Issue 42 / March 2014

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32 Bido Lito! March 2014 Reviews Lindi Ortega (Adam Edwards / @adamedwardsfoto) FOALS Outfit The Fly Awards Show @ East Village Arts Club Last year’s gargantuan Holy Fire album, followed by their status as certified festival headliners and now this EVAC show (as a warmup for a full UK tour which sold out in minutes) all serve as signifiers to FOALS’ growing dominance. Before the Oxfordians, though, OUTFIT are the first band to grace tonight’s superb billing, themselves becoming ever-more lauded following last year’s highly praised debut LP. Arguably one of Liverpool’s most prominent musical talents in recent years, the five-piece break into their dark synth and skewed, spooked ambience. Storming renditions of I Want What’s Best and Elephant Days are showing signs of a band evidently going from strength-to-strength. Their repeated vocals and clambering percussion weaving through howling guitar hooks more than prove them as a fitting entrée to tonight’s mains. The sheer anticipation of the headliner’s set is palpable, as audience members seek to squeeze themselves into every nook and cranny of the room. The lights begin to dim as a crescendo of looping, droning synths welcomes Foals onstage. Natural set-opener Prelude kicks in with needling, incisive guitar riffs, and a thumping swell of distortion. Self-confessed fans of shows in this city, Foals are delving deeper into their back catalogue with the likes of Total Life Forever and Olympic Airways sending the crowd into a total frenzy. Singer Yannis Philippakis’ renowned simian-like stage antics have become an integral part of Foals’ live show over the years, with tonight proving no different. The athletic funk rock sprints of My Number and Providence astound throughout, as the softly glimmering Spanish Sahara and Late Night proceed to give the set some much-needed breathing space. Their stable progression from the math rock/afro pop guitar heights of debut album Antidotes to the more developed, layered feel of Total Life Forever and Holy Fire gives their set a unique level of dynamism. The lurching guitar chops of Inhaler fuse with swaggering, swathes of distortion, as the room basically descends into a singular mosh pit. Early single and fan-favourite Hummer jolts in after the band re-emerge for an encore, and fabled set-closer Two Steps, Twice begins to shake the room to its foundations. The last track is drawn out into a rush of sweat, adrenaline and strobe lights as Yannis begins to clamber and crowd surf his way around the venue, necking a shot of vodka from the bar in the process. Tonight may possibly be one of the last times the band play a venue of this size in Liverpool, and they have certainly made it their own. Destined for arena-sized venues to match their arena-worthy stage presence, Foals vacate the sweat-riddled stage to raucous applause and copious adoration. John Wise / @John__Wise LINDI ORTEGA Harvest Sun @ Leaf When it comes to country music, it’s hard to find too many people who sit on the fence. You either love it, or you hate it. It either gives you a warm, hearty glow inside, or it makes you want to stick your fingers in your ears and go to your happy place. Whenever country rears its head in the mainstream, it can often alienate purist advocates by being too saccharine and diluted, but make no mistake: LINDI ORTEGA is the real deal. She has tunes by the bucketload, and is a delightful presence on stage – engaging, vivacious, and relentlessly cheerful in that endearing Canadian fashion. Even if her music isn’t your usual cup of tea, it’s just impossible not to like her. Her voice is striking and incredibly powerful, and it gives her excellent lyrics even more gravitas. This is a genre that is really easy to take the piss out of, but comfortingly there isn’t a trace of irony in Ortega’s music. Her songs have true substance and passion, and she always sings right from the heart, whether it’s the whiskeysippin’ melancholy of Lived And Died Alone or the raucous, knee-slapping Voodoo Mama. Lindi Ortega’s sound is entrenched in her genre’s musical traditions while simultaneously sounding fresh. Whilst holding the torch for a new generation of songsmiths, she gives more than a passing nod to the old guard, paying tribute to the legendary Hank Williams with a beautifully gritty slide guitar interpretation of I’m So Lonesome I Could Cry. Her latest album’s title track Tin Star is bidolito.co.uk
Making Liverpool sound great ... call: 0151 707 1050 email: info@parrstreetstudios.com rs visit: parrstreetstudios.com Parr Street Studios: 33 – 45 Parr Street, Liverpool L1 4JN Liverpool ad 142 x 207 B_Layout 1 25/04/2013 10:50 Page 3 You are a musician. Not an accountant or solicitor. That’s why you need the MU. – £10 million public liability cover – Legal advice and assistance – Free instrument insurance – Rights protection – Teacher services – Career and business advice – Free contract and partnership advice Plus, full-time students join for just £20 a year. Over 30,000 members in the UK already benefit. theMU.org @WeAreTheMU
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