Issue 16 / October 2011


October 2010 issue of Bido Lito! Featuring THE CUBICAL, BIRD, ERIC'S, SON OF DAVE and much more.

Issue 16

October 2011

The Cubical



Son Of Dave

The Cubical By Jennifer Pellegrini



After my flagrant dalliances with the rights of the press and

our city’s riots in my previous two columns, this month’s offering

could be somewhat of a lightweight affair. Happily, our domestic

turbulence seems to have calmed itself over the past couple of

weeks, albeit mildly, and I’m left with less devilish themes to

muse. I suppose it gives me an opportunity to welcome back

any returning student expats from their summer hols, and any

budding new scholars turning up in Liverpool for the first time.

You’ll have a blast I’m sure...

When we launched Bido Lito! back in May 2010, it was with

the rallying cry of Long Live Physical Media. In a digital world,

the role of a monthly music publication for a city’s music scene

seemed more important than ever to us; Liverpool needed a

regular, considered print publication that could provide a snap

shop of the scene and an authentic platform for our artists.

Hopefully you’ll agree that over the past sixteen issues we have

provided that, and it is on the back of this that we are thrilled to

announce our foray into cyberspace.

The all new

will go live on 20th October. This

will be our very own digital playground; an online space to

provide music, film and discussion as a compliment and context

to our physical magazine. Bido TV

will be central to the site,

seeing us work with some of Liverpool’s best emerging film

makers, capturing Liverpool’s musicians performing within our

city’s underbelly. Bido Stereo will house guest mixes, our newly

refreshed podcast featuring exclusive live sessions, and an

opportunity for Liverpool artists to submit music to us. Bido Lens

will provide a space to display some of the stunning photography

shot by our expanding team of snappers. We’ll have regular and

guest bloggers, previews of upcoming events, an archive of the

physical magazine and lots more.

But, probably more important than any of this, will be the

new Bido Lito! Gig Guide, a key aspect to the new website. Here,

promoters and bands will be able to upload their shows and

events to the Gig Guide directly, resulting in a comprehensive

database of everything going on in the city. Liverpool has

suffered in recent years from a lack of an all-encompassing Gig

Guide, a central resource for people to find out exactly what’s

happening and when. Hopefully this will soon be a thing of the

past. I hope you enjoy this month’s issue...

Craig G Pennington
















Bido Lito! October 2011 3

Bido Lito!

Issue Sixteen - October 2011

Bido Lito!

Static Gallery, 23 Roscoe Lane

Liverpool, L1 9JD


Craig G Pennington -

Assistant & Reviews Editor

Christopher Torpey -

Photo Editor

Jennifer Pellegrini -


Luke Avery -


Craig G Pennington, Christopher Torpey, Jonny

Davis, Samuel Garlick, Joseph Viney, David Lynch,

The Glass Pasty, Nik Glover, Lee Fleming, Richard

Lewis, Philip Gofton, Pete Charles, Dan Owens, Mick

Chrysalid, Matt Healy


Jennifer Pellegrini, Francisco Mellina, Robin Clewley,

David Howarth


Graham Cheal, Edils Recordings


Debra Williams -


To advertise in Bido Lito! please contact Another

Media: 0151 708 2841


Edited by Helen Weatherhead -

Edited by Helen Weatherhead -



In a move to help promote Liverpool’s finest underground talent, The Krazyhouse &

Sandhills Recording Studios are hosting a new Battle of the Bands competition, starting 21st

October. The final will be held on 16th December, with the winner receiving free recording

time, the chance to create a music video and much more. In order to enter your band contact


The time is nigh: band applications for Liverpool Sound City 2012 are open. The festival are on the hunt

for promising new acts to perform with the usual feast of high-profile bands, across various local venues

and spaces. Sound City are also hosting a Freshers’ Party on 22nd September and £20 early-bird tickets are

on sale now for next year’s festival.


In the same stride as announcing a sell-out opening night featuring The Horrors, LMW confirm

a huge closing party for this year’s event on 11th November at the CUC. Acts include the Mercury

nominated Ghostpoet, Cerebral Ballzy, D/R/U/G/S, The Phantom band and local faves, Outfit.

Early-bird tickets are now on sale at £6 until 23rd September.


After an enthralling event during March this year at Cork Airport, Ireland, Static Gallery are

to host a re-presentation of their multi-faceted art and music experience. The musical element

of the original event hosted artists such as And So I Watch You From Afar, Shackleton and

Bill Drummond. Expect a similarly eclectic series of musical commissions in the Liverpool representation.

Facebook: Terminal Convention


Liverpool Acoustic’s Songwriting Competition in collaboration with The View Two Gallery, kicks off

on 8th October. To enter the competition, songwriters must write a piece of music that is inspired by

the art on display, which will then be performed at a showcase event on 11th November. All proceeds

will be split between Marie Curie Cancer Care and Garston Animal Rescue, in memory of Liverpool

Acoustic team member, Sharon Jones, who died in May 2011.

Bido Lito! have teamed up with the wonderful folks at Mean Fiddler and the Liverpool Echo

Arena to offer one lucky reader the chance to win a pair of tickets to see the global icon and

prolific hip-hop superstar SNOOP DOGG on 6th October 2011 at the Liverpool Echo Arena. To

be in with a chance to win, answer the following question:

SNOOP DOGG has recently been hitting the airwaves with the hip-pop

shenanigans of Wet, however, who was the disc jockey who produced the

remixed version, Sweat?

To be in with a chance of winning, email us at The closing date is 5th October. The first 10 correct

answers will be placed into the big pink hat, the winner picked at random and notified by email. Good Luck!

Bido Lito! Dansette

Our pick of this month’s wax


Dead Cities

Tape Song 2


A tasty teaser from their upcoming album

This Killer Wave, Liverpool’s exemplary

multi-instrumentalists DEAD CITIES lay

bare their souls with their traditional

marque of lovelorn folk that tugs at the

heartstrings. Fans of Damon Gough and

fireside singalongs will find more than

just solace for their broken hearts here.



Father, Son, Holy Ghost


Now expanded to a five-piece, San

Fran’s GIRLS have lost none of their

charm or pop sensibilities in putting

together their second full length

record, and nor has Christopher Owens

lost his sardonic tone or winsome

melodies. A wide-eyed collision of

Beach Boys and Ariel Pink, this will

melt your heart.

Lucky Beaches

Group Hallucination


Buckle up for the return of the Scouse

pop spaceman! A sun-kissed slice of Los

Angeles, this latest single from LUCKY

BEACHES hits as the last rays of summer

are dying down. Bolan, Lennon, dollops

of countrified soul and lashings of

chunky riffage are mixed together in this

glorious mélange.

This Is Two

For Friends : For Enemies


Dynamic post-hardcore rock outfit THIS

IS TWO are not for the faint of heart.

Bursting out of your speakers with a

blaze of riffery and deft kinetics, these

locally-based young punks are currently

off recording a new EP at Start Together

Studios in Belfast. Prepare for a fresh

assault on your eardrums.


Bido Lito! October 2011

[Rock’n’roll] CUBED

THE CUBICAL are a band

for this album: “The first one

used to the shadows.

we did with Sardy in LA over

Beyond their avid fan

five days: it was very much

base in Europe, and an

extensive popularity with

go in and bang it out live,

and that was really good.

fellow musicians, there

This one’s been recorded with

has been scant fanfare

for their efforts thus far.

As they huddle and plot in

the shadows of a darkened

church you sense that a

change is in the air, and

that they are ready to drag

Words: Christopher Torpey

Photography: Jennifer Pellegrini

Keith [Thompson, of Liverpool

band Bird], and we’ve spent a

good few months on it. It’s

a totally different approach

really, refining it the way

we want.” Wilson: “It’s got a

brass section on it for four

rock’n’roll kicking and

or five songs, and that’s

screaming back in to the

light. You have been warned…

Inside, away from the shadows, three of The Cubical’s protagonists – Dan

Wilson (Vocals/Guitar), Alex Gavaghan (Lead Guitar/Backing Vocals) and Mark

Percy (Drums/Backing Vocals) – gather round to chat to me about their new

album, It Ain’t Human, recorded with fellow band members Craig Bell (Bass)

and Johnny Green (Guitar). Their particular brand of fizzing and raucous bluesyrock

has been lapped up by a barrage of European fans, and demand for live

shows has escalated beyond belief, yet it’s still somewhat of a mystery why

their continental popularity has outstripped their home-grown support. “It’s

quite obsessed with trends over ‘here, I feel,’ states Wilson, by some way of an

explanation, “whereas in Europe, generally, they’re not as concerned with trends,

and quick-passing fads.” “They’re still in to their rock’n’roll,” asserts Percy.

For a band who encompass everything from the Stones to The Raconteurs,

taking in The Magic Band, Nick Cave and Tom Waits along the way, an appreciation

of the primal thrust of rock’n’roll is key. One such person who got The Cubical

vibe from early on was Dave Sardy, legendary producer of retro-ist albums by

Oasis, Primal Scream and The Black Angels among others, who invited the band

over to his Sunset Sound Studio in Hollywood to record what would become

their debut LP, Come Sing These Crippled Tunes. Sardy managed to capture

their energetic and crackly buzz, which paved the way for critical acclaim and

plenty of record label interest: Grabaciones De Impacto (Spain/EU), Fuse/High

Spot (Australia), “something unpronounceable” in Norway, and Record Collection

(USA) have all signed up to put out the forthcoming album, yet they are releasing

it through their own imprint, Halfpenny Records, in the UK. Is this another sign

of struggling to win over people in their own country? “We just wanted to do

it ourselves, and keep 100% of the profits,” says Percy, only half-jokingly I feel.

“It’d be nice to defy the rules for a change, do it ourselves and be honest.” He

goes on to explain how a more measured approach has been taken to recording

been really good to give it a

different sort of edge.” Subtly used, the extra hues added to certain tracks by

the brass section give the album another layer, even a warmth, that propels the

piano-led Parisian bar room lilts of Falling Down and Ode To Willie McGrath. It

still remains that The Cubical are at their best when in full flow, as exemplified by

rollicking lead track and single Dirty Shame. Frantic and rhythmic, when they hit

top gear they manage to straddle the divide between Safe As Milk-era Beefheart

and the proto-punk garage rockers that populate the Nuggets album, albeit

without scaling the Don’s madcap heights. Flecks of The Sonics and Creedence

Clearwater Revival pepper the rock’n’roll riot of Rag Time Army and Three Drop

Jameson Mechanism, and Paper Walls is a perfect highlight for Wilson’s larynxshredding

growl of a voice. The Tom Waits tag is an obvious one, yet still the most

accurate to describe Wilson’s gritty tones, combined with a dash of Nick Cave’s

drawl in the delivery and deft lyrical acrobatics. Though slightly hackneyed, these

comparisons must still be quite flattering, but I wonder if the band are happy

with them? “Yeh I am, yeh!” asserts Wilson. “It’s good to be compared to these

people, but the thing that annoys me a little bit is that we often get categorised

as some ‘60s band,” says Percy. “Personally, I think that the music that came out

of Liverpool, the blues music, I think it’s still relevant, and you can take that and

still do something original with it. I don’t think it should be ‘oh, it sounds like

such and such years ago.’ I think it sounds like a band playing rock’n’roll, now.”

Creativity and constant production are traits that The Cubical have in

abundance, and, as a result, the band are about to head over to Lightning

Studios in Berlin to record another clutch of songs for a new vinyl-only album.

A busy period for them then, but it may mean that their rate of production will

finally have caught up with their creativity as a band; and hopefully, so will their


It Aint Human is released on CD and vinyl on 7th November



LEAF (Bold St)






Bido Lito! October 2011




Words: Jonny Davis

in rock history. Owner Roger Eagle

Photography: Francesco Mellina

managed to book some of the era’s

most successful acts including Elvis

In the thirty-one years since its

Costello, the Clash and the Stranglers

‘closure, ERIC’S’ club on Mathew

which in turn helped attract a growing

Street has gained iconic status

number of young, exciting bands such

as a vital breeding ground for a

as Joy Division, U2 and XTC. Local acts

burgeoning post-punk scene. In its

quickly got involved, including Echo

four short years of existence, Eric’s

played host to a jaw-dropping number

of significant bands now canonized

& The Bunnymen, Dead Or Alive and

Julian Cope, who had all risen to fame

by the time Eric’s shut down. Exactly

thirty-five years after its launch, Eric’s

club reopened with a performance by

OMD. With a view to recreating the

electric atmosphere of the original

venue, the new owners hope to enjoy

similar success by bringing in local

and international artists; a bold move


The news has faced its fair share

of criticism from those who feel that

the legacy of Eric’s should not be

Eagle - Eric’s original maverick

tampered with. Particularly the use of

the name (although perfectly legal)

has angered some of the original

crowd who deem it to be a form of

bastardisation for the sole purpose

of making money. Once a vibrant

cultural quarter, Mathew Street is

certainly not what it used to be and

it is difficult to imagine young, hungry

music lovers migrating to the area to

mingle with the stag do’s and chain

Bido Lito! October 2011 9

bars. To get to the heart of the issue,

Bido Lito! spoke with music lovers

young and old in an attempt to get to

the bottom of what made Eric’s, Eric’s.

In a city that trades so strongly

on heritage, it is perhaps easy to

forget that legacy is something often

developed posthumously, when the

dust has had time to settle. It is only

with the benefit of hindsight that one

realises the profound impact spaces

such as CBGB’s, The Masque and

The Fab Mab have on music history.

Huddled in front of the sweaty

Eric’s crowds, Francesco Mellina

took photographs of everyone from

The Ramones to Talking Heads.

He states “It was a case of right

place, right time. The political and

economic conditions combined

to make something happen. The

reputation was enormous but you

never really realised because you

were in the bubble.” It is this ‘bubble’

that sucked in and nurtured an

ecosystem of creative people who

fed off each other. Ultravox were

drawn to Eric’s through its growing

reputation. Singer John Foxx notes

its importance, “You need the places

before the scenes can happen. If you

don’t have that then music dies. New

wave, psychedelia and acid have all

grown from clubs like Eric’s”.

Infinitely more important than the

venue are the personalities behind it.

Roger Eagle had gained a reputation

in the North West through his DJ sets

at Manchester’s Twisted Wheel club

but it was only when he decided to

open his own venue that he was

able to fully indulge his eclectic taste

in music. As a business model it left

much to be desired, and Eric’s was

often poorly attended, but this was

of little importance to Eagle who

continued to book his favourite acts,

regardless of profitability. Resident

artist and occasional DJ Steve

Hardstaff emphasises the importance

of Eagle’s philosophy, “It was Roger

who gave the club its innovative

quality, mainly due to the incredible

mix of music he promoted. After

his death it would have been nigh

on impossible for the club to be reopened

and retain that quality.”

The re-opening of the club that

some are pointedly naming ‘New

Eric’s’ has been met with a mixture

of praise, anger and indifference.

Nobody would deny that a new live

Eric’s punks

music venue is a positive thing and,

as Hardstaff puts it, “any venue that

keeps music alive and kicking is fine

by me.” One question is whether

young, creative people will be willing

to hang out in a place occupied by

their parents years ago and indeed

if those same parents are even

curious themselves. Jaki Florek,

author of Eric’s: All The Best Clubs

Are Downstairs, Everybody Knows

That, likens the issue to “a child

being expected to call the new man

in your mother’s life ‘Dad’. Even with

the best of intentions, it’s still kind of

squirmy.” A colourful analogy indeed,

but a key point is being made here

in that fond memories cannot simply

be recreated, they are a product of a

myriad of factors including social and

environmental interaction. Samizdat

promoter Andrew Ellis prefers to look

to the future, “You’ve got all these

spaces that are pushing out new

and interesting ideas and that’s the

direction that Liverpool has always

gone” while Mellina sees the spirit

of Eric’s in the Kazimier, praising

“the vibe and the closeness[...]there

is a quirkiness about the place”. The

existence of places like the Kazimier

and Wolstenholme Creative Space on

the other side of town put Eric’s at a

disadvantage in attracting a young

The curtain comes down on the original club

music-loving crowd to Mathew Street.

Ethan Allen, Music Director of Eric’s,

is keen to point out that it is very

much a business venture and it’s clear

that a lot of money and hard work

has gone into the project, clearing

up “rubbish, water and dead rats”. He

declares it “a crying shame to have

an empty cellar with that history.”

This sentiment is echoed by Mellina

who asks “Why should Liverpool not

benefit from something that belongs

to it.” Liverpool is a city proud of its

heritage and if the venue succeeds as

a tourist attraction, following in the

footsteps of the Cavern it will help

bring jobs and business to the area. It

is the fact that Eric’s is being branded

as a venue for ‘new music’ that may

be its biggest struggle. There is a fine

line being trodden between old and

new. As OMD polish off Enola Gay to

a crowd just too young to remember

Eric’s and just too old to be at the

vanguard of new music, one question

begs to be answered; will the Eric’s

name retain its value as a byword for

authenticity or will the logo become

a marketing tool used to re-package

and sell nostalgia? We wait and see...


“I try to take people back to a time or place in

their life to make them feel emotion, whether it’s

good or bad” - Adéle Emmas (singer/songwriter)

Words: Samuel Garlick

Photography: Jennifer Pellegrini

Melancholy by nature, yet inflammatory with their

emotion; BIRD are a 5-piece ambient folk act that

not only create music, they create soundscapes in

which, with a blink of the eye, you can find yourself

lost in. Their music is full of paradoxes, coupling

dynamics with minimalism, as a brooding marque

of instrumentation is balanced around an uncanny

ability to captivate the imagination.

Birthed from the potent determination of Adéle

Emmas, she talks about her band, her vision, with

undertones of both passion and modesty; “I’ve been

a song writer for as long as I can remember. I’ve

been in previous bands, but it was never really my

innovation. I just wanted to do something that was

mine.” It seems hard to believe that such a young

musician can be so collected, whilst possessing

such a thirst for the fantastical; “I always loved

reading really imaginative stories like Enid Bliyton

and Roald Dahl. I think it makes real life a bit more

exciting just thinking about what could be as

opposed to what is.”

Avid fans of the genre will be familiar with

particular coverall descriptors that always rear their

heads when talking about folk acts, adjectives such

as ethereal, effervescent, twee. To abide by these

would be a disservice to Bird, as they are not simply

about the music, they are about the lyrics, the

aura, the feel. They achieve their identity through

escapism from storytelling; “lyrics are incredibly

important to me, to some it might be the rhythm

or the guitar, but lyrics enable me to be poetic,

descriptive; to give imagery,” explains Adéle. “Our

music is about taking you back to a place or time,

it’s about memory and nostalgia. I find when you go

off with your imagination, it can be more exciting

than the real world.”

Musically, they parallel their persona of

otherworldliness through instrumentation.

Because of this, focus lies on the interpretation

of atmosphere, as opposed to the predictability of

harmony, it’s not about creating a hook, but about

crafting spatiality; “it doesn’t necessarily have to

be about really complex guitar riffs or drum beats.

We can do things that are very simple but bring the

emotion and story of the song through the sound”.

They have found a happy medium, whereby sparse

melodies meet rich musical environments. Who

could ask for a better platform to convey tales of

specters and ghouls?

As Adéle’s siren-esque voice sprouts fables of

macabre, it is the instruments which float around

it that truly give her stories substance; looming

bass trills echo her syllables and jangling guitar

melodies dance on her every adjective. It is these

idiosyncrasies that make Bird so special; “Keith

(Thompson, guitar) and Mick (Dolan, guitar) often

come up with cool medieval or psychedelic riffs,

Lexy (Alexis Samata, drums) is always trying out

really cool tribal beats and Ste (Parratt, bass)

contributes really atmospheric, sometimes funky,

basslines” she says, emphasising their significance,

“they know it’s my baby, but they’re very much a part

of it and have a lot of influence. They’re as much to

thank for the music as I am.” The fact there is such

a mish-mash of ideologies being injected into the

project, makes it an astounding achievement that

their music is so coherent. “I’m writing all the time.

When you feel creative, you have to try your best to

surround yourself with creative things, so I’m quite

lucky to have such good musicians.”

Bird remind us why we fell in love with fairytales

and daydreams, so invest some of your time and it

will take you back to a era when even seeing the

slightest of shadows would arouse your minds-eye,

and when Halloween wasn’t just another excuse

for delinquents to ‘egg’ their neighbours.‘So what

does the future hold for Bird’, I hear you hark. “We’re

looking to release an EP which should be out on

October 31st which is Halloween and quite fitting

for us” she says, “we’re also going down to 6Music

to chat with Tom Robinson, as well as constantly


As I collect my notes, finish my coffee and hoist

my belt, I still can’t believe that such a vibrant

individual could conjure something so refreshingly

bleak and tantalizingly haunting.


Bido Lito! October 2011

Edils Recordings


Morrissey sings ‘every

day is like Sunday’, we know

how he feels: slowly ticking clocks,

bumper celebrity rags masquerading

as newspapers, Songs of Praise.

Need I go on? Determined to prove

us wrong, EDiLS Recordings (an acronym

of Morrissey’s sentiment, fact fans!) are

blazing a trail that has more in common

with a Friday night than a droll seventh

day. EDiLS is the brainchild of James Dyke

and one half of GO HEELED, Philip Rourke.

Established in January 2011, the Liverpool

label has come on leaps and bounds,

proving that it’s not who you know, but

what you do that gets you where you want

to be.

They say blood is thicker than water, but

what is thicker than blood? How about

a life-time of friendship forged in music?

“Phil and I have known each other since

nursery school”, says the 30-year-old

Dyke. “We’d done the whole band thing

together, booked others for ten years and

decided to give forming a label a shot. It’s

a bit of fun but what we do relies heavily

on trust. Luckily, we have a lot of that!”

Rourke cuts in, stating that, “the template

for our label is Deep Elm Records. They’ve

proved that you can take massive steps by

just invoking a sense of community. A love

of what you do and the music you promote

certainly helps, too!”

Their next release,

EDiLS Split Series

#2, is available




and features the

trio of Liverpool’s own

RHODES, Sweden’s post-rock finest, MOONLIT

SAILOR, and ELK, who comprise members

from across England. EDiLS have come so far

in just under nine months that there is talk of

a Chinese distribution for their latest LP.

EDiLS have managed to position themselves

as prominent contenders in a scene groaning

under the weight of a thousand other groups,

promoters and labels that desperately vie for

your attention. They haven’t achieved this by

spamming your Facebook wall or promising

the Earth and delivering nothing. They have

simply put their heads down and worked

hard. The results speak for themselves. Their

first release, EDiLS Split Series #1, was an

exciting mix of inter-continental talent: Italy’s


and Go Heeled. June’s Bear Left showcased

twelve different groups from the four corners

of Britain and beyond. The releases proved so

popular that EDiLS had to pay more and more

bandwidth costs just to cope with the demand.

“It was very unexpected, but a nice feeling,”

says Rourke. “It was the proof we needed that

our hard work was paying off and that people

appreciated our efforts.”

For a label run by people with years of

investment in the local scene, there happens

to be a distinct lack of Liverpool groups.

“It’s nothing personal,” says Rourke. “It

just so happens that international bands

are more determined to get exposure in

Britain, especially in Liverpool. This city has

a name that sells itself to people. Some

bands, particularly European ones, see

Liverpool and England as THE place

to become recognised.

We’re just happy to

grant them the


“We aren’t excluding

Liverpool bands on purpose,

far from it,” says Dyke. “We listen to every

submission we receive. It just so happens that

the majority we receive are from abroad or

outside of the city. We’d very much welcome

more Liverpool-based bands on our records.”

EDiLS are a self-sustaining and organic

operation. The label’s distribution and other

business costs are met with the proceeds from

the gigs they host in Liverpool. The Pilgrim and

The Caledonia regularly bear witness to such



Unlike some other unscrupulous promoters,

EDiLS aren’t content with leaving their acts

high and dry before or after shows. “We look

after the bands that play for us,” says Rourke.

“We make sure they have a place to stay if

necessary, something to eat, some beers, and

we cover expenses as best we can. Any money

left over goes straight back into the label.”

The future is bright. Both Rourke and Dyke

fall over themselves to discuss their plans,

finishing each other’s sentences. “We’re very

busy these next couple of months. Aside from

the potential distribution deal in China, we’re

organising shows, listening to submissions,

creating everything from scratch. It’s a job that

requires dedication and a lot of work.”

It might seem a trite cliché, but EDiLS

truly is a labour of love. With both Dyke and

Rourke ensconced in the 9 ‘til 5 circuit to make

ends meet, their evenings are filled with

cutting out each individual CD

inlay and listening to

every single copy

to ensure no







tiresome after a while, surely?

“It can be tough, yes,” says Rourke, “but

ultimately it’s just a bit of fun. We genuinely

love doing this. Look, if you’re not 100% into

it, then there’s no point, is there?”

Words: Joseph Viney

Illustration: EDiLS Recordings

Sat 8th Oct £17 adv

Enter Shikari

+ Your Demise + letlive.

Sun 9th Oct £12.50 adv

Scott Matthews

+ Lotte Mullan

Thurs 13th Oct £15 adv


Fri 14th Oct £16 adv

Pop Will Eat Itself

Sat 15th Oct £25 adv

Darren Hayes

Sat 15th Oct £16 adv

Damien Dempsey

+ Amsterdam

+ Eoin Glackin

Sun 16th Oct £14.50 adv

Katy B

Sun 16th Oct £17.50 adv

Peter Murphy

Mon 17th Oct £10.50 adv

Maverick Sabre

Tues 18th Oct £9 adv


Wed 19th Oct £14 adv

Howard Marks

Is Mr Nice

Thurs 20th Oct £10 adv

Wretch 32

Mon 24th Oct £11 adv


+ Random Hand + Mouthwash

Wed 26th Oct £10 adv 6:30pm

The Kixx

Sat 29th Oct £14.50 adv

Stiff Little Fingers

Wed 2nd Nov £15 adv 6:30pm

The Pigeon Detectives

Tues 8th Nov £25 adv

The Darkness

Wed 9th Nov £12.50 adv 6pm

Tinchy Stryder

Thurs 10th Nov £12 adv

Mike Peters

(30 th Anniversary Acoustic Alarm Tour)

Fri 18th Nov £16 adv


Fri 25th Nov £14 adv


Sat 26th Nov £11.50 adv

Jesse Malin & The

St. Marks Social

Performing ‘The Fine Art of Self Destruction’

in it’s entirety in the UK for the first time!

Sun 27th Nov £16 adv

Professor Green

+ Rizzle Kicks

Sun 27th Nov £10 adv


+ Diamondsnake + Axis

Mon 28th Nov £10.50 adv

Electric Six

Sat 3rd Dec £19.50 adv

DJ Shadow

Sun 4th Dec £15 adv

Melanie C

Mon 5th Dec £17.50 adv

Shed Seven

Wed 7th Dec £15 adv

The Lemonheads

Performing ‘It’s A Shame About Ray’

Thurs 8th Dec £17.50 adv

The Wombats

Sat 10th Dec £16 adv

The Farm

Sat 11th Dec £15.50 adv

Aloe Blacc

Tues 13th Dec £17.50 adv

Molly Hatchet

Sat 17th Dec £18 adv

Echo & The Bunnymen

Sun 16th Oct £14.50 adv

Katy B

Tues 8th Nov £25 adv

The Darkness

Sat 3rd Dec £19.50 adv

DJ Shadow

Thurs 8th Dec £17.50 adv

The Wombats

Fri 7th Oct £12.50 adv Stanley Theatre

Emmy The Great

Sat 8th Oct £9.50 adv Stanley Theatre


Wed 19th Oct £9 adv Stanley Theatre

Ben Howard

Thurs 20th Oct £17.50 adv Stanley Theatre

Ralph McTell

Fri 21st Oct £13.50 adv Stanley Theatre

The Pierces

Sat 22nd Oct £20 adv Stanley Theatre

John Foxx & The Maths

‘Interplay’ UK Tour 2011

Thurs 27th Oct £17.50 adv Stanley Theatre

Julian Cope

Fri 28th Oct £13.50 adv Stanley Theatre

The Smiths Indeed

Sat 5th Nov £15 adv Stanley Theatre


Sun 6th Nov £26 adv Mountford Hall


+ Anti-Nowhere League + UK Subs

Fri 11th Nov £16 adv Stanley Theatre

Adam Cohen

Sat 12th Nov £21.50 adv Stanley Theatre

Thomas Dolby

Sun 15th Jan 2012 £17.50 adv Mountford Hall

All Time Low

+ The Maine + We Are The In Crowd


Bido Lito! October 2011


I suppose it’s rather obvious to say that one couldn’t partake in the

metamorphosis from a member of a quasi-folk chart-topping band to a

politically cynical bluesman without having an interesting story. That (rather

specific) assumption is certainly at least true of one Benjamin Darvill, aka SON

OF DAVE, who is set to bring his foot-tapping, electronically-driven, hyphenatedadjectivesque

blues stylings to the Masque this October.

Raised in Winnipeg, Canada, an area he describes as, “very vibrant, but with

brutally cold winters as the second coldest city in the world,” Darvill joined a

group of like-minded musicians in 1988 to form Crash Test Dummies at the

age of 18 as “a summer job.” The band went on to be a great deal more than

that for Darvill and are now most famous in the UK for their hit song, the

beautifully haunting ‘Mmm Mmm Mmm Mmm’. He chose to leave the Dummies

in 2000, saying of the decision: “When Crash Test

Dummies ended [for him] I was turning 30

and I thought, ‘That was a good run but

I’m finished working for someone else

now, I’ll go back to my own tastes’. I was

making some very weird recordings

over those years and biding my time.”

This ‘biding of time’ didn’t last very

whether they admit or not, it’s part of Europe.”

Not one to rest on his laurels, he soon began contributing pieces for well

respected London music magazine Stool Pigeon. His mixture of cock-eyed

humour and heart-on-sleeve political views have since helped make him the

owner of the magazine’s longest running column, which is particularly amusing

considering it started as a method of interview avoidance. “To be honest,

people like you would call up asking for interviews from some magazine and

sometimes I’d say ‘Just write the questions down and I’ll get to it’. I would write

out something that I thought was really good and send it to them and some

of the editors would say ‘Hey, let’s just publish this rather than a Q and A.’ So,

rather than waiting for them to come to me, I just started writing and found a

magazine to publish it. Stool Pigeon was the only dirt rag that would have me.”

Not only are these columns funny, they contain political overtones which can

often hold a fascinating insight into the views of a man looking at our

government ‘from the outside.’ When I quiz whether these

politicised leanings ever make it into his songs,

however, the answer is a firm no. “I don’t

put a lot of it into the lyrics; I have a

philosophy of doing a simple

job and getting it done

long at all,

with the minimum



amount of red

tape, hassle or



his first solo album,

It’s a hand-







and if I

Wild West Show,










label whilst still

and get a gig

working in the

for a few hundred, or these days, a

band. The album

thousand quid [at this point he genuinely let out

showcased an entirely

different style to his

recordings with the

a “WAHOO!”], I’ll do it, come home; that’s a simple

job. I don’t need to import something that was made

in Bangladesh and sell it at an extortionate rate and then



keep my bank accounts offshore. I keep it simple, if that’s a

presenting the work of

a man markedly moulded by

the huge Blues community in

Winnipeg. After finally parting ways with his band mates (on

amicable terms) he released a further three albums inventively

titled 01, 02 and 03 (“Journalists can’t count past three,” he claims)

which all defined his trademark ‘cotton-slave guitars over drum machine beats’


During these years Darvill had also changed his surroundings, having taken

up residence in the place he now calls home, London. He had been living there

Socialist thing or if that’s some kind of Anarchist thing, I don’t


It’s the last part that particularly resonates with me, the

fact that Darvill is so aware of the simplistic ethos he wishes

to represent. He knows not only what he wants to be now, but in

the future too, and that is real. When he says, “I’ve always know that

life is very long and that I’m more aiming toward the man I’m going to be

when I’m 60,” I can genuinely believe that, given the eclectic and fascinating

nature of his tale so far. It’s this kind of saga which permeates all great Blues

laments and, well, if there’s one genre that suits the aged...

with his former band mates but, after they chose to up sticks, he simply stuck

around. He said: “I stayed because I fell in love with it. I like the extremes of

rich and poor, old and new and brilliant and stupid. London is very dynamic and,

Words: David Lynch Illustration: Graham Cheal


16 Bido Lito! October 2011


Nik Glover

Standing in a sunny field in

Cumbria somewhere is the Concept.

The Concept was conceived (note

the biomechanical aspect) by an Artist.

The Artist had, for a long time, created

Music. This he would jumble about in

his head, write a few runic scribblings

to accompany, and then blurt out

in public or in a recording studio.

Whenever people heard his Music,

they would say things like ‘I like suchand-such

a song’, and the Artist would

smile, and secretly feel bad for all of

his other songs, like the father with

two sons; one who grew up to be

Charles Atlas, and one who grew up

to be Charles Hawtrey.

One day, standing in a sunny field

in Cumbria, the Artist was Inspired by

a big rock, or perhaps by the sound

of a mountain stream, or some sheep.

The inspiration dwelled in his heart

(he liked to imagine), and roiled

and overturned like a faraway storm

in a Disney-fied

crystal ball. The

big rock became a symbol, and the

symbol became a motif in his head,

repeating itself, like I am now. Shanti

Shanti Shanti.

The Artist spontaneously decided

to write a progressive folkrock

double-album about Imps.

The Imps, he decided, would live

in a forest (boom) by a stream (pow)

and there would be a Story of some

kind to what they did. Perhaps they

would have to face a great Danger, or

just generally have a good time with

other Imps and their stream. Some

sort of dancing could be involved;

‘That would go with the Music thing’,

the Artist thought. He had some

vague idea about each instrument

playing the part of a different Imp,

but then decided that one Imp was

pretty much like any other, and

anyway the spoons player in the band

could only practice on Thursdays, so

his Imp would have to be largely

silent. ‘And I’ll be damned if my Imp

is going to pick up the slack’, the

Artist thought.

And Lo, the Concept had been


Other interesting Concepts you

might like to try being inspired

by include: Space, the Journey To

Uncharted Lands, Bildungsroman,

Cyberpunk, Holistic Theory,

Consumerism, or the eternally

popular History of the Roman Empire.

Here’s my idea for a Concept

Album. A man gets on a plane, flying

over an ocean between two cities, and

the plane crashes, and the twenty or

so people on the plane who survive

end up on a desert island only 10

feet long by 20 feet wide. The island

is rich in fish and sea cucumbers,

so the people never go wanting

for food. There is a natural spring in

the shape of a water cooler, so they

don’t shrivel up from lack of water (or

conversation). And so they spend the

next thirty years talking about what

life in the city was like, and how much

they miss it.

Most of the songs spend an

inordinate amount of running time

discussing how much leg room

the characters all used to have.

The Glass Pasty

Post it Notes from the Cultural Abyss

Post it Notes from the Cultural Abyss

“Autumnal Health with Doktor

Otto Von Funkpasty”

Heil from Deutschland you pink

press rats! The leaves are falling in

the arena of human history but I will

take time out of my busy schedule as

Try getting in and out of your skinny

jeans as fast as you can and then try

breaking that record. Good for calves

and deltoids! (And no mein reader das

ist keine gruppe)

The fruitier alternative may be an

a Berlin Life Style Guru to proffer a few

amphetamine-induced attempt at

tips to maintain a healthy and sexual

self-sex, fun but painful!

body and mind under Liverpudlian

recession clouds.

Step One – BODY

Commit yourself to at least 20 mins

of exercise per day. This need not be

the traditional gym fix that you may

think gentle mensch, incorporate

it into your daily routine, iPhone

finger exercises are just as good to

increase the heart rate with waves

of crippling nausea whilst improving

digit dexterity.


Incognito cognition - try looking at

random Facebook pages and online

band profiles and see if you can count

the amount of times you see photos

of people in bars raising pint glasses

or spritzers to the camera. Can you

memorise the face? The page? Or

even the beverage? It’s not as easy

as it looks brothers and sisters. Good

to offset Alzheimers’ though so happy


The Spirit (Scouse Geist) - Walk

semi-naked along the docks making

whale noises to a famous Sting song

with half a bottle of Buckfast and

some prescription drugs; this will not

only stir the senses but convince you

of the Gospel according to Dawkins.

Look out at the barren Mersey and

remember the suffering of the Job

Centre. Or better still watch Danish

crime thriller The Killing, back to back,

and cry yourself silly and experience

true catharsis.

Ok sheizenkickers that’s all, I have

to get back to designing a healthy

lifestyle charisma plan for the

Milipede brothers.

One final congratulations must go

to Dominic West who did a sterling job

portraying mutton chopped murder

farmer Fred West in Appropriate Adult.


Guest Column

Lee Fleming, Weavers Door

Lee Fleming, Weavers Door

It’s plain to see that

music and fashion have

always seemed to go

hand in hand, with one

never present without

the other far behind,

be it one inspiring the

other, one amplified

by the other or one

blatantly stealing from

the other. The strong



music and fashion

can fundamentally be

linked to the act of expression; it’s exactly this that a band or artist

are delivering with their music. This is no different to what a brand

or fashion designer aims to achieve with a collection. It’s this act of

expression that both these solid art forms are based on and why they

are so highly sought after and recognised around the world.

There have been moments in musical history which have forever

defined and redefined the relationship that exists between music

and fashion. Fashion has always been a crucial part of a musical

performance, with artists being trademarked by their outfit and style of

dressing - think Jimi Hendrix when he lit his guitar, or the Beatles boots,

collarless suits and the infamous mop top. Fashion is music’s best mate,

and together they’ll keep on providing us with solid performances that

we’ll always remember.

It’s this cohesion that means an artist or musician can become a

‘trendsetter’, people look for inspiration in the way they dress so it’s

only natural for someone to look to their favourite artist for ideas.

At Weavers Door, we look to present heritage-rich pieces from brands

we have a strong passion for, who have a history and a story to tell

that maybe hasn’t been told before. Looking at our Autumn/Winter 11

Collection we have some truly great icons in clothing including the

Baracuta G9 Harrington Jacket, as worn by Mr Elvis Presley and Mr Frank

Sinatra. Any artist’s festival wardrobe must have the Barbour Waxed

Jacket and the Original Duffle Coat by Gloverall. Here are our top five

jackets this season which will fall in favour with most of, if not all, the

leading frontmen of today and the past:

1 // Barbour ToKiTo Motorbike Shirt in Black

2 // Gloverall Original Monty Duffle Coat in Beige

3 // Folk Overcoat in Navy

4 // YMC x Gloverall Hoodless Duffle Coat in Navy

5 // Baracuta G9 Harrington Jacket in Navy


Bido Lito! October 2011


Edited by Richard Lewis -


With their second gig in the city in under six months, WU LYF continue to tour their

Go Tell Fire To The Mountain LP, which still manages to divide opinion. With some

detractors griping about the band’s marketing and associated flim flam, what is

beyond doubt is the quality of their own brand of heavy pop. Make up your own mind.

The Kazimier – 22nd October - Tickets from


Blackpool-born singer-songwriter KARIMA FRANCIS brings her stunning

vocals and magnificent presence to Studio 2 as part of her UK tour. Named

top in the Observer Music Monthly’s 2009 ‘Ones To Watch’ list, Francis is sure

to offer a stunning and assured performance, along with support act THOMAS


Parr Street – 5th October – Tickets from



Brought in by I Am Your Barber, Postmusic and Samizdat, Japanese composer

Tatsuya Yoshida comes to the Wolstenholme Creative Space for a unique

solo performance of his own material as RUINS ALONE. Bringing a visceral

blend of hardcore punk, jazz and improv, Yoshida is a leading exponent of the

Japanese avant-garde and is sure to provide an unmissable live experience.

Having previously performed with the likes of YBO2, K.K. Null and The Flying

Luttenbachers, Yoshida has now taken up the sole reins of the band Ruins, which

he formed over twenty years ago. Progressive down to the tips of his fingers,

Yoshida has always been a boundary pusher, and expect this performance to be

no different.

Support comes from bass-heavy, brutal and all round noisemakers STIGNOISE,

who are about to embark on a European tour so you would do well to catch

them here. Opening the evening are everyone’s favourite spandex-wearing, dueldrumming,

electro-doom peddlers BARBEROS: after three years of pummelling,

they now have a brand new album of material, which will undoubtedly add

another edge to an already pulsating showcase. The evening, which will also act

as a closing party for the Unintention Exhibition at the WCS, will feature a very

special one-off performance/video installation from the HIVE collective.

Wolstenholme Creative Space - 2nd October - Tickets available OTD

The band return with an extended string section and a new EP to re-launch

their epic acoustic rock sound. Offering a mix of sunshine pop and world music,

KCO bring their strong musicianship and rousing songs to The Masque for a tour

de force of epic proportions. A hot ticket to have.

The Masque – 21st October – Tickets from

TINDERSTICKS’ collaborations with French filmmaker Claire Denis finally get

the airing they merit, with the Philharmonic backdrop. Scenes from Denis’ films

will be projected while the trademark blend of subtle atmospherics and brooding

tension dominate the auditorium, along with Stuart Staples’ coruscating


Philharmonic Hall – 18th October – Tickets through

Perenially underrated yet consistently excellent, THE DUKE SPIRIT will return to play

their trademark dark and dirty 21st Century blues-rock. After a cancelled show in May,

they will look to make up for lost time with a lively show full of crunching riffs.

Mojo - 28th October - Tickets from




The term Renaissance Man could easily be applied to JULIAN COPE: the frontman

and driving force behind psych-pop alchemists THE TEARDROP EXPLODES has

mapped a wayward and highly entertaining solo career, with his combined back

catalogue now stretching to 20 albums.

One of The Crucial Three, which also comprised Ian McCulloch and WAH!

luminary Pete Wylie, his arrival at CF Mott teacher-training college in 1976 was to

play a huge part in Liverpool’s music scene. The Teardrop Explodes launched their

career with the classic Kilimanjaro LP in 1981 which featured hit singles Sleeping

Gas, Treason and iconic hit Reward.

Aside from his musical output, Cope has become highly respected for his

published works. The first volume of his autobiography, Head On, is arguably one

of the best books ever written about the Liverpool music scene, and is highly

recommended reading for those who want an view from the inside of a dynamic

period in Liverpool’s musical history.

His 1995 book Krautrocksampler brought the groundbreaking works of acts

like Can and Neu! to greater attention during the Britpop era, and has even had

a tome on stone circles (The Modern Antiquarian) translated into over a dozen

languages and been hailed by the historical establishment. With achievements

such as these under his belt, the man’s between song banter is almost as

compelling as his tunes.

Stanley Theatre – 27th October – Tickets from

What’s on

at Liverpool


Jimmy Cliff

Thursday 1 September 7.30pm

£28.50, £33.50

Folk Double Bill

Martin Carthy &

Dave Swarbrick

and Lau

Thursday 29 September 7.30pm


David Crosby &

Graham Nash

Monday 3 October 8pm



Gospel Choir

Thursday 4 October 7.30pm


Pink Martini

Saturday 15 October 7.30pm



Tuesday 18 October 8pm

£18.50, £24.50

Liverpool Irish Festival

The Irish Sea

Sessions 2011

Friday 21 October 7.30pm


Liverpool Irish Festival


& Calan

Sunday 23 October 7.30pm

St Georges Hall Concert Room



Friday 28 October


Friday 28 & Saturday 29 October 7.30pm


John Mayall

Thursday 3 November 7.30pm


Toumani Diabate

Thursday 3 November 7.30pm £20

St Georges Hall Concert Room

Zappa Plays Zappa

Monday 21 November 8pm




Saturday 26 November 7.30pm

£20, £26

Box Office 0151 709 3789

November 2011

Venues throughout Wirral




Contact the Box Office on 0151 666 0000 or visit


STATIC Autumn 2011

29 September Mercy and AND Present Spectres of Spectacle


30 September Static Gallery Host


1 October Static Gallery Present


8 October MuMu Present


22 October Static Gallery Host


4-26 November Static Gallery Present

Opening Weekend Pogramme 4 - 6 November 2011

Fri 4th Nov 8pm - 3am Live Music/DJ/VJ (

Sat 5th Nov 8pm - 3am Live Music/DJ/VJ (

Sun 6th Nov 10am - 6pm Art/Flea Market, Live Music/DJ/VJ

Part Exhibition, Gig Space and Art Store, Terminal Convention presents a

programme of art and music including live link-ups with artists, DJs/VJs

in international art spaces and clubs. Check website for latest news

Exhibition/Art Store runs till 26th Nov 2011.

Static, 23 Roscoe Lane, Liverpool, L1 9JD

1 Hope Place

(off Hope Street)

Liverpool, L1 9BG






A Question Of Freedom

Tue 4 - Sat 8 Oct

An award-winning drama

about modern day

slavery following the story of Mende Nazer

and her journey to freedom told with a feast

of music and dance by Feelgood Productions.


Void Story

Fri 14 - Sat 15 Oct

Acclaimed company Forced Entertainment

make their long awaited return to unitytheatre

with this bleak and comical fable with projection

and live sound effects following a pair of

protagonists on a rollercoaster ride through

the remains of contemporary culture.


At Swim

Two Boys

Tue 8 - Wed 9 Nov

Staged entirely in water and set against the

background of the Easter Rising, Ireland in 1916,

this is dance theatre at its most stunning.

Part of LiverpoolÕ s Homotopia Festival.

Anthony BurgessÕ s

A Clockwork


Fri 18 - Sat 19 Nov

A Clockwork Orange

may be 50 years old

but its description of a corrupt state and

society have never seemed more familiar.

In a world like this, how is the nationÕ s

youth to behave? How do you survive?




Fri 21 - Sat 22 Oct

Taking an authentic look at the lives of the

Bronte sisters (well two of them, AnneÕ s

popped out for a cup of sugar!) donÕ t miss

this cult spoof from Lip Service.


Kate Walsh

Wed 16 Nov

Kate is a singer/songwriter who has been

likened to Joni Mitchell, Kate Bush and Jane

Austen for her lyrical content. Her first full

length album, Clockwork Tower

was released

in 2003, with her follow-up, 2007Õ s TimÕ s House

quickly becoming the No.1 album on the

UK iTunes store!

Book now to avoid disappointment! | 0844 873 2888

Become our facebook fan unitytheatre

Follow us on twitter @unitytheatre

Funded by


22 Bido Lito! October 2011



Royal Bangs

Evol @ 02 Academy

It’s two years since Texan

alchemists WHITE DENIM demolished

Sound City with their throw-it-againstthe-wall-and-see-if-it-sticks

fusion of

funk/soul/garage-rock, and if they

were three wide-eyed frenzy seekers

back then, they return to Liverpool

a little more polished and a little

more mature than before. One would

imagine that wangling a new deal

with Downtown Records should push

current LP D into more commercial

territories, while changes closer to

home see new string Austin Jenkins

added to the bow.

While I wipe the froth from my

mouth ROYAL BANGS take to the

stage and create a truly unusual

racket, mirroring the very symbolism

of yin and yang. Quite how they

manage to splice AOR influences like

Queen and REO Speedwagon (Back

Then It Was Different) with twisted

industrial-electro (My Car Is Haunted)

is beyond me. Are they insane? Yes...

but very sane loonies they are,

because it works. Triccs (taken from

current LP Flux

Outside) snatches

the power-surge overload of The

Yeah Yeah Yeah’s and douses it with

water, though it’s no match for Ryan

Schaefer’s histrionic vocals, piercing

through the carnage of the chorus

unscathed. He even out-guns Bono

during the climax of set-closer Slow

Cathedral Melt. Like every stadiumrock

guilty pleasure it’s rousing,

unashamed and epic, though it

refrains from inducing the lighterwaving

brigade because it cuts

through the cliché with contemporary


As the crowd swells, White Denim

kickoff with new-album opener It’s

Him! and it’s immediately apparent

that Jenkins wasn’t just drafted-in to

thicken the sound. No, his duty serves

to reanimate previously buried guitarparts

so tracks like the post-Band

Of Gypsies Say What You Want and

snake-charmeresque At The Farm can

be deployed in full glorious stereo.

Given time, the call-and-response

guitar partnership forged by Jenkins

and singer/guitarist James Petralli

has the potential to reach the dizzy

heights of Green and Kirwan’s

telepathic duels in Fleetwood Mac. As

with The Mac the drive remains stoked

by drummer Joshua Block and bassist

Steve Terebecki as they formulate

razor-edge grooves so succinct they

could cut glass. However, it’s how

they breathe new-life into simpler

arrangements such as Street Joy that

their natural flair is revealed. If the

album version meanders with its eyes

to the ground, tonight it’s self-aware;

White Denim (Jennifer Pellegrini)

pleading and yearning like a lucid

outtake from Tonight’s The Night.

Fleet Foxes may dazzle with their

divine harmonies, Battles may take

a blank canvas and paint landscapes

with sound, while The Horrors remain

a photographer’s wet-dream: but

White Denim have their jazz-like

virtuosity, they literally wring their

instruments dry. After the encore

fades to rapturous applause they

leave the stage to find their stock’s


Philip Gofton


Milapfest presents Music for the Mind and Soul:


13:00 Saturday 24 September Free

Gwilym Simcock Trio

19:30 Thursday 29 September £15


Olivia Moore’s Unfurl

19:30 Tuesday 04 October £10

Liverpool Irish Festival and

The Capstone Theatre presents

Tommy Smith’s KARMA

The World Premiere of

Gerry Diver’s The Speech Project

19:30 Saturday 08 October £15

19:30 Thursday 20 October £15

Roger Eno and Dom Theobold /

Joanna MacGregor’s Mozart

For All Mankind (Screening)

Piano Concerto Series

19:30 Tuesday 11 October £15

19:30 Sunday 23 October £10 (£8)*

Ceremony Concerts and Penguin

Fraser Fifield and Graeme Stephen

Café presents Arthur Jeffes –

19:30 Tuesday 25 October £10


19:30 Thursday 13 October £16.50

The Solid Air Band:

Robert Mitchell 3io

19:30 Wednesday 19 October £12.50

The Songs of John Martyn

20:00 Saturday 29 October £10

Milapfest presents

Music for the Mind and Soul

13:00 Sunday 30 October Free


Liverpool’s innovative

performance venue

The Cornerstone Festival

Oysterband and June Tabor

19:30 Thursday 03 November

presents Kathryn Tickell:

Northumbrian Voices


19:30 Friday 25 November £15

Blazin’ Fiddles

Milapfest presents

19:30 Wednesday 09 November

Music for the Mind and Soul


13:00 Saturday 26 November Free

Piano Music from the

The Cornerstone Festival

Ambient Century:

presents Joanna MacGregor’s

Dianne O’Hara

Beethoven Piano Sonata Series

19:30 Thursday 10 November £10

19:30 Friday 02 December £10 (£8)*

Portico Quartet

19:30 Sunday 13 November £17.50

The Man with the Luggage

(by Lizzie Nunnery)

19:30 Tuesday 06 December £12 (£7)*

Milapfest and The

19:30 Wednesday 07 December £12 (£7)*

Cornerstone Festival

presents Nirmanika

19:30 Saturday 19 November £10

50 Songs:

The Music of Ian McNabb

20:00 Friday 09 December £15

time being

– Harold Budd /


The Necks (double bill)

20:00 Saturday 10 December £15

19:30 Monday 21 November £15

(Evening2) e-mail:

Box Office: Liverpool Philharmonic Hall, Hope Street, Liverpool L1 9BP. Tel: 0151 709 3789

Venue Address: The Capstone Theatre, 17 Shaw Street, Liverpool L3 8QB. Tel: 0151 291 3578

9 Mathew Street, Liverpool L2 6RE 0151 255 0703

VIP opening night event – OMD

Saturday 10 th September

Chris Thile & Michael Daves

The Toy Hearts

Saturday 17 th September

Trombone Shorty

Friday 23 rd September

Dave Sharp (The Alarm)

Saturday 15 th October

Jon Allen

Wednesday 19 th October

Penny Black Remedy

Jon Byrne

Saturday 22 nd October

The Travelling Band

Sarah Lowes

Friday 4 th November


Saturday 5 th November

Tommy Scott & The Red Scare

Saturday 12 th November

Mamas Gun

Marcus Bonfanti

Sunday 13 th November

Fallows / Rialto Burns

Super-Cannes / Get Back Colquitt

Friday 18 th November

The Grande / Neville Skelly

Thursday 24 th November

The Motives / Xander & The Peace


Friday 25 th November

The Christians

Saturday 26 th November

Richard Herring

Sunday 25 th March 2012


Alex Hulme – Sensorites

Mellowtone & Ceremony

Concerts @ Leaf

In the daytime, Leaf’s unique

personality and vibe, minimal

decoration, great oak tables, and

the numerous books that occupy

the rear of the small stage create a

vintage yet heart-warmingly current

venue that echoes the finer points

of 1940s Britain. Come gig-time in

the evening, not much is different.

First on stage were SENSORITES

and their immediately catchy acoustic

pop. Standing side-by-side, brothers

Natham Kirkham (Guitar, Vocals)

and Gareth Kirkham (Bass, Vocals)

delivered an impressive array of

songs that left the audience mirroring

Churchill’s relentless nodding.

However, the acoustic numbers fared

much better than the few the pair

played to a drum track. It is a shame

they do not have a third member

because their songs are great, notably

Slipstream and Spacemen, but the

absent engine lets them down.

Following Sensorites was the

sensational ALEX HULME. His

ability to command the room as a

supporting artist was nothing short

of remarkable, especially as he is

only twenty years old. He introduced

his loop pedal halfway through the

opener and webbed a wall of sound

that consumed the room like a full

live band, backing singers et al. The

crowd then changed from listening

out of politeness to listening out of

intrigue and enjoyment. His voice

was strong and theatrical, albeit

he did occasionally sound like an

American teen idol, but his talent does

certainly not go unmissed. He further

demonstrated his abilities as a singer/

songwriter by stepping away from

the safety of stage and equipment to

play Drifting, vulnerable to the doting

eyes of his newly acquired fans.

After some thoroughly meaningful

applause followed by a trip to the

bar, people returned to their seats

in anticipation of neo-folkster DAN

MANGAN and the five-piece orchestra

that was his band. Complete with their

flat caps and bowler hats, doublebass

and cello, their look fitted the

maturity of the candle-lit venue.

Instantly, it became clear that

Dan Mangan harnessed an ability

to captivate a crowd through his

honest, all-baring approach and

his deeply emotive vocal style

.Opening with Sold and Leaves,

Trees, Forests, the latter from his

upcoming album Oh Fortune, it felt

almost like a private confessional.

His stage presence was dominant; his

rapport with his audience was close.

The Indie Queens Are Waiting, Some

People, and Basket were all achingly

beautiful, but Robots was the standout

track of the evening. Standing on

a table amidst the crowd, he played

an unplugged version with the whole

room on backing vocals, while he

triumphantly roared louder and

louder, “they want to be loved by you.”

The performance earned him a

standing ovation, and the lucky

audience an epiphanic experience.

Dan Owens


The Fresh & Onlys - Mugstar

Harvest Sun @ The Kazimier

First up tonight is Liverpool’s

own MUGSTAR, and they suit this

venue right down to the ground.

The sound system enables

their music to reach the sonic

summits that other venues have

found difficult to attain: the result

is an elephantine heaviness that

eclipses their own Kraut/space rock

credentials. With their album Lime

getting a well deserved re-release,

maybe a merited spotlight will shine

their way. On tonight’s evidence they

will soar and swell into that light.

THE FRESH & ONLYS, up next, aren’t

quite the garage outfit from San

Francisco I was expecting, and are

nowhere near as heavy as the other

bands in tonight’s showcase. There

are hints of Nuggets here, and their

sound is more verse and chorus, in

time-honoured tradition. The track

Waterfall is a highlight, with its

refrain, “the radio said that the TV’s

dead, and the picture went blind.”

It is more Haight Ashbury pop than

garage, and certainly still impressive.

Then on come the big boys, and

let’s get one thing straight – WOODEN








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through dub.

hip hop. funk.


and chillwave.




Distributed by Proper Music.

Available: HMV.COM, iTUNES


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label curated by Ralph Alfonso

SHJIPS know how to rock it. The San

Franciscan four-piece get an idea,

loop it, then fucking run with it until

it swirls, whirlpool-like, around your

brain. Such is the hypnotic surge,

I’m half expecting someone to faint.

From their recent album West,

the track Black Smoke Rise takes off

in comparison to the LP’s version.

Dragging you to a higher plane is

their definitive agenda. It doesn’t

matter if you’re not a believer, if

you start listening, it seeps in. It

is druggy Sonic Boom and Jason

Pierce at their dirtiest, but taken

even further out. The vocals are

barely audible, adding to the aural

entanglement of its whole. Clarity

isn’t the name of the game here,

however, but the organisation of

its building blocks slowly stacks up

so that your head starts bobbing.

Another stand out is Home, also

from West: a twisted, demonic slice

of the Stones’ Satisfaction tempered

with a centerfold organ, as if it had

just travelled in time from some

1960s West German commune. The

crowd is by now well on their side,

and what a diverse age group it is:

from 18 right through to 65 by the

looks of it. In my memory there

haven’t been many bands to visit

Liverpool that manage to attract

so many young and old musos

alike, and unite them as much as

Wooden Shjips do. From the longhaired

grey dudes at the back (who

look like they’re enjoying one too

many grown-up sweets) to the kids

down the front, they are all loving it.

There is an appetite for more from

the crowd and the band, a mutual

love-in that no-one wants to end.

One thing’s for sure: they’ll be back.


Mick Chrysalid

Down & Outs – We Came

Out Like Tigers

Behind The Wall Of Sleep @

Wolstenholme Creative Space

Always keen to bare their souls,


everything into their opening set

tonight. Their trademark screamo/

spoken word combination ensures

that you have a fair idea of what

to expect, and that if you stand too

close your ears may be seeping

blood within minutes. Earnest

to the death, WCOLT shout and

punch their way through each

song as if it is their last, and revel

in the spontaneity of performance.

DOWN AND OUTS at first seem like

a peculiar choice to be sandwiched

between noise-merchants but the

decision soon reveals itself as a

wise one, with their pure power pop

melodies acting as a little light relief

from the angst of WCOLT. That is not

to discredit the authenticity of the

songs, which exude great warmth.

It is clear that a great deal of care

has been taken over the harmonies,

with all four members singing their

hearts out to lift the songs beyond

the sum of their parts. Songs like

Get A Grip Son stick in your head

all evening and continue to pop up

as you wait for the kettle to boil in

the morning. Down And Outs are a

Ice Age (Robin Clewley)

fantastic reminder of just how great

songs can be with the simplest of

melodies and minimum of chords.

ICEAGE have been getting a fair

amount of attention following the

release of debut album New Brigade,

and although the recognition is

fully deserved, it is difficult not to

feel that all the hyperbole effused


feel that all the hyperbole effused

over these teenagers is just a little

over these teenagers is just a Mlittle

bit ridiculous. Songs like Total

Drench reference the gritty postpunk

of early Joy Division and the

infinite vocal echo of The Jesus


infinite vocal echo of The Jesus

And Mary Chain, which eradicates

And Mary Chain, which eradicates


the mythology surrounding these




young Danes as purveyors of a

new sound. Remove the hype


new sound. Remove the hype

and you find a solid debut record

filled with the kind of aggression

at which teenagers have always

excelled. Tonight they project an

aural assault at lightning speed

that is just as angry and petulant as

you would hope, as they swig Jack

Daniels from the bottle in between

songs and look at each other with

disgust. Their moody demeanour

could suggest a band that has been

on tour for years and the cracks are

beginning to show. Whatever issues

they are going through, it certainly

makes for an electric and enigmatic

performance. Each song ends with

a barrage of feedback, refusing to

allow applause before the next

juggernaut comes along. Iceage are

not the second coming, but they

are a vital and ferocious reminder

of the intensity of being a teenager.

Jonny Davis

Reviews Bido Lito! October 2011



Bido Lito! October 2011




The Bluecoat Arts Centre

In the shadow of the tribute

band orgy that is the Mathew Street

festival, Liverpool goes back in time

to champion the best of the city’s

roots music. Running in conjunction

with the Bluecoat’s Honky Tonk

exhibition, which charts the

emergence of country music in a city

that local historian Kevin McManus

dubbed the “Nashville of the North,”

this free event is a celebration of

traditional Americana, flecked with all

the wit and camaraderie that makes

Liverpool a unique place for live music.

As if to second that notion,

sentimental lyrics such as “these

tunnels are a lifeline for my city,” drift

from the Gallery, where FIELDHOUSE

are performing a stripped-back set.

The delicate thump of a cajon provides

the perfect accompaniment to singer

Lewis’ soul-searching folk oeuvres.

The layout in the Gallery is a little

rigid, with many punters eschewing

the rows of chairs in favour of a spec at

the back. Craving an atmosphere, we

happen upon the Culturepool stage

where THE TRESTLES are entertaining

the largely sedentary throng with

their good-time brand of alt. country.

Check-shirted and sweating heavily,

charismatic frontman Al O’Hare is

every iota the rollicking country

troubadour, exchanging hearty banter

with deadpan guitarist Tom Carroll

and shaking the mid-afternoon

crowd out of its reverie with upbeat

tales of love, loss, “looking back

and moving forward.” Out of respect

Mike Badger (Brian Plumridge)

for the folk genre, Al makes a

point of praising the singers and

storytellers who so succinctly capture

the mood in tumultuous times.

If ever an event had a flagship

artist, Mike Badger is it. The Honky

Tonk exhibition centres around Mike’s

pivotal role in exporting Liverpool’s

rehashed country music back across

the Atlantic, which has landed him

a regular spot at Austin’s famous

South By Southwest festival. The high

tempo rockabilly of his latest outfit


is enough to kick-start the dancing

around the periphery. Time constraints

restrict the set somewhat, but

there’s still time for crowd favourite

Mountain Man Kidnapped By Bigfoot,

which recounts a six-day ordeal

in the company of a sequestering

Sasquatch and its libidinous wife.


BAND is a collective of now familiar

performers from the festival,

unplugged and huddled round an

ambient mic. They combine guitar,

banjo, mandolin and double bass

to produce a good-natured homage to

country music and all its sub-genres.

Conscious of the damaging clichés

of mainstream country, Loose Moose

inject laddish humour, exaggerated

crooning and sexual innuendo to

concoct a rowdy hoedown which

is reverent and farcical in equal

measures, but also unequivocally

The Debut Album, Out Now!

Available Exclusively From Strawhouses.TV

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Bido Lito! October 2011

Scouse in delivery. Though everyone

gets a turn on the mic, John Daglish

steals the show with Get Outta My

Dreams, a jaunty tale about the rest of

the band egging him on while he tries

to get laid in the back of his car. It’s

uproariously funny from start to finish.

Loose Moose represent the

city at its best: tipsy, laughing

and united in the appreciation

of great music - a fitting finale.

Pete Charles



Liverpool music week @ Mojo

The result of some glowing reviews

from the likes of Reading and Leeds

just days before their performance

(alongside some extensive festival

appearances this season receiving

similar acclaim) is a packed-out Mojo

for a band that could quite easily

take you back to a summer’s day

even on the coldest of evenings.

Bethany Cosentino picks up on

these festival performances straight

away, confessing that it is nice to

be back in smaller, more intimate

surroundings. BEST COAST set out

to create a fun musical experience,

and this is certainly an objective

they manage to achieve as they

transport your visionary outlook back

to the distant miasma of the summer.

Forget the tales of love in most

chart pop-songs, Best Coast tell

it like it is, painting a picture of

teenage angst and pangs of lust

with overt honesty, all through

relaxed, shoegazey melodies,

completed with a vintage glare.

The Sun Was High (So Was I)

sums up the attitude of Best Coast’s

music perfectly: chilled out but with

a sense of some deeper sentiment,

which often takes the shape of

chirpy rhythmic and vocal hooks, as

displayed by songs such as Our Deal,

with its repetition of the longing

lyrics, “I wish you would tell me

how you really feel but you’ll never

tell me cos that’s not our deal.”

Best Coast (David Howarth)

Cosentino’s dowdy vocal styling -

while proving of interest - could be

seen as a slight tease, with moments

of beauty peeking through at points

which long for a greater airing, yet are

seemingly hidden behind the band’s

laissez-faire attitude to distortion.

The main positive of Cosentino’s

vocals, however, is the fact that it

makes Best Coast stand out from the

crowd: although not exactly chartbothering,

elements of their offering

also resonate in other bands, Dum

Dum Girls and Austra in particular.

Best Coast end their set in their

own quirky fashion, dragging support

band SPECTRALS back on stage for the

‘prize’ to which Cosentino has been

alluding during the show, a cover of

Blink 182’s Dammit. Through trying

something they confess to have not

previously executed to great avail, it

is neither particularly displeasing nor

especially remarkable. It’s not going

to be placed on the Greatest Covers

Of All Time Album (if one such exists),

but it says a lot about the band’s

willingness to experiment on their

live shows, and just have a bit of fun.

Matt Healy



Green Cauldron




Available to use in conjunction with

Regular Americano

Take-Away offer 99p

national union of students



Green Cauldron Coffeehouse

55 Castle St, Liverpool, L2 9TN

(corner of Derby Sq)

Sept/17 th

Reopening party


Simian Mobile Disco (dj set)

Jacques Lu Cont

Alex Metric

James Rand


Viper Recordings Pres

“Summer Slammers 2011 showcase”

Hype and IC3, Futurebound

Brookes Brothers




Evol Vs Now Wave

Revo & Now Wave DJ’s

All night long.

Oct/14 th


2manydjs (dj set)




Modeselektor - live

D/R/U/G/S - live

Rich Furness


Happy Endings

Ellis and Peppaminta

All night long

Nov/5 th


Fake Blood (dj set)

Andy George and Jaymo (moda)

James Rand


Jaguar Skills

Flux Pavilion


Rich Furness


Chibuku Reunion

Dom Chung

Luke Carr


Leo Belchetz

Oct/1 st

Chibuku pres. Hospitality


Andy C

High Contrast

Camo & Krooked


Paul McGuire

Hosted by: MCs

GQ, Wrec, Messy


Beardyman MC

TC (dj set) with MC Madrush

Rich Furness


Hosted by Sessions Faction



Dan Danko

Jake Daniel

Oct/15 th



Jack Beats


Rich Furness


Hosted by True Tiger:


Sukh Knight

Blue Bear




Special guests TBA



Nov/19 th

Annie Mac presents..

Lineup under construction...


Annie Mac

Special guests to be announced..

James Rand


Subfocus (dj set)

Sir David Rodigan

Jonas (Eat your Greens)


Lineup to be announced

Oct/8 th




Space Dimension Controller (dj set)

Rich Furness


Dr Gonzo pres.

Crookers (dj set)


Special Guests..

Japanese Popstars live



Hosted by WAXX magazine

Waxx djs

Clarky Cat Djs (Dollop)

Oct/22 nd


Erol Alkan

James Rand


Dj Yoda (AV set)

Hudson Mohawke

Lvis 1990 9dj set with MC Shadz

Jess Gascoigne



All night long.


As soon as the music stops at Chibuku

we slope off Magnet to crack on until the

early hours. Hijacked guests and resident

djs playing records till they kick us



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