Issue 48 / September 2014

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Friday 5th September
Friday 19th September
Axis of Awesome Monday 22nd September
Tuesday 30th September
Saturday 11th October
Saturday 18th October
Saturday 8th November
John Waters Wednesday 12th November
John Garcia Tuesday 4th December
A Certain Ratio Saturday 13th December
Oxford Road, Manchester
showcase for them as a band, exhibiting nifty
dynamic swells that switch between stabbing
guitars and a mournful organ melody. Their
strength undoubtedly lies in the balance and
simplicity of their tunes, which means that the
combined sound of all six members doesn’t
descend in to a competing mess. So far they’ve
got it spot on.
Jordan Shearer’s voice is the prime thing you
remember from it all though, with its nagging
tug on the heartstrings. It may seem a little
obvious but there are definite similarities with
a young Bobby Gillespie in the delivery from a
mop of tangled hair. Unquestionably though
there’s a huge dose of Scouseness about Neon
Waltz and, while Shearer may be trying to
channel Ian McCulloch, he comes across more
like Ian Skelly.
Halfway through the band are joined by BILL
RYDER-JONES (who performed a brief opening
solo set earlier on) for a cover of Mick Head’s
Something Like You. Prior to this – and indeed
after it – Ryder-Jones had been sat at the side of
the stage drinking in the whole performance in.
A sign of further collaborating to come? Watch
this space.
Christopher Torpey / @CATorp
KEVIN DEVINE
Ed Poole - Two Glass Horses
Mama Presents @ East Village Arts Club
Awkwardly fumbling around the performance
oLito.148x117.MASTER.indd 1 12/08/2014 space, 12:33tuning their guitars as people arrive, are
the relatively new outfit TWO GLASS HORSES.
After more bodies have filled the venue they
slide into their set with ease. Their sound is
melancholic, but rich and lavish, with vocal
harmonies and stirring chord progressions. It's
easy to hear some of their influences: they'd
be very much at home on a bill with Foals,
Local Natives or Editors. The hubbub of voices
gradually decreases as heads turn towards the
stage. For an acoustic outfit, Two Glass Horses
are loud, powerful, and – given that this is their
first live performance since the band’s birth –
an impressively accomplished troupe. As they
make their exit, they've managed to turn a
room full of indifferent spectators into one full
of captivated supporters.
ED POOLE is next up to the stage. His voice is
heartrendingly sorrowful, but his performance
seems to lack sincerity. The performance is
technically impressive and honest to a certain
extent, but I can't help but notice a heavy
American affectation permeating Ed's voice
and persona. Indeed, Ed Poole clearly seems
to be a fan of Dashboard Confessional. That's
not a bad thing; it just seems as though he's
taken a little too much instruction from Chris
Carrabba et al. Ed is a good player, singer and
performer. The range and volume of his playing,
throughout the performance, is enthralling but
more development is needed for the Liverpoolbased
singer songwriter to truly bloom.
There is a hushed air of anticipation as KEVIN
DEVINE picks up his guitar and introduces
himself. The crowd shuffle closer to the stage,
giving the proceedings a neat feeling of
intimacy. Early in the setlist, Little Bulldozer
has the small but strong audience hanging on
New Yorker Devine's every note. His voice is
soulful, grating and rich, with a rasp that adds
emotional depth to his lyrics – which are one
of the most impressive parts of his act. The
poetry that's entwined within songs such as
Ballgame or Private First Class offers a cryptic
dynamic that adds to Devine's originality. His
statements are articulated in a unique and
honest way, giving the listener a glimpse into
his inner workings. Added to these musical
discourses is a strong selection of politically
motivated songs, including Another Bag Of
Bones, which further demonstrates Devine's
unique strength in communicating ideas and
sentiments through song.
Devine's beguiling guitar-playing is
performed with a nonchalance that makes the
guitar appear as another limb. The crowd are
offered a chance to shout out requests, and so
we're treated to a glut of songs old and new.
We hear all sorts: from Knife and Brooklyn
Boy to Between The Concrete And Clouds and,
from Devine's old band, Miracle of 86, Redbird
and Every Famous Last Word. It's a cathartic
performance and, as Devine leaves the stage,
there remains a lighter air in the East Village.
KENDAL CALLING
Lowther Deer Park, Lake District
Christopher Carr
When tent, wellies, comical item of your
choice and other festival essentials are packed
and you’re ready to set off, donning your
denim shorts and Ray Bans, your expectations
of summertime frolics could be somewhat
downcast by the torrential onslaught greeting
you as you open the front door. This sense
of trepidation is quickly forgotten, however,
when welcomed by the astounding views of
the Lake District surrounding Kendal Calling
Festival. Teamed with the fact that those used
to the area are more than comfortable with
a little rain, what certainly isn’t dampened
are the spirits of festivalgoers carrying their
gear in rented wheelbarrows to the site. The
rain subsides and the views come into their
own the moment we peg down our tent in
the spacious and friendly campsite; a treat for
anyone used to the major UK festivals and their
claustrophobic and chaotic counterparts.
After a muddy yet sociable exodus to the
arena, DE LA SOUL kick off Friday with an
unfortunate late start – this thankfully hasn’t
deterred the excitable crowd. They apologise for
their resulting short set by playing a whirlwind
of classics that has everyone ready to start