fire’s We Used To Wait (The Wilderness Downtown) and
Rome’s 3 Dreams Of Black allow users to journey through their
own bespoke videos, and feed information back in to change the
experience for subsequent viewers. This two-way interaction could
be the next frontier of music video development.
In an age where identity is more
important than ever, online platforms
have helped to open new possibilities,
for artists and fans alike. With constant
advancements in mobile technology, a
new era in music video development
is coming, one that will be powered
by the crowd-sourced creativity of
YouTube. As we stand on the precipice
of a revolution in video, the tagline
that accompanied MTV’s launch in 1981
couldn’t be more apt:
“You’ll never look at music the same way again.”
The ‘YouTube Killed The Video Star’ panel discussion, featuring
Bido Lito! In Conversation with Lee Isserow, Mike Isted and
Jack Whiteley, takes place at FACT on Tuesday 14th May.
Tickets are free, but limited. Visit
videostar.eventbrite.com to book.
Want to share your favourite
music video with us? Send us a link
using #favemusicvideo, and we’ll be
sharing a selection
of ours too.

20
Bido Lito! May 2013
Previews/Shorts
DIRTY BEACHES
An exceptionally exciting
outing at The Shipping Forecast
sees critically-lauded Canadian
outfit DIRTY BEACHES drop by for a
spot of genre-hopping. Creating an
off-kilter mixture of 1950s rock ‘n’ roll mixed with RnB and elements of ambient drone,
Alex Zhang Hungtaihi’s new double album Drifters/Love Is The Devil would be a perfectly
unsettling soundtrack for the next David Lynch opus.
The Shipping Forecast / 9th May
SUUNS
Riding on a wave of critical
hype and genuine word-of-mouth
excitement, the placidly haunting
SUUNS were a huge talking point
after their performance at last
November’s All Tomorrow’s Parties. Finding a sweet spot of psychedelia laced with progressive
rock themes, the group have won comparisons to Suicide, Link Wray and, closer to home,
Clinic. Not to be missed.
The Kazimier / 17th May
In what now has now become
a highly welcome family tradition,
LOUDON WAINWRIGHT III
a member of the formidable
Wainwright clan plays at the Phil
each year. This time it’s the turn of
Rufus and Martha’s father LOUDON WAINWRIGHT, whose career now stretches to 22 albums,
with most recent LP Older Than My Old Man Now boasting three generations of Wainwright
men on the track The Days That We Die.
Philharmonic Hall / 7th May
East Village Arts Club
The newly-refurbished Seel Street venue has already amassed an impressive roster of live shows for our
delectation in May, with an early highlight of the calendar being the return of bilious Salfordian legends
THE FALL (pictured) on 10th May. “They are always different, they are always the same,” was how one of their
biggest fans John Peel described the band, who are set to release their 30th studio album ReMit later this
month. Hold on to your hats.
Brazilian party-starters CSS bring their Technicolor grooves back to Merseyside on 14th May, having
become an all-girl outfit since they last trod the boards in Liverpool with some memorable shows at Korova.
Tired of being sexy? No chance.
Alongside a humdinger of a Chibuku party with SBTRKT and MODESELEKTOR (4th May), the EVAC sees
GHOSTPOET bring his Bristolian trip hop-infused beats to the venue on the 21st of the month, and highlyacclaimed
New York indie duo WIDOWSPEAK tour last year’s lauded album Almanac on the 24th. Highlighting
the Arts portion of the venue name, meanwhile, is Glasgow-based artist BARRY NEESON, who stages his
exhibition Will Draw For Money at the venue between 3rd and 19th May.
With TRIBES and COVES also booked in for May (15th), as well as a Circus Rebel Rave with ART DEPARTMENT
and DAMIAN LAZARUS (5th May), the club is sure to be rocking.
East Village Arts Club / Various dates
EDGAR JONES
Mellowtone host this showcase
at one of Liverpool’s most iconic
locations, the stunning Palm House
in Sefton Park, with an evening of
music from some of The Viper Label’s
finest singer-songwriters. EDGAR JONES tops the bill, and the former Stairs man is joined by
the prodigiously talented CHRIS ELLIOT and gospel blues troubadour TG ELIAS. HOWARD BE
THY NAME will also be on hand to provide the visual accompaniment.
The Palm House, Sefton Park / 23rd May
ROLO TOMASSI
Though very nearly
uncategorisable (we’ll stick with
‘math-astral-nerd-prog-cosmiccore’),
ROLO TOMASSI’s imminent
arrival in Liverpool is filling us with
glee. Hailed as “one of the most adventurous, forward-thinking and inexplicably overlooked
bands in the country” by NME, the Sheffield quintet will be joined by hardcore exponents
BASTIONS, and Liverpool stoner sludge merchants THE BENDAL INTERLUDE.
The Blade Factory / 14th May
Matching Black Lips and The
Black Angels on stage is no
NIGHT BEATS
mean feat, but that’s exactly what
kaleidoscopic garage merchants
NIGHT BEATS have done, fashioning a
formidable live reputation for themselves. Hailing from Seattle, the trio’s 2011 Night Beats
album on Trouble In Mind is an underground treasure. Liverpool’s own breed of psychonauts
THE WILD EYES and SANKOFA provide the support.
The Shipping Forecast / 17th May
Triple Trouble – Beastie Boys Block Party
Following the untimely early demise of Beastie Boys rapper Adam ‘MCA’ Yauch last year, Brooklyn Mixer
have teamed up with Flying Dog Brewery to commemorate the anniversary of his death with a day-long
celebration of the trio. TRIPLE TROUBLE! IT’S A BEASTIE BOYS BLOCK PARTY! will pay homage to the group’s
groundbreaking hip hop and rock mash-ups by dedicating a whole day of action the Mixer’s stage to NYC’s
finest, running from 2pm until the wee small hours.
With round-the-clock Beasties tunes assured, in addition to this patrons can look forward to fancy
dress with prizes and giveaways, a BBQ, live tributes by DEAD ONE and TOMO SECURITIES, along with
Ultimate Beastie Fanboy DJs who guarantee to throw some teeth-gnashing rarities into the mix. DJs/
MCs were queuing up to pay tribute to one of the most influential collectives of the 80s and 90s, and
those confirmed to appear at the event include BURGUNDY BLOOD, JENOME JIM BOOGIE, ADAM ‘POOKY’
SPEECHLY, DJ CONRAD and B_O_L_T_S.
The event serves as the climax of Brooklyn Mixer’s May Bank Holiday events: interested parties wanting
to limber up beforehand are recommended to try out their Soundcloud mix which can be accessed via the
venue’s Facebook event page. Oh, did we mention that it’s free? No sleep ‘til Brooklyn indeed.
Brooklyn Mixer / 5th May
Gig Guide and Ticket Shop live at www.bidolito.co.uk

22
Bido Lito! May 2013
Reviews
The Strypes (Adam Edwards / @AdamEdwardsF2)
THE STRYPES
The Sugarmen
Harvest Sun @ Leaf
Support act THE SUGARMEN are instantly
eye catching. Their killer riffs are reminiscent
of Soundtrack Of Our Lives and the rattling
garage feel of BRMC at their best. This is only
their second gig too after getting booked to play
following their debut show the previous night.
This presents a slight problem with preparations,
however, as their £15 bass amp bought on eBay
keeps cutting out. Technical issues aside, The
Sugarmen sound extremely promising and well
worth keeping an eye out for.
The hype surrounding THE STRYPES, four
young men (with an average age of 15) from
Cavan in Ireland, has been reaching early Arctic
Monkeys scale. And as they enter the stage it is
easy to see why. Dressed in über-cool mod suits,
Ray-Bans and sweat-free mop tops, the way
they demand your attention with their stage
presence is instantly very impressive. The edge
they possess is something that almost feels
unnatural for a band of their age and makes
you question whether it is some kind of set up.
But it isn’t, the whole thing is contagious. Their
playing is impeccable and proves that despite
their formative years they demand to be there
on merit.
All four members have their own individual
identities, which is a rarity among today’s
identikit bands. Guitarist Josh McClorey (Guitar,
Vocals) initially grabs the attention as he raises
himself on the monitors, eyeballing the crowd
in an almost intimidating manner, whilst his
zig-zagging movements are reminiscent of
Wilco Johnson. Evan Walsh (Drums) keeps the
beat with aplomb and, as the gig goes on,
bass player Pete O’Hanlon comes to the fore
with amazing energy and passion. Ross Farrely
(Lead Vocals, Harmonica, Percussion) remains
emotionless throughout - akin to a young Liam
Gallagher - yet when he sings his classic RnBfront
man stylings are shown off perfectly, and
his ferocious harmonica playing tops it off.
The whole phenomenon isn’t without criticism
though. The majority of the set is covers, among
them Bo Diddley’s I Can Tell and Lieber and
Stoller’s I’m A Hog For You Baby. And herein lies
the problem: as things stand they are essentially
a band doing covers, albeit very well. This has
been done before and I’m not convinced that if
they were ten years older there would be any
fuss about them. The question is, do they have
it in their locker to be able to write relevant new
music of their own? Their couple of self-penned
numbers do seem to be promising but the onehour
set is probably twenty minutes too long as
the initial buzz is difficult to maintain, becoming
somewhat repetitive. Of course, it’s still early
days, and it has been a long time since a band
bursting onto the scene has held so much
promise.
Whether they are more than a one-trick
pony and can produce relevant new music, and
whether they will be playing sold-out stadiums
or Southport Scooter Rally in ten years’ time,
remains to be seen.
Don’t believe the hype? Maybe.
Steven Aston / gigslutz.co.uk
JOHNNY MARR
O2 Academy
“Hello Liverpool, I’ve been looking forward
to this,” gushes the godfather of the weeping
guitar JOHNNY MARR, as he struts on stage
with more swish than a Nike tick. Judging by
the gratuitous chorus of yobbo chants, the
feeling is unanimously mutual as far as this
vested communion of top-buttoned mods
is concerned. The warm reception he lustily
receives is by no means unwarranted: with his
recent anointment as NME’s Godlike Genius,
paired with the acclaimed release of his solo
debut album The Messenger, it was only a
matter of time before his hall of fame status
was permanently engrained into the holy
tablets of rock folklore.
At just one year shy of 50 he’s the coolest
cat in the gaff tonight, as he struts through
a career-spanning set laden with a choice
smatterings of The Smith’s fanboy favourites
(Stop Me If You Think You’ve Heard This One
Before being the first); perhaps there’s still
a yearning nostalgia for a simpler time,
when the mantra “It’s all about the music
maaan” was regularly recited, and Morrissey’s
inflated head and ill-tempered charisma were
portrayed as ‘quirky’ and not just insufferable.
A middle-aged man fiesta ensues nonetheless
– and while Marr’s soft croons don’t quite hit
Jonny Marr (Gaz Jones / @GJMphoto)
Gig Guide and Ticket Shop live at www.bidolito.co.uk

24
Bido Lito! May 2013
the Morrissey sweet spot, there’s more than
enough to salivate over in his newfound role
as solo frontman.
He turns up the bounce for Upstarts, loaded
with a rock ‘n’ roll hook more catchy than the
Harlem Shake, while New Town Velocity retains
a Smiths-esque melancholia that’s married
with lengthy interludes of ad-hoc, shimmering
guitar licks bursting with northern soul. An
overarching blanket of garage rock bravado
encapsulates the divine simplicity of his new
album, a nod towards his brief stint as an
honorary Jarman brother. Instead of decaying
into a satirical ghost of his former accolades,
Marr has contextualised his past, present
and future in this collection of three-minutesomething
guitar-led rock songs. It’s just as
well that his ‘no obvious hits’ credo seems
to be irrelevant amongst his loyal devotees,
as he swaggers towards the finish line with
synthy album title track The Messenger.
A Smiths-centric encore follows, with
How Soon Is Now? and There Is A Light
That Never Goes Out wheeled out for a
schmaltzy sing-along en masse. With his
nostalgic obligations fulfilled, Marr hoists his
Gig Guide and Ticket Shop live at www.bidolito.co.uk
STORNOWAY
Pale Seas
Evol @ The Kazimier
instrument above his head in a rare instance
There’s something so overwhelmingly decent
of triumph and showmanship. As far as
about the music of STORNOWAY, so mature and
Johnny and this capacity crowd of around a
measured and sensible, that you can’t imagine
thousand is concerned, this Northern light is
the band members being any different as people.
never going out.
They’re not just the kind of guys who you could
Joshua Nevett / @joshuanevett
take home to meet your mum, but the kind who
beautifully when matched by that of drummer
Zeelah Izabella Anstey, and together with their
bandmates they make dreamy, lovely music
which gently builds to soft crescendos and brings
to mind sunsets and picturesque landscapes.
A sense of the pastoral is something that is
also ever present in the music of Stornoway,
who are introduced via the most beautiful violin
solo against the stage backdrop of their new
album cover with its shining moon. The fivesome
(they’ve recruited an extra multi-tasking member
for touring) open with the poppy latest single
Albatross, and immediately any concerns that
Brian Briggs’ clear and soaring voice will be
lessened live are dispelled.
The band go into the stunning The Coldharbour
Road next, one of the most emotive tracks from
their first album Beachcombers Windowsill,
and it’s clear we’re in for a special evening.
Stornoway stand out for a couple of reasons;
Stornoway (Alex Nicholson / amhnicholson.blogspot.co.uk)
firstly, there can’t be that many ornithologist-
would do the dishes, bond with your dad and
turned-frontmen. More importantly, in the
make your little sister laugh.
aftermath of a supposed nu-folk revival - out of
But it’s not any kind of virtuous veneer that
which have come many artists who can seem
has drawn the greyer-than-average crowd
cloying or contrived – Stornoway manage to
here tonight; rather the band’s honest and
be sentimental without being cheesy. It’s an
often moving music, carried by an ever-present
undercurrent of optimism.
First, though, we enjoy PALE SEAS, who touch
upon the kind of woozy romantic sound that
Mazzy Star trademarked in the 90s. Leader singer
Jacob Scott’s high-pitched voice works most
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extremely delicate balance, and one that brings
to mind the unalloyed joy of The Shins.
Musically their freshly-pressed second record
Tales From Terra Firma sees the band flesh out
their sound (see the baroque (A Belated) Invite to
Eternity) and there are proper weird-out moments
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handpls! handpls! handpls! handpls!
A BEER BARREL
MUSICAL BUNKER

26 Bido Lito! May 2013
Reviews
tonight; at one point there’s even a wooden
stump being sawed onstage. For effect. However,
it isn’t the overt musicality that resonates - but
rather the simple and heartbreaking romanticism
that Briggs nails in the likes of Fuel Up, or newie
You Take Me As I Am. Boys, take note.
We are treated to two new acoustic songs,
with Briggs performing a stunning rendition of
November Song completely off mic, and later
during the encore the whole band chip in to
sing The Ones We Hurt The Most accompanied
only by strings.
Right down to the slightly awkward but
charming between-song banter, this band ain’t
faking it tonight and we hope they never do.
True gentlemen indeed, they’ve made the effort
and made us feel special.
Jennifer Perkin / @jhperkin
BILL RYDER-JONES
Delta Maid
2000 Light Years From Home
@ Camp And Furnace
Following a move to Nashville, DELTA
MAID has somewhat understandably found
success as a songwriter Stateside: her recent
co-write for US country band Little Big Town
scored a gold disc across the Pond. Returning
to stage work in Blighty, a stripped-down
approach with the singer appearing solo is
opted for, reducing the songs down to their
bare structures, with only an acoustic guitar
to map out the tracks, dispensing with the full
backing band of years past.
Unfortunately, when compared to
contemporaries such as Lindi Ortega, a
singer-songwriter who takes traditional
country and imbues it with new life, Delta
Maid’s material struggles to raise its game
beyond the merely straightforward. A feeling
of sameyness begins to creep in over the
course of the set, the tracks largely rolling
along at the same tempo, with many of the
Bill Ryder-Jones (Alex Nicholson / amhnicholson.blogspot.co.uk)
songs principally based around similarly
descending guitar figures.
BILL RYDER-JONES, taking to the stage in front
of the expansive backdrop of the album cover to
A Bad Wind Blows In My Heart, leads the band
into the reproachful minor key melody of the
album’s title track. Following lauded debut solo
LP, imaginary soundtrack If..., the second opus
sees Ryder-Jones reappear in a singer-songwriter
guise fronting a band, alternating between the
upright piano and guitar.
Backed with harmonium-like keys - supplied
by The Coral’s Nick Power on organ - the new
tracks, in keeping with the ethos established
on novel adaptation If..., draw their strength
from low-key melodies that percolate in the
mind. The crack squad of musicians assembled
and the quality of the tunes, such as the
sumptuous likes of Lemon Trees and lead single
He Took You In His Arms, overcome any nerves
emanating from Ryder-Jones (this is only his
second gig) in his new-found role as frontman.
While the second room at Camp And Furnace
is comfortably full, the big echo-y space isn’t
entirely suited for the slow-burning melodicism
of the new LP; however, the jangling likes of
There’s A World Between Us manage to skewer
any real reservations.
The highpoint arrives with the wonderfully
wry You’re Getting Like Your Sister, piloted by
Ryder-Jones’ sidewinding lead guitar lines. It
sidles past with the same resigned air as Pulp at
their most downbeat, the title easily a ringer for
a lyric Jarvis could conceivably pen.
Proceedings are marred, however, by a nearconstant
murmur of chatter that burbles away
from near the bar area and continues for the
remainder of the gig. Despite repeated attempts
to quell the gabbing, with Ryder-Jones politely
asking for quiet, it continues. With his irritation
plain to see those listening can’t help but share
his frustration.
Concluding with the second instalment of A
Bad Wind Blows In My Heart, the drama with
which the songwriter suffuses his soundtrack
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work is aired, building majestically before its
denouement: an impressive showcase for Ryder-
Jones’ material in microcosm.
Richard Lewis
FICTION
Broken Men – The Shadow Theatre
Evol @ The Shipping Forecast
It comes as little surprise that a strong line-up
of killer bands makes for a cushy set up for any
headliner, which tonight happens to be FICTION.
Before we meet the main billing, the plethora
of musical offerings is, in layperson’s terms,
boss. THE SHADOW THEATRE regale the modest
crowd with intense, Ian Curtis-styled vocals
and an amalgamation of heart-pumping drums,
guttural bass and classic fast-paced indie guitar.
Following them, suited and booted BROKEN
MEN give a typically raucous performance of
rock ‘n’ blues, clearly in a jovial mood as they
run through their set, as proven by the bassist’s
intermittent maniacal laughter.
At this point the presence of Huw Stephens
lurking at the back is an unspoken source of
excitement for the room, which is gearing up
for the main attraction. Having said that, it is
a bit of an uncomfortable moment as Fiction
take to the stage: one gets the impression that
their art-school aesthetic is somewhat lost on
the audience as one egged-on member shouts
“geography!” at the shy-looking group. Initially
the awkwardness of this situation seems to
dominate the first few songs. Thankfully, a
badly told Beatles joke by bassist David Miller
seems to ease the pressure and the band
relax into latest single Careful. Phew. There
seems to be an inane number of effects pedals
peppering the stage, which are used to their full
potential in the track, creating several layered
sound references, from 80s synth pop to choir
vocals. The percussive side of things takes hold
on track Think, with a smattering of djembeinfluenced
drum effects. The impression is
that Fiction have thought about this aspect
of their sound: visually, the drums are the
centrepiece of the stage; it seems almost as
if each member is playing faced towards their
drummer instead of their audience. Given
this fact, it does not help things when said
drummer seems to slip periodically out of
time when it comes to the more ambitious
drum arrangements of tracks such as The
Apple. More solidly performed tracks like Be
Clear cover the unfortunate cracks for the rest
of the set and, eventually, everyone seems to
be having a nice time. Perhaps the size of the
venue, the presence of Mr Stephens, or simply
tour fatigue are to blame, but tonight Fiction
do not deliver the artfully-crafted sound
promised on The Big Other, having seemingly
overstretched themselves.
Flossie Easthope / @feasthope

30
Bido Lito! May 2013
Reviews
FAINTEST IDEA
Liberation
Antipop @ MelloMello
At the turn of the year, promoters Antipop
had punk fans salivating all over their best
tartan pants with the announcement that they
had bagged Minutemen legend Mike Watt
for a show in March. The visit of scary doommetallers
Bongripper in April appeared to be
a canny attempt to reach other musical circles
while still remaining steadfastly true to the
‘anti’ brand. Tonight they welcome considerably
less scary South East ska punks FAINTEST IDEA
back to Liverpool less than a year after the band
last graced our streets.
In support are Wigan’s LIBERATION, whose
dub-flecked ska is curiously sans-brass (who
says you need a brass section in a ska band
anyway?). Singer Joe, with his sleeveless jacket
and flat cap, seems to be attempting to fit the
mould hewn by punk rock troubadours such
as Joe Strummer, Tim Armstrong and, more
recently, Brian Fallon. Musically, there is little
new ground being covered, but Liberation
certainly have some nifty songs; the mid-paced,
harmony-driven Can’t See You Coming, with
its infectious “woah-oh” intro is perhaps their
closest thing to a pop song.
Two token crowd-pleasing covers (Sublime’s
Bad Fish and NOFX’s Radio) are craftily
positioned in the set with the apparent sole
purpose of getting everyone off their arse to
dance. It works, and there is full participation
for set closer Make Peace the intro of which,
by their own admission, unabashedly rips off
George Michael’s Faith and ends with a tin
whistle solo.
Faintest Idea are one of the tastiest bands on
the roster of Manchester DIY label TNSRecords.
Unlike Liberation, the Norfolk quintet favour the
brass set-up; their saxophonist and trombonist
seem to come perilously close to thumping
each other as they jockey for a turn on the one
microphone. Make no mistake, this is ska done
to a high standard, with sincerity, humility and an
overarching sense of fun: the way it should be.
The reaction to set highlight Bull In A China
Shop immediately incites a greasy sea of
revellers to lurch forward and thunder around
the room like, well, bulls in a china shop really.
Those who come up for air keep going for
Mutual Aid which, with its lilting parps of brass,
meandering bassline and machine-gun vocal
delivery, is nothing short of glorious.
Confident in the danceability of their own
material, they opt to leave their own cover,
The Specials’ Gangsters, for the finale. It’s a
homage which is worthy but, judging by the
rapturous reception to their own material,
largely unnecessary.
Jaws (Adam Edwards / @AdamEdwardsF2)
JAWS
The Loose Hearts – The Benisons
Bam!Bam!Bam! @ MelloMello
Pete Charles
Hot on the lips of many within British music,
JAWS tonight grace the stage at MelloMello in
their first headline visit to the city. Expectation
is high for the young Brum indie hopefuls as
they garner similar hype to recent Liverpool
visitors Swim Deep and Peace; both bands also
being heavyweights of the currently booming
Birmingham music scene. First on tonight’s
bill, local support act THE BENISONS shuffle
onstage and launch into their set with angsty
vocals and lyrics, portraying typical teenage
lifestyle imagery. THE LOOSE HEARTS don’t
quite capture the audience’s attention, but still
manage to offer further insight into locallybased
musical talent.
Now time for the headline act. The crowd is
starting to swell in anticipation, and opener
BreeZe sends the room into a trance. Lush,
layered guitars reverberate around the venue
and encapsulate tonight’s colourful vibe. The
refrain “I want it, I need it, yeah,” floats over
tropical-sounding drum beats and effervescent
Fender guitar tones. Donut now builds up in a
similar fashion, with swirling reverb and bass
riffs intertwining throughout verse and chorus.
It is hard to believe that Jaws only played their
first gig one year ago almost to the day, as
they are going about their on-stage business
in such a quietly confident manner. Toucan Surf
provides waves of catchy synth and beachy,
scuzzy guitar melancholia. Sparse, spacious
drums give the song a more relaxed appeal,
and heralds likenesses to bands such as Beach
Fossils and DIIV from across the Atlantic. Whilst
remaining muted in-between songs, Jaws are
producing a set which backs their current hype
as one of the country’s brightest young music
hopes for the near future. In anticipation of
their upcoming Milkshake EP, Jaws tear into
newer songs Gold and Friend Like You; the
latter having recently been released as a single.
Whilst quintessentially surf pop, this single is
offering more of a post-punk feel with needlelike,
angular guitar riffs drenched with reverb,
sounding almost like The Chameleons or
Interpol for a brief moment. Connor Schofield
(Vocals, Guitar) only addresses the crowd to
introduce song titles, although he smirks at
the more actively vocal sections of tonight’s
audience, who seem to know every lyric that
the band have thus far produced. Their earlier
double A-side single Stay In is getting an even
better reception from the crowd, being one
of the songs that focused so many people’s
attention on the band. Final song Surround
You culminates with shimmering, distorted
synth and twinkling guitars. Jaws have
produced an impressive taster of what is yet to
come from these promising young lads from
the West Midlands – and they’ll be returning to
Liverpool in July.
John Wise / @John__Wise
FANG ISLAND
No Spill Blood – Alpha Male Tea Party
Harvest Sun & Evol @ The Kazimier
ALPHA MALE TEA PARTY perform tonight
dressed in bio-hazard suits, recalling a more
grounded Barberos (or indeed a less grounded
painter and decorator.) They play loud, off-kilter
and largely inoffensive riffs that neither grate
nor catch the ear.
Fang Island tour support NO SPILL BLOOD
are an Irish three-piece consisting of members
of Adebisi Shank, Elk and Magic Pockets. Their
sound is a familiar one, particularly around
these parts. Centred around chugging bass
riffs and arpeggiated kosmische synths, they
slot easily into a Kazimier bill, evoking the
likes of Beast/Mind Mountain, Dogshow/
Godwosh and to a certain extent Mugstar.
Fang Island (Ada m Edwards / @AdamEdwardsF2)
Gig Guide and Ticket Shop live at www.bidolito.co.uk

There is a hardcore edge to the vocals that is
at times incongruous to the expansiveness of
its underpinnings but nonetheless adds some
much needed heft.
There is a sense with FANG ISLAND that they
could never disappoint. Unstoppably upbeat
and contagiously happy, their music almost
defies criticism. It would be like kicking a
puppy or crashing a wedding – you’d have to
be a real grouch to do so. Any moments of mild
sloppiness are glossed over with the sound of
major-key duelling guitars in a constant state
of emphatic solo. In fact there is so much solo
that it can no longer be defined as such and
chugging power chords assume the role of
middle eights and respites.
To get an image of a Fang Island show, think of
what would happen if Brian May, Rivers Cuomo
and Andrew WK got pissed and listened to Kiss
records before breaking out the guitars for an
all-nighter. It’s as ridiculous as it sounds but not
in the least bit showy or egotistical – just full
on earnest fun. There’s little time to catch breath
during their set and the lack of an encore ensures
that their performance is compact enough to be
absorbed without outstaying its welcome. Fang
Island are an essential pop-punk booster shot
designed to revitalise and rejuvenate.
Jonny Davis / restrelaxrecords.co.uk
JOHN SMITH
Birthday Girl - TJ & Murphy
Ceremony Concerts and Harvest
Sun @ The Epstein Theatre
Tonight’s modest attendance is no reflection
on the artists on show, as Liverpool is covered
in a thin veil of sleet, and the kettle whistles
its seductive siren song. BIRTHDAY GIRL kick
things off, three lads who’ve obviously heard a
lot of Fleet Foxes and pastoral American rock
in the mould of John Grant. Their voices and
three acoustic guitars blend pleasantly together,
heralding a well-received intro to the gig, and
an act to keep an eye on. The real problem is
the sheer “sameyness” of the set list. They lack
that one killer song – even what is done quietly
must remain in the memory. The foundations of
something truly magical are there, so the hard
work starts now.
TJ & MURPHY are welcomed by the whoops
and hollers of an enthusiastic local fanbase.
There’s real Scouse heart and soul here, but with
the dark undertow of a broken heart. It’s as if Jeff
Buckley woke up in a bar on Mathew Street. The
songs are certainly original, and strong enough
to stand on their own two trainers, which is
why covering Springsteen’s defiant hymn of
existential ennui Dancing In The Dark
initially
seems like a misstep. With an altered melody
line, it all makes perfect sense. Far too good
for the local alehouse, TJ & Murphy are a very
enjoyable proposition.
JOHN SMITH is dressed like a gunslinger,
with the tonsorial precision of a Victorian gent.
“You haven’t heard of me,” he says in a polite
West Country burr. “But that’s OK; I haven’t
heard of many of you.” His music is vaguely
familiar, but somewhat elusive at the same
time. It’s impossible to say exactly what the
genre is: too soulful for AOR, too smooth for
folk, too cool for school. Fresh from a tour
with Richard Hawley, he bears no relation,
physically or musically, to the rockabilly
rebel. However, when Smith sings, there’s the
softness of snowfall and the smoky edge of a
bonfire. He’s certainly an engaging personality,
bantering with the audience about wanting to
do an ad for B&Q.
If there’s any real problem, it’s that the initial
songs are somewhat formulaic (start softly, build
to a crescendo, repeat). They also seem to come
from the well-mined/condemned shaft of “more
songs about my ex”. Playing a set list largely
drawn from his new album, Great Lakes, Freezing
Winds Of Change sticks out like a red flag. Salty
And Sweet uses a standard folk subject (girl
falls in love with a Merman), and turns it to a
gorgeous foot-tapper.
When he sings away from the microphone,
putting the emotional gas on a low heat, Smith
smoulders. When the guitar goes down and he
plays slide, his true talent shines. Maybe this is
where his focus should be. Although John Smith
may have an average name, his music need not
wallow in the mainstream.
KING CREOSOTE
Kev McCready
Ceremony Concerts @ The Kazimier
With a work-rate to shame most other artists
(his recorded output now stands at forty-one
albums and counting), KING CREOSOTE surely
deserves a sit down now and then. But that’s
not the reason he performs tonight’s set in
a sedentary position. A storm-trooper’s boot
encases his lower right leg, due to a broken
ankle sustained just prior to this tour. Hobbling
to the stage on crutches, his discomfort is clear,
but this frailty is a source of extra mirth during
his warm banter with the crowd.
King Creosote has seemingly built a career on
self-effacement. Accompanied by a percussionist
on African djembe drum, tonight’s songs
overflow with wry reflections on romantic failure.
As befits a folky gig, there is a high beard-count
in the venue tonight (although come to think of
it where is that not the case these days?) and a
range of ages are in attendance, sitting at tables
or on the floor.
Despite being nominated for the Mercury
Prize in 2011, King Creosote (real name Kenny
Anderson) is not showing any signs of Premier
League promotion, a fact that is probably a relief
to his core followers. “I love you, Kenny!” shrieks

I DESIGN
BIDO LITO!
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Sun 19th May, 8:00pm.
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Tue 28th May, 7:30pm.
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Fri 31st May, 7:30pm.
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Sun 2nd June, 7:30pm.
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THE GLENN MILLER ORCHESTRA
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Sun 21st July, 7:30pm.
NIGHTS ON BROADWAY
THE BEE GEES STORY
Fri 16th August, 7:30pm.
ROB KINGSLEY
A VISION OF ELVIS
Sat 24th August, 7:30pm.
DANCING QUEEN
Sun 25th August, 7:30pm.
SUPERSTARS OF SOUL
WITH BEN E KING &
JIMMY JAMES
Wed 28th August, 7:30pm.
SEX BOMB
A TRIBUTE TO
TOM JONES & MICHAEL BUBLÉ
Sat 31st August, 7:30pm.
GREG FRANCIS, HIS ORCHESTRA & SINGERS
BERT KAEMPFERT GALA CONCERT
Thu 12th September, 7:30pm.
ALBERT LEE & HOGAN’S HEROES
Fri 13th September, 7:30pm.
THE BEATLES
A MUSICAL CELEBRATION
Sat 28th September, 7:30pm.
LAST NIGHT OF THE PROMS
Sun 29th September, 7:30pm.
THAT’LL BE THE DAY
Fri 4th October, 8:00pm.
THE MAGIC OF MOTOWN
Sat 5th October, 7:30pm.
RAT PACK LIVE
Sun 20th October, 7:30pm.
THE SOUTH
PLUS SUPPORT
Tue 19th November, 7:30pm.
COLIN HAY
Tue 28th November, 8:00pm.
GLENN TILBROOK

34 Bido Lito! May 2013
Reviews
one female admirer. “This one’s for you, then,”
he beams, and launches into Future Wives.
Several of King Creosote’s recent albums have
been vinyl-only releases available only at his
shows. With this DIY folk philosophy closest to
his heart, one feels he would probably be happy
to hand-carve the sleeves out of oak panels.
Bearing comparison with various Scottish
troubadours, at times he recalls the sincerity
of folk master Dick Gaughan, and even a touch
of Billy Connolly on the sing-along innuendo
of “Dum De Dum De Dum”, but where King
Creosote differs most from ‘proper’ folk artists is
in the technical skills he can deploy. Rarely does
he attempt anything other than a rudimentary
flatpicking style. Like that other alt-strummer
Beth Orton, King Creosote came of age on
the 90s festival scene, an era where technical
skill was prized less than campfire-friendly
atmospherics.
He eventually gets round to explaining his
broken ankle – he tripped backwards while
working in a boatyard. If nautical settings are his
natural habitat, it makes sense. King Creosote’s
music evokes the calm reflection of looking
out to sea. References to boats and the ocean
litter his songs, and in their modest, unadorned
simplicity they resemble pieces of driftwood
awaiting interpretation.
One highlight tonight is a surprise cover of
Simon & Garfunkel’s ballad The Only Living Boy
In New York. Other tunes, animated by the pulse
of the djembe, provoke outbursts of dancing
from a cheerful, drunken couple.
Then, after a gently upbeat evening, King
Creosote chooses to end his set with three of
the longest, dullest pieces in his catalogue. One,
a tribute to James Yorkston’s recently deceased
bassist, is surely an admirable sentiment but
dirge-like in the extreme. It is in these last tunes
that King Creosote’s unadorned instrumental
style cries out for some extra decoration - a little
mandolin or harmonium perhaps - to lighten the
drawn-out misery.
Tom George / tomgeorgearts.com
Ergo Phizmiz (Nata Moraru / natamoraru.com)
UPITUP RECORDS
BIRTHDAY WEEKENDER
MelloMello / The Kazimier / Drop The Dumbells
The UpItUp Records Tenth Anniversary
Weekender goes off like a slick, co-ordinated
militant campaign. Setting up base in three
venues over three consecutive nights, UpItUp
– likened to audio terrorists in a previous
feature in this publication - host a triumvirate
of wildness-inducing nights that seek to include
extremely avant-garde theatre, pulverising raves
and feral nights in the dark that seem to have no
discernible beginning, middle or end.
Jacques and Paolo, the charismatic and
enigmatic leaders of UpItUp’s Merseyside
division, draw their followers to MelloMello for an
opening night that Liverpool hasn’t experienced
in a long time, and might not do so again for
an equally lengthy span. The main attraction is
ERGO PHIZMIZ and his associates’ wild, weird
and wonderful stage production, Gargantua - but
more on that later. THE WYRDING MODULE duly
serve up a fearful maelstrom of oesophagustightening,
foreboding, cinematically-inclined
noise, using visuals centre stage as he wields
his black magic in the shadows. The skittish,
thudding bass lays foundations for an aural
collage that encapsulates an unsettling
transition from normality to another dimension.
Ergo Phizmiz - and we’re certain he won’t
mind us saying this - is as twisted, odd and out
of place in this world as his moniker suggests.
Gargantua is so extraordinary, so complicated
and even unique that it’s a testament to its
creator’s dedication that it has seen the light of
day. Let’s try and explain this in his own words,
shall we? “This hallucinatory odyssey through
time and culture tells three simultaneous stories:
one a detective story on the disappearance of the
giant King Gargantua; another of an adventure
by French writer Francois Rabelais across Europe;
the third a strange, elliptical board game that

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36 Bido Lito! May 2013
Reviews
draws these threads together, in a story told
by the more than reliable Gargantuan narrator
Orson Welles…” Among the many set pieces are
crazy dancing, miming to old blues and gospel
gramophone recordings, and verbiage that calls
to mind the surreal works of the classic Beat
poets. An enraptured and teeming audience
couldn’t have been wrong in their unequivocal
appreciation of Phizmiz’s work.
On Friday, taking place in The Kazimier, the
label hosts what is best described as a hark back
to a good old-fashioned rave night. A diverse lineup
representing the best, brightest and loudest
of what UpItUp has offered over the past decade
deals their own brand of justice to an equally
diverse crowd - from old-school glowstick twirlers
to the new breed of excitable kids just looking
to get all exothermic up in here. Acts such as
DATASETTE and VHS HEAD make with the crunchy
blocks of funk while, prior to that, local CAPTAIN
JOHNSON opens the night’s proceedings with
a set packed full of more stomp than Michael
Flatley on methamphetamine. An appreciative
and boisterous crowd bounce and bop with the
best of them as the room’s temperature defies
the oppressive weather.
The main attraction is CEEPHAX, and his vast
array of equipment serves him up as some sort
of purveyor of technology porn, or one of those
weird traders you find in post-apocalyptic films.
All in good measure, of course, as his winding
set runs the gamut from calm-before-the-storm
ambience, big, full bassy runs and whipcrackharsh
laser-like electric beats. All in all, one of
the best Saturdays you could have in years.
Come Sunday, and there are a few tired
eyes and dragging feet in Drop The Dumbells.
Meeting up with Jacques and Paolo for the last
time during these festivities, they exclaim their
exhaustion but utter elation at how things have
The Blackout (Jack Thompson)
gone so far. There is, however, the little matter of
another twenty acts and a slew of new faces in
the crowd to deal with.
The cold environs of the venue are stark; you’re
liable to see your breath in front of your face and
feel a chill in your bones. Lucky then, that DJs
and other twiddlers like the long-established
TRACKY BIRTHDAY, BIG EFFIGY and PIERLO are
on hand to get you moving and feel the fire like
they do. The sounds on offer leave you with little
choice but to get in the mix, brush up against a
few other people, slide your hood up, close your
eyes and just let go.
As everybody filters out towards the end,
you wonder whether UpItUp will need another
ten years just to recover from the weekend’s
madness. A lot of love has been gifted to this
most dazzling of enterprises, and rightly so. A
decade of musical decadence has drifted by in a
non-too-orderly fashion. Those who are rightfully
minded will be craving ten more years.
Joseph Viney / @jjviney
RADSTOCK FESTIVAL
O2 Academy
The O2 Academy is swarming with music
lovers this Easter bank holiday; the day is a tenhour
marathon of rock acts spread across three
stages with an after party to follow. NATIVES kick
off the Monster Energy Stage and get everyone
up, bouncing and ready to conquer the rest of
the day. For the more hardcore-leaning fans RAT
ATTACK appear downstairs on the Hardtimes
Stage, and lead singer Mike Hodges dazzles the
audience with his metallic gold pants and sparkly
shirt, which thankfully don’t detract from their
brilliant set which has WE ARE THE OCEAN’s Liam
Cromby screaming for the band. From one stand-

out moment to the next, SONIC BOOM SIX back
up at the Monster Energy Stage are putting on a
brilliant show, Laila K (Vocals) looking the epitome
of cool in her white-rimmed shades and leather
jacket. With arms outstretched and eyes closed,
Laila drinks in the atmosphere of the crowd, which
she and Paul Barnes (Vocals) have created by their
endless stage bounding. If the day had taken its
toll on anyone up until now, this performance
serves as the wake-up point. By the time the set
closes with Piggy In The Middle, the audience are
going wild and are ready to turn around to look up
at the balcony and watch TANTRUM TO BLIND on
the Big Deal Stage. Hailing from Sweden, these
guys - with frontwoman Melanie Mohlkert - carry
on the great atmosphere. Guitarist Simon Junlov
gets a little carried away though, with onlookers
worrying that his forehead and the balcony
banister are going to make a nasty collision.
The arena is getting pretty packed now as
everyone turns around to the Monster Energy
Stage once again to watch THE RED JUMPSUIT
APPARATUS, who have everyone feeling
nostalgic about their younger years to the
sounds of Don’t You Fake It. Things are getting
emotional when the electric guitar is swapped
for an acoustic, and we all know what’s coming:
suddenly Ronnie Winter (Vocals) goes into
Guardian Angel and everyone is singing along
and wishing we weren’t indoors so we could
raise our lighters in the air.
Four hours of solid moshing takes its toll and
many head outside where a crowd of fans and
bands are grabbing some fresh air before going
back inside. Break over, there’s a buzz about the
Monster Energy Stage as everyone is anticipating
the next four acts: YASHIN get everyone going
once again, and put on a great set including a
cover of One Step Closer by Linkin Park. DON
BROCO involve everyone in their set, whether it
be Rob Damiani (Vocals) ordering all the lads to
do push ups in-between his exaggerated dance
moves, or him assigning the girls and guys
different parts to Yeah Man.
We Are The Ocean bring in a huge crowd
and don’t disappoint by rattling through all
their classics, as well as songs from their
new album Maybe Today, Maybe Tomorrow.
Recently-appointed frontman Liam Cromby,
new to singing lead vocals since the departure
of Dan Brown last year, does a fantastic job
of firing up the audience and proving that the
band is still on top form.
And then comes the moment a lot of us have
been waiting for: headliners THE BLACKOUT take
the stage and waste no time in launching into a
heavy setlist that get every member of the crowd
moving. The set is an emotional rollercoaster;
Sean Smith (Vocals) is up to his usual cheeky
chappy antics until the band suddenly stop their
set to allow a proposal to happen. The crowd go
bonkers, and celebrate the soon-to-be-happy
couple by rocking extra hard for the rest of the
set. Who said romance was dead?
Tilly Sharp / @TillySharp
KING CHARLES
Glasswerk @ The Kazimier
For somebody who had toured alongside
Laura Marling and Mumford And Sons, won
the International Songwriting Competition in
Nashville, and signed a global contract before
releasing his debut album (Loveblood) in
May last year, KING CHARLES went relatively
unnoticed until 2012. The London born singersongwriter,
known to his mum as Charles Costa,
has now embarked on his first headlining UK
tour and is about to take to the stage of The
Kazimier. With his cavalier hairstyle pulled
back in dreadlocks and his waxed moustache,
he looks like he has side-stepped straight
out of Blackadder, and brings to mind images
of Prince more so than a king. He launches
into MMM, an indulgent folky track that is
impossible not to nod along to, its plinky and
jaunty feel coming across like a mirror image of
the dandy character of King Charles I. He then
flows straight into Loveblood, the title track of
his debut album, to screams of delight. Fastpaced
and undoubtedly catchy, it trills along by
fusing a medley of reggae folk and indie pop.
His music is ambitious as it marries a variety
of genres in a complex way, and when King
Charles gets it right, the effect is sublime. He
finds his niche straddling the boundaries of
glam folk and pop, but seems too often to get
lost in an array of messy lyrical metaphors and
try-hard poetic verse. At these moments the
lyrical matter seems trite and a little contrived,
falling short of the emotion that King Charles is
trying to convey.
Mississipi Isobel is a toe-tapping, handclapping
extravaganza and is a particular
highlight with its country overtones and
enjoyable melody, but it is the earlier release
Bam Bam that goes down predictably well.
King Charles covers a wide spectrum within
his music, switching from rock-tinged beats to
twinkles of electronica and back round to glam
folk. For the most part, it’s hard not to enjoy
yourself: King Charles has a way of sweeping
you along and pulling you into his performance,
even when you try to resist.
Mixing the whimsical with psych-inflected
bursts, there is no doubt that King Charles
has made a brave album: yet, while covering
so many genres and influences works
exceptionally well on certain tracks, it is the
reason that the standard dips on others. This
aside, his energetic and daring performance in
The Kazimier is very well received.
Lisa O’Dea / @Lisa_O_
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MelloMello
Fresh & Onlys
East Village Arts Club
Blue Rose Code
MelloMello
British Sea Power
St Luke’s Bombed Out
Church
X & Y Festival
Weekend Wristbands
Liverpool Psych
Fest 2013
Camp & Furnace
20/5
31/5
27/9
28/9
13/6
14/6
16/6
6-7/7
7/5
7/5
11/5
11/5
14/5
17/5
17/5
King Charles (Michael Sheerin / michaelsheerin.photoshelter.com)
out moment to the next, SONIC BOOM SIX back
up at the Monster Energy Stage are putting on a
brilliant show, Laila K (Vocals) looking the epitome
of cool in her white-rimmed shades and leather
jacket. With arms outstretched and eyes closed,
Laila drinks in the atmosphere of the crowd, which
she and Paul Barnes (Vocals) have created by their
endless stage bounding. If the day had taken its
toll on anyone up until now, this performance
serves as the wake-up point. By the time the set
closes with Piggy In The Middle
Piggy In The Middle, the audience are
going wild and are ready to turn around to look up
at the balcony and watch TANTRUM TO BLIND on
the Big Deal Stage. Hailing from Sweden, these
guys - with frontwoman Melanie Mohlkert - carry
on the great atmosphere. Guitarist Simon Junlov
gets a little carried away though, with onlookers
worrying that his forehead and the balcony
banister are going to make a nasty collision.
The arena is getting pretty packed now as
everyone turns around to the Monster Energy
Stage once again to watch THE RED JUMPSUIT
APPARATUS, who have everyone feeling
nostalgic about their younger years to the
sounds of Don’t You Fake It. Things are getting
emotional when the electric guitar is swapped
for an acoustic, and we all know what’s coming:
suddenly Ronnie Winter (Vocals) goes into
Guardian Angel
Guardian Angel and everyone is singing along
and wishing we weren’t indoors so we could
raise our lighters in the air.
Four hours of solid moshing takes its toll and
many head outside where a crowd of fans and
bands are grabbing some fresh air before going
back inside. Break over, there’s a buzz about the
Monster Energy Stage as everyone is anticipating
the next four acts: YASHIN get everyone going
once again, and put on a great set including a
cover of One Step Closer
One Step Closer by Linkin Park. DON
BROCO involve everyone in their set, whether it
be Rob Damiani (Vocals) ordering all the lads to
do push ups in-between his exaggerated dance
moves, or him assigning the girls and guys
different parts to Yeah Man.
We Are The Ocean bring in a huge crowd
and don’t disappoint by rattling through all
their classics, as well as songs from their
new album Maybe Today, Maybe Tomorrow
Maybe Today, Maybe Tomorrow.
Recently-appointed frontman Liam Cromby,
new to singing lead vocals since the departure
of Dan Brown last year, does a fantastic job
of firing up the audience and proving that the
band is still on top form.
And then comes the moment a lot of us have
been waiting for: headliners THE BLACKOUT take
the stage and waste no time in launching into a
heavy setlist that get every member of the crowd
moving. The set is an emotional rollercoaster;
Sean Smith (Vocals) is up to his usual cheeky
chappy antics until the band suddenly stop their
set to allow a proposal to happen. The crowd go
bonkers, and celebrate the soon-to-be-happy
couple by rocking extra hard for the rest of the
set. Who said romance was dead?
Tilly Sharp / @TillySharp
KING CHARLES
Glasswerk @ The Kazimier
For somebody who had toured alongside
Laura Marling and Mumford And Sons, won
the International Songwriting Competition in
Nashville, and signed a global contract before
releasing his debut album (Loveblood) in
May last year, KING CHARLES went relatively
unnoticed until 2012. The London born singersongwriter,
known to his mum as Charles Costa,
has now embarked on his first headlining UK
tour and is about to take to the stage of The
Kazimier. With his cavalier hairstyle pulled
back in dreadlocks and his waxed moustache,
he looks like he has side-stepped straight
out of Blackadder, and brings to mind images
of Prince more so than a king. He launches
into MMM, an indulgent folky track that is
impossible not to nod along to, its plinky and
jaunty feel coming across like a mirror image of
the dandy character of King Charles I. He then
flows straight into Loveblood, the title track of
his debut album, to screams of delight. Fastpaced
and undoubtedly catchy, it trills along by
fusing a medley of reggae folk and indie pop.
His music is ambitious as it marries a variety
of genres in a complex way, and when King
Charles gets it right, the effect is sublime. He
finds his niche straddling the boundaries of
glam folk and pop, but seems too often to get
lost in an array of messy lyrical metaphors and
try-hard poetic verse. At these moments the
lyrical matter seems trite and a little contrived,
falling short of the emotion that King Charles is
trying to convey.
Mississipi Isobel
Mississipi Isobel is a toe-tapping, handclapping
extravaganza and is a particular
highlight with its country overtones and
enjoyable melody, but it is the earlier release
Bam Bam that goes down predictably well.
King Charles covers a wide spectrum within
his music, switching from rock-tinged beats to
twinkles of electronica and back round to glam
folk. For the most part, it’s hard not to enjoy
yourself: King Charles has a way of sweeping
you along and pulling you into his performance,
even when you try to resist.
Mixing the whimsical with psych-inflected
bursts, there is no doubt that King Charles
has made a brave album: yet, while covering
so many genres and influences works
exceptionally well on certain tracks, it is the
reason that the standard dips on others. This
aside, his energetic and daring performance in
The Kazimier is very well received.
Lisa O’Dea / @Lisa_O_
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WHY?
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WHY?
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WHY?
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The Kazimier
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The Kazimier
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Loudon
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Loudon
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Wainwright III
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Wainwright III
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Wainwright III
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Liverpool Philharmonic
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Liverpool Philharmonic
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Liverpool Philharmonic
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The Phoenix
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The Phoenix
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The Phoenix
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Foundation
The Kazimier
Furyfest
The Picket
Rolo Tomassi
The Blade Factory
Suuns
The Kazimier
Night Beats
The Shipping Forecast
How To Dress
Well
Leaf
The Computers
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The Computers
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The Computers
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MelloMello
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MelloMello
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MelloMello
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Fresh & Onlys
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Fresh & Onlys
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Fresh & Onlys
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Fresh & Onlys
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East Village Arts Club
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East Village Arts Club
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East Village Arts Club
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Blue Rose Code
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Blue Rose Code
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Blue Rose Code
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MelloMello
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MelloMello
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British Sea Power
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British Sea Power
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British Sea Power
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St Luke’s Bombed Out
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St Luke’s Bombed Out
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Church
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Church
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X & Y Festival
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X & Y Festival
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X & Y Festival
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Weekend Wristbands
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Weekend Wristbands
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Live
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Live
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Live
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rpool Psych
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rpool Psych
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rpool Psych
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Liverpool Psych
Live
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Live
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rpool Psych
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Live
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Live
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rpool Psych
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Live
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Fest 2013
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Fest 2013
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Fest 2013
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Camp & Furnace
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Camp & Furnace
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Camp & Furnace
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20/5
31/5
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27/9
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27/9
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28/9
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28/9
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13/6
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14/6
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14/6
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16/6
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16/6
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16/6
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6-7/7
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6-7/7
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6-7/7
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7/5
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7/5
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7/5
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7/5
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11/5
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11/5
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11/5
14/5
17/5
17/5
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King Charles (Michael Sheerin / michaelsheerin.photoshelter.com)

FINAL WEEKS
Until 12 May 2013
The Performance of Style
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FREE FOR TATE MEMBERS
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of the European Union
With additional funding from Tate Liverpool
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