Issue 55 / May 2015

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44 Bido Lito! <strong>May</strong> <strong>2015</strong> Reviews Duke Special (Jack Thompson / m0nks.co.uk) is delivered in a woozy manner that highlights how versatile Marchant’s vocals can be. Sonically speaking he may not have the most impressive voice but the delivery changes on nearly every track to great effect: the sullen drawl of Love More Worry Less gives way to the reserved approach of Deckchairs On The Moon, which explodes into an array of optimism and glitter when the monumental chorus kick in. Marchant’s three-piece live band also deserve enormous credit for ensuring that the more deeply layered songs from Bipolar’s Sunshine’s catalogue are just as detailed when performed live. And then some. There are multiple song covers too: Mad World makes an appearance, but their rendition of Rihanna, Paul McCartney and Kanye West’s recent Four Five Seconds is so organic it almost takes the room a minute or two to realise they are singing someone else’s song. Chatter is kept to a minimum throughout the night except for some very appreciative “thank you”s. Marchant does however instruct the crowd to take two steps towards the stage, presumably to get everyone in attendance on backing vocals which he calls out for frequently over the course of the forty-five-minute set. On record Bipolar Sunshine have a tendency to lean towards a delicate approach that can be construed as a little underwhelming but the live incarnations of these tracks take on a character that is hugely explosive and absorbing. If this formula can be bottled and applied to their forthcoming debut album then Marchant just might make the breakthrough that Kid British (his previous band) always promised but never achieved. Matthew Cooper / @C00pasaurus DUKE SPECIAL Arts Club DUKE SPECIAL is one of those performers who has been around the music circuit for a long, long time but still remains an underground artist. Instead of having an exorbitant fanbase, he has staunch followers who keep one beady eye on announcements for new work and one ear turned towards the radio, hoping for Freewheel to come out of the speakers. Eager anticipation fills Arts Club tonight as people are craning their necks to see through the wings of the stage. When Duke Special finally fumbles onto the stage, in standard Victorian-cum-hipster attire with dreadlocks falling all over the shop, the opening could be described as inauspicious. The track – Elephant’s Graveyard from new album Look Out Machines! – pays homage to early Placebo, which is an unexpected diversion and perhaps not an altogether welcome one. Thankfully, things get back on track with No Cover Up, and later Duke takes some classic requests and does a memory-jogging performance of Last Night I Nearly Died. It’s these songs in particular that remind you how good a live proposition Duke is; you don’t just get songs regurgitated from his albums, instead, each one is slightly different from the recorded version. The theatrical surroundings perfectly reflect the interesting listening tonight and the crowd respond accordingly. Duke always brings something peculiar to the table and this evening is no different when he announces he’s going to perform three covers of songs from surrealist poet Ivor Cutler. I Am Going In A Field makes for a welcome whimsical interlude. A highlight is his stripped-back version of Freewheel; tearing my eyes from the pianoclad performer, I see people wiping their eyes and it’s understandable. This, perhaps his most famous song, is incredibly moving. More readily recognised as an anthem-sized tune from the Songs From The Deep Forest album, tonight it is gentle, with a sadness that could even have me shed a tear. Duke is constantly changing the tempo of the evening and follows up the emotion of Freewheel with a cover of Kurt Vile’s Applejack. The various covers which smatter tonight’s set allow us to see from where the Irish troubadour drawers his inspiration – from the quirky performance style of Tim Minchin to the oddness of Kurt Vile and Ivor Cutler. I beseech everyone to take in a Duke Special show. The Placebo influence could perhaps be left out, however. Naters P / @natersp BROOKE SHARKEY Adam Beattie The Caledonia Stepping into the Cali on a foggy Easter Sunday evening as ADAM BEATTIE, long-time collaborator of headliner BROOKE SHARKEY, takes to the stage, offers some welcome respite from a hectic Bank Holiday weekend. Soaked in the flavours of East Coast 1920s blues, and with a voice to match, Beattie’s strong and laconic melodies seem just as suited to a cross-country hobo boxcar ride as to the busy confines of Liverpool’s greatest music pub. He finishes with a song about his grandfather, The Song Of A Hundred Years, a stunning end to a set of sublime beauties. London-based singer-songwriter Brooke Sharkey was born in England and spent her teenage years in France. At the age of sixteen, bidolito.co.uk
WRS WIRRAL REHEARSAL STUDIOS Permanent secure rehearsal 2 mins from the tunnel REHEARSAL STUDIOS PRIVATE 24/7 STUDIOS FROM LOCKUP +1 FULL DAY £25/4HRS £46/WK £30/WK PRO REHEARSAL STUDIOS FREE CAR PARK 2 MINS FROM THE TUNNEL 24 HOUR ACCESS PERMANENT SECURE ROOMS EASY LOADING ACCESS 07906376701 WWW.WIRRALREHEARSALSTUDIOS.COM OPEN MIC IN assOCIatION wIth MEllOwtONE EvEry wEdNEsday frOM 8PM frEE ENtry Featuring guest hosts, guest DJs and whoever wants to come and play... Original songs. Bring your own Guitar. @magnet123 magnetliverpool w magnet-liverpool.co.uk @mellowtoneclub mellowtoneclub www.mellowtone.info
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Issue 55 / May 2015

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