Issue 74 / February 2017

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Issue 74
February 2017
The Orielles by Neelam Khan Vela
The Orielles
Oya Paya
Nik Colk Void
Danny Boyle
The Lemon Twigs

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Bido Lito! February 2017
7
THE GREAT BALTIC EXPERIMENT
Editorial
There are two paving slabs, at either ends of Jamaica Street, that always draw a wry smile and a pang of Bregret whenever I see them. This isn’t
because I’m a pavement fanatic or get off on concrete or anything – it’s because of what’s chiselled onto them. “This project has been part-funded
by the European Union,” they claim, with a slight air of mocking. These concrete certificates are also silent markers of the Baltic Triangle, the dream
that became a noisy reality for Liverpool City Council.
Baltic Creative CIC was established in 2009 with £5.2million of funding from The North West Regional Development Agency and the North West
European Regional Development Fund, to oversee the regeneration of the warehouse-rich land just south of the city centre that was once vital to
Liverpool’s sprawling docking industry. The Baltic Triangle project was intended to become a dedicated business hub for the rising creative quarter,
with then chair of Baltic Creative, David Clark, saying at its outset that the area presents “a unique opportunity to develop a natural network of
creative businesses in one location, building on the strong creative activity already underway in the area.” Even a cursory look around the area
today will tell you that the project has been successful in attracting those businesses; between Elevator and Baltic Creative’s own range of studios,
dozens of design agencies, game developers and musicians now call the Baltic home.
The Baltic Triangle has also provided the perfect setting for a range of bars and clubs, bringing a whole new level of activity to the area.
Constellations, Camp and Furnace, The Gin Garden, Black Lodge, Coffee & Fandisha, 24 Kitchen Street and Hangar 34 are all part of the reason why
Rough Guides described the area as “über-arty” in their recent ‘50 Things To Do Before You Die’ article. And if you add the ever-expanding Cains
Village in to the mix, things look livelier still: more office spaces, a cycle café, neon-flecked crazy golf and the smart pop-up restaurant Xiringuito
are adding to the buzz factor on the site of the old Higson’s brewery. There’s even been an idea mooted for a street art museum, housing a couple
of Banksys. All of this currently co-exists quite happily alongside a range of other non-creative businesses, and with European Union funding at
its root. You may even see David Coulthard driving his rogue taxi around the area’s streets too.
But, is it all quite as rosy as it seems? The recent furore around two major residential developments (one on the Blundell Street car park and one
at the old Bogans Carpets site on New Bird Street) would suggest that the Baltic is experiencing some growing pains, ones that could threaten
the future of the very places making the area such an attractive cultural hub. Blocks of flats not only bring people, they also bring a noise problem:
do residents and big music events at Camp and Furnace and Hangar 34 sit well together? And will 24 Kitchen Street, Constellations and the Gin
Garden have to shut their outside areas at 11pm like all the bars in the Ropewalks? It’s the age-old gentrification question, of course – but is it fair
for small, creative businesses to be doing the donkey work in changing the cultural value of somewhere like the Baltic Triangle, only to be swept
away when the big money comes calling?
The Night Time Industries Association, formed of independent bar, nightclub and restaurant owners, estimates that night-time industries account
for 8% of the UK’s employment, and generate £66 billion in revenue for the UK per annum (6% of the UK total). Yet, the number of clubs in the
country is vastly plummeting; in her Who Killed The Night? documentary, Annie Mac claimed that “in 2005, there were 3,144 clubs in the UK. Now
there are 1,733.” Regardless of what percentage of those closures were as a result of gentrification, it’s still a worrying trend. Storied Manchester
nightclub Sankeys was one of the latest to join the list when it was forced to permanently shut the doors on its Beehive Mill premises in January.
How galling, then, is it to see Beehive Mill listed a “prime residential opportunity” on the website of the company that leases the property (Savills).
You want more? In their sales brochure, Savills describe the building as having “played a key role in Manchester’s musical history. Tomorrow offers
another opportunity for re-invention.” And despite the positivity in the statement issued by the Sankeys team at the news, one line was telling:
“We have done well to fend off the developers for so long.” The sense of inevitability must be crushing.
The worrying thing is that this is a conversation we have too regularly, and we can’t just stand by and let it run its course. We need to be better
at valuing culture, like they do in Berlin with Berghain; we need to be better at communicating, with developers and local councils (an approach
that Constellations have been particularly good at), and appreciating the concerns that they bring to the table; we need to learn that compromise
is a better route forward than belligerent shouting; we need to be the agents of change that bring about this progress; and, above all, we must
keep being noisy about it.
Christopher Torpey / @BidoLito
Editor
Bido Lito!
Issue Seventy Four / February 2017
bidolito.co.uk
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Paul Fitzgerald, Tom Bell, Frankie
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8
Bido Lito! February 2017
he popular vote had last year down as a wrong ‘un, what
with pop stars and legends shuffling off this mortal coil
on each of the 366 days, or so it felt (it had to be a leap
year, of course, just to prolong the misery). But for surf-pop trio
THE ORIELLES it was golden. They ended 2016 in the best way
possible, by signing a deal with storied indie label Heavenly
Recordings. But the band’s story started much earlier than 2016:
the trio of Esme Dee Hand-Halford on bass and vocals, Henry
Carlyle Wade on guitar and vocals, and Sidonie B Hand-Halford on
drums, fired out of the starting blocks in 2014 with the Hindering
Waves EP and single Yawn. In 2015 came Space Doubt, plus
cassette release Joey Says We Got It, followed by the Jobin EP
flexidisc in 2016. Which isn’t bad work for a group not yet out
of their teens.
The Orielles are from Halifax, but have become adopted
Liverpudlians since Sidonie started studying at the University
of Liverpool. Halifax isn’t the most rock ‘n’ roll of places
I suggest when I catch up with the three band
members over Skype, or am I wrong?
“There are a couple of bands,
local ones only playing social clubs, so I don’t think there’s much
going on,” says Henry.
“There’s only one or two venues, but just down the road there’s
a great venue, The Trades Club [in Hebden Bridge]. There’s more of
a scene there, for sure,” adds Sidonie, Sid for short.
And it was at The Trades Club in mid-January that The Orielles
became part of the Heavenly Recordings family proper, playing the
Heavenly Weekend in Hebden Bridge mini festival alongside fellow
artists on the label’s roster, Hooton Tennis Club, Duke Garwood, M.
Craft, TOY, Temples, and The Parrots. Indeed, supporting The Parrots
on tour last summer clinched The Orielles their
record deal. “It’s a label we’ve always been
massively interested in,” Esme says. For the
trio, it’s been Heavenly for
a while in the band’s
sights. Esme
picks out Saint
Etienne and
King Gizzard
And The
Lizard Wizard as favourites from the label’s past and current
acolytes, but asserts “they’re all really good to be honest. I can’t
fault any of them.”
Esme and Sid are siblings, and met Henry at a house party a few
years ago. Coming from musical families did help when putting the
band together – Esme and Sid’s dad and uncle are keen musicians
– and Henry has played guitar from an early age. “I used to go
over to my uncle’s house, he has loads of guitars,” recalls Esme.
“One day he gave me a guitar as a present, a Fender Telecaster,
and after a few months when we met Henry I decided to play it
properly.” Esme has since found her natural home on the bass, and
with Henry on guitar, “drums were the only things left!” jokes Sid
about her place in the band. “My dad plays the drums and I’d never
heard him play before, but when I was about 10 or 11 I remember
listening to him play and thinking it was cool.” Having picked up
the basics from her dad, Sid taught herself the rest from there.
Meeting the sisters also changed the path Henry was following.
“I’ve been taught classical since I was six years
old but I’d never thought about playing
electric or being in a band really.
It was all ensembles and taught
pieces, although, weirdly
enough, I’ve had a
hankering
to start
Words: Cath Bore / @cathbore
bidolito.co.uk
Photography: Neelam Khan Vela / neelastica.tumblr.com

Bido Lito! February 2017
9
learning classical pieces again, and I recently restrung my old
guitar I used to do my grades on, and I want to get back into
reading noted music.”
The tender ages of all three Orielles may be one of the reasons
for the charming exuberance in their music, but, contrary to what
you might think, this hasn’t held them back. “It’s not been too
much of a problem for us. I think people find it more endearing
than anything else,” says Esme. “We used to face a lot more issues
than we do now,” chips in Sid. “But particularly being signed to
Heavenly, that’s all gone.”
The three of them are stretched across the vast north of England
at present, with Sid studying in Liverpool, the other two still rooted
at home in West Yorkshire. How does the band cope with the
geographical divide, and Sid balance it with her studies?
“I’m really passionate about the band so I make it work. In terms
of practice, thankfully we do a lot of gigs and they’re like practices,
I guess. But when I do go back I’ve got to make the most of it.”
Sid shows me a book of short stories she is reading at the
moment – Side Effects by Woody Allen – because it’s film and
literature that commonly influence the band’s lyrics. They cite
Quentin Tarantino’s 2007 film Death Proof and, more recently,
David Lynch’s Twin Peaks TV series, still surreal 27 years after its
first broadcast. “It’s concepts of films we like and get really into,”
says Esme. “We discuss them sometimes and use that as a basis
for the song and then brainstorm ideas off that about the different
ways we’ve interpreted certain films or sections of books into our
own story.”
One of the songs they have coming out soon is inspired by the
2016 psychological horror film Neon Demon, directed
by Nicolas Winding Refn, about a 16-year-old
aspiring model succumbing to the temptations
of narcissism, the notable and memorable line
being “beauty isn’t everything; it’s the only
thing.”
“We found that really inspiring.
The idea of narcissism and
consumerism and how those
two ideas connect together
when society judges
things on face value,
how attractive
it is.”
Having worked the festival circuit pretty cannily over the past
two summers – Live at Leeds, Festival No. 6, Sŵn, Sound City and
Dot To Dot amongst others – when invitation to play Canadian
Music Week came last May, it was probably only The Orielles
themselves who were surprised, albeit pleasantly.
“We didn’t really accept the fact that we’d be going there. We
kind of shunned it off, thought we’re not big enough or done
anything like this. When we found out we had got the funding we
were really excited to go,” says Esme. The band benefited from
a grant from the PRS for Music Foundation, which, in the last
couple of years, has given much needed financial assistance to
Esco Williams and Heavenly labelmates Stealing Sheep. Money
applied for can go towards recording, promotion and touring. “I
think they [PRS] are doing a really great thing and more bands
should be encouraged to go for it.”
“[Canada] was fun. We’d go back in a heartbeat. They treat you
differently abroad,” adds Sid. “Playing in Canada was a bit surreal
and different to the UK. Not only in the sense that you’re playing in
a different country but promoters seemed to treat the bands with
a lot more respect. I’m not saying promoters in the UK don’t do
that but they were a lot easier to get on with. A lot more positive
about music and things.”
The Orielles have built up an enthusiastic following in the North
West, particularly Manchester, and they see headlining the Deaf
Institute in December 2015 as a turning point. “We have fond
memories. It was our first big gig in Manchester
and we said to ourselves afterwards that it
sort of meant something. It felt really good to
be out of doing the support slot circuit,” says
Sid. Last November they curated Late Night
with Jimmy Fallow, a special weekend of gigs at
the city’s Fallow Café venue featuring Zuzu, Party
Hardly and The Roasts, and were the stars of new
music conference Off The Record during the
same month, performing at the Night And
Day Café.
But the band also reserve a fond spot for
Liverpool, which
they see as
a kind of
second
home, with The Shipping Forecast noted as a favoured venue.
“It’s got good food, for one,” laughs Sid. “It’s got a DIY ethic to it,
a DIY vibe. Like you’re playing a house show which is something
we’ve always liked,” Esme reckons. “It’s really different to playing
a ‘normal’ show. It’s way more laid back, the audience are so close
to you that it feels so different to a gig.”
With sights trained firmly on exporting their winsome, sunsoaked
guitar pop much further in 2017, The Orielles reveal that
they’ve just finished recording their next single and its B-side, due
out at the end of March, and will tour the UK in April. After that, they
record an album – already written – for a pencilled in release date
of October or November. But they’re not content in resting on that,
they’ve more ambitions on top of current recording schedules,
and ultimately aim to emulate the success of another labelmate,
Hooton Tennis Club.
“It’d be great to play America, and the rest of Europe.
We’ve only played in Amsterdam and that was so much
fun, but we’d like to discover more places,” says Sid,
adding more to her busy list.
2017 and 2018 sorted, then.
soundcloud.com/theorielles
bidolito.co.uk

10
Words: Frankie Muslin
Photography: Georg Gatsas
Truth, what is it good for? Not much in these seemingly
truthless times. News and information seems to be
in bountiful supply right now, but we’ve all become
accustomed to treating versions of ‘truth’ that are spun to us
with varying degrees of contempt. Which is probably why FACT’s
current exhibition, No Such Thing As Gravity, is chiming so much
with us, as we’re all groping for the nature of truth that we want.
As the exhibition draws to an end, FACT are teaming up with
promoters of avant garde electronica to present an event that
pitches two of the most exciting female producers in electronic
music into an environment that gets them to search for their
own truth. London-based sound sculptress NIK COLK VOID (one
half of fabulous DFA industrial techno outfit Factory Floor) and
experimental Swedish composer KLARA LEWIS are joining forces
to create a spontaneous and improvisational piece of music in
response to the work in the No Such Thing As Gravity exhibition.
Given that both artists specialise in creating vibrant mixtures of
art and sound that incorporate experimentation, field recordings
and various electronic trickery, what they produce in the live
event will surely be an entertaining trip.
Before the event, we spoke with Nik Colk Void to find out a
bidolito.co.uk
Bido Lito! February 2017
little more about her approach to the process.
Bido Lito!: Have you ever worked with Klara Lewis before? What do you know of her work?
Nik Colk Void: I haven’t worked with her directly, but we have shared the bill a few times, at Incubate festival and
an event with The Quietus in 2014. I asked her to perform at the ICA with us [Factory Floor], and it was there we
said that ‘we should work together’. We talked about me going to Stockholm – then this show came up, and it
seemed like the best opportunity.
BL!: For this live event, you’re going to be working with Klara on responding to FACT’s No Such Thing As Gravity
exhibition. Is this an approach that you feel suits your style well, crafting music for a situation-specific brief?
NCV: I’ve only performed a handful of solo shows to date: 3 Guitars for Live At Jodrell Bank, that Quietus event
and at Wysing Arts Centre. For each show I’ve always prepared a unique performance. I prefer it this way as my
practice is all about the here and now. I see these opportunities as a way of creating a concept to encourage
and push my improvisation – be it with a collaborator or a machine. The same goes for exhibitions I have been
involved with and releases; for example, Third Floor [made for Georg and Tobias’ Cyan Yellow Violette exhibition in
Switzerland in 2013] and Gold E [a 2012 piece of guitar bowing pressed to a degradable material which changed
the way it sounded after repeated plays].
BL!: Will you be leaving room for spontaneity in the live performance when you’re working on this piece of music?
NCV: We’ve both thought about the brief, and we’re interested in stretching the boundaries of time manufactured
via technology and time produced via our instinctive body clock. So, in essence, this performance could go any
two ways, randomness or beat. Naturally, both will be fed from the feeling of the room.
BL!: How would you say that your solo work now differs from what you did when you first started out?
NCV: I hope it’s got better! This whole trip is about learning. The main emphasis of outlining a plan and a formula
has stayed pretty much the same. It doesn’t matter what instrument or tools I’m working with, my purpose
is to push it, mould it into something it’s not used to. I disregard traditionalism – I grew up in the countryside
being bored! There were no shops, [I was] an outsider at school, so I’d make things. I had a big imagination. I
wasn’t street or worldly, so that’s why I fell for music, my ticket out. My naïve approach was a blessing, as I’d
play things my own way, experiment. I’ve always hit my guitar or played around with my voice to make it sound
like an emotion.
BL!: Does collaborating and working across boundaries fire your creativity in different ways to working
in a ‘band’ environment?
NCV: You get the best out of me when I collaborate. It took a while, but I’ve found my strength! I
like walking into a situation when I don’t know what to expect. I like spending time with other
artists and musicians, I find it easy. Having an aim together, and coming out the other end
with a great result, is like having the best conversation ever. I work the same with my tools:
I could choose guitar, voice, electronics… This time I’m bringing my modular synth rack
for its one-off nature. We’re setting up base at Metal Gallery to prepare and perform, so
being in Liverpool will help us get a demographic feel for the place.
BL!: There’s an element of this exhibition that is aimed at ‘demystifying’ technology
for young women. Do you feel that some elements of the technology sector are
alienating for young women?
NCV: I really hope not. It’s not the language of technology, it’s the lack of confidence
in ourselves that makes us stand still. I think it’s down to the commitment of ‘you’.
With improvisation there is always that worry that it’s all going to go wrong and
you stand there on stage looking like an idiot. But if you’re not afraid of that and
think ‘what are ya gonna do?’, you can move on. Getting past that fear of asking
questions, taking bits of the answers on board and making it your own is a way
of achieving something great. If you put your own foot into that technological
community it has to open up for you.
BL!: Did you feel there were any barriers for women when you were first
getting into the field of experimental electronica?
NCV: I have lived in an environment built around music and performance
since I was 17. I’ve experienced many different genres and, to be honest,
they’re all very similar. There are preconceptions, but finding your own way,
working things out for yourself, means you will come up with a unique
way of working. Money is perhaps the major silent factor that’s the gender
divider, but then again it’s not just the music/art community suffering
with this. I feel I have come so far, I had no other option but to embrace
the electronic world – it suits me because I like an exploratory approach
to making music and with this comes research. It has opened up the
art and fashion worlds to me, and it’s enabled me to put all these
attributes in one box.
soundcloud.com/nik-colk-void
Nik Colk Void and Klara Lewis play the Philharmonic Music Room on
1st February. No Such Thing As Gravity runs at FACT until 5th February.
NIK COLK VOID

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12
Bido Lito! February 2017
OYA PAYA
Words: Matt Hogarth
Photography: Sam Rowlands / samrowlandsphoto.com
bidolito.co.uk

Bido Lito! February 2017 13
a game we used to play as kids in Singapore, a
bit like rock-paper-scissors,” bassist Saam tells us,
"It’s
jumping straight in on the origins of his band’s name.
“So, you all say ‘OooyapaaayaSOM’, and on ‘SOM’, you would
either show the back of your hand or the underside of your hand.
It’s kinda like an analogy of life, it’s half chance.” I’m sat with
the international trio in a cosy corner of Unit 51, tucked away
from the Baltic wind which howls relentlessly outside. Despite
the location being a far cry from the equatorial tropics of Saam
and fellow band mate Ashwin’s childhood games, OYA PAYA are
a band that seem to inject light into a room, all big smiles,
laughter and loud, colourful patterns. Even the minimalist
surroundings of Unit 51 can’t fail to be warmed by their very
presence.
“Me and Ash went to school together in Singapore,” Saam
continues, as he explains how the trio came to be. “It was a
pretty strange setup where you got given a problem at the start
of the day and had to
solve it by the end of
the day. Some days
you could get away
with doing practically
nothing and we used
to just mess about
and somehow blag
it!” After flying halfway
across the world, the
pair found themselves
studying at LIPA where
they met singer and
guitarist Max. “I lived
in France for most
of my life and when
it came to applying
for uni I applied for
four French business
schools and LIPA,” Max
explains. “With my
dad originally coming
from Liverpool he had
always told me about
LIPA. When he came
back here he picked up
an application form –
and I suppose the rest
is history.”
Bringing together a variety of ideas grown from different
cultures and interests, the three set about making a band to tie
their backgrounds together. “Having known Ash from Singapore
and then meeting Max at LIPA about four or five years ago, by
the time we became a band I had already got over hating them,”
jokes Saam on their relationship. “It was all just a bit of fun in
my bedroom when we started out,” Ash explains of the band’s
origins. “It was just me and Saam at first, and it was only when
we wrote Nothing Left that we felt we had something.” Upon
hearing the instrumental, Max was given the chance to sing on
the track, and thus Oya Paya the band became a trio.
As a unit, being a three-piece suits them well, and it’s clear
just from the sheer amount of laughing and smiling that this is
an extremely tight group. “We found that we all came together
as friends with completely different musical tastes, but now all
our tastes seem to have unified into one and we all listen to
very similar stuff,” says Saam. Citing the smooth future soul of
Hiatus Kaiyote and the blunt rap of Rich Chigga (an Indonesian
rapper who taught himself English through listening to Tyler,
The Creator and Macklemore) as common influences, it’s clear
to see that the three love music in all its forms. Favouring the
slightly leftfield, their taste is not something that reveals itself
explicitly in their own work. There are nuances of all three band
members’ eclectic tastes flickered throughout, whether that be
the basslines of Thundercat or the aggressive lyrical delivery of
Chigga. But it’s not just their geographical and musical diversity
that influences the trio. From Max’s extensive background in rock
bands to the production skills of Saam, the three-piece have
managed to fuse together their individual talents into a sound
that’s fresh, vibrant and striving to succeed.
Nothing Left is the perfect example of what Oya Paya are all
about. The genre-bending track fuses elements of hip hop and
rock within its many layers, which blend expertly to create a pop
song with meaning and depth. The cryptic lyrics actually refer
to cult animated series Rick and Morty, which deals extensively
with the philosophy of existentialism. Much like Rick and Morty,
Oya Paya manage to hide serious topics behind a laidback
exterior. And, again like their cartoon inspiration, the trio are
a true success story of the technological age. “We never hold
something we’ve written in the bedroom as sacred. We just send
it across to each other and can’t wait to see what comes back,”
explains Max. “When you look at the Lennon and McCartney
writing relationship, there’s a huge amount of competition.
We’re not like [that], we’re always excited to see what the other
makes of the track and how they can evolve it.”
In November last year, Oya Paya were one of the bands
who appeared on Bido Lito!’s stage at the Liverpool Music
Week closing party. It was there that they really jumped to our
attention, and the Spiritual Bunker showcase at Meraki suited
them down to the ground. With a natural groove underpinning
their set, the trio really pushed the crowd’s expectations in terms
of the standard guitar/bass/drums setup. Some of their slow
motion RnB beats, with Max’s throat-scraping vocals floating
over the top, highlighted a restraint to a standard ‘rock’ formula
that was refreshing.
The band also have a penchant for peppering their online
output with a series of strange, selfmade videos. Using
Boomerang (an app which helps make GIF-like images) alongside
their music and with liberal cries of “SPICE”, they have captivated
the millennial generation’s attention with a series of memes.
“It’s not something contrived, it’s something we just do for fun,
you know?” explains Ash. The cries of “spice”, which is somewhat
of an Oya Paya catchphrase now, is an inside joke which has
grown into their online presence. “It all started out as a joke
between Max and his brother, but then we all started saying
it,” laughs Ash. “...But when Ash gave us some real spice – food,
not the drug – it took on a whole new feeling, ha!” Saam quips.
Despite their chilled-out approach, there’s a real drive in
Oya Paya’s output which is more than musical: it’s a thriving to
succeed as musicians, as a band. With Ash’s visa soon to run out,
there is a cloud of uncertainty above them and the other two are
determined to keep him here. “Over this next six months we’re
really going to push
the band,” says Saam,
“otherwise it looks like
I might have to marry
him, ha ha!”
It’s clear that the
guys have a really close
relationship, spending
time together both in
and out of the band.
Like many intriguing
acts that have gone
before them, Oya
Paya are a group of
best friends and that’s
what makes the music
so fun. They are in
touch with each other
creatively, and allow
their own strengths
to thrive. But perhaps
what they have most
in common is a drive to
make music their living.
“I have five different
streams of income and
only one of them isn’t
music,” says Saam. And
the same can be said
for the other two, with Max working as a session musician to
pay bills and Ash trying to prove he can earn a significant income
in the UK to stay. “I know it’s clichéd, but music really is pretty
much everything.”
In a world where music is very quick to pigeonhole itself into
genres and cultivate a cynical image, Oya Paya are not afraid to
be themselves – and there’s nothing much like them about today
either. Their first EP alone may only have three tracks on it, but
within it there are elements of everything from electronica to
funk to rap; they create music which is truly their own. Besides,
who else would spend their time making a video of a cat in a
constant state of transition moving up and down a set of stairs,
soundtracked by the funk-riddled groove of a bass, harmonised
by the cat’s meows to their cheers of “spice”? Exactly. And we
could all do with a little more spice in our lives from time to time.
soundcloud.com/oya-paya
Just Around The Bend is out now. Oya Paya play the Ditto Live
event at Camp and Furnace on 24th March.
bidolito.co.uk

14
Bido Lito! February 2017
While the borders were still open, Christopher Torpey
enjoyed the hospitality of our nearest continental
cousins by dropping in at the deceptively vast
TRANS MUSICALES festival in northern France. But could he
draw himself away from the VIP bar for long enough to listen
to some music?
Rennes, FRANCE: I’m having a minor existential crisis on the
drive from the airport, as I grope about inside my head for the
last vestiges of my A Level French vocab. Rennes, my home for
the next few days, unfolds before me, unaware that I’m armed
only with d’accord and bien sur. On first impression, Rennes isn’t
very big, and nor is it that different from the majority of northern
French cities: wide streets painted in concrete magnolia,
brutalist egg crate residential apartment blocks towering over
the inner city, plenty of graffiti. The charm of Brittany’s capital
city doesn’t reveal itself until a few days later, however, when
I’ve become accustomed to the Old Town’s knot of medieval
streets, bustling markets and buildings leaning on one another
like they’ve drunk a little too much chouchen.
The reason I’m here is the 38 th RENCONTRES TRANS
MUSICALES, a festival of some stature on the European circuit,
and something of a honeypot for festival bookers and agents
looking to find the latest hot property. In its format, Trans
Musicales isn’t too dissimilar to Primavera: the daytime action
centred around a handful of well-appointed venues in the
city centre, with the main
a venue complex outside
rather raucous 25-minute
its vast aircraft hangars
live action taking place in
of the city, accessed by a
bus journey. Parc Expo,
shrouded in fog, is
where all the night time shenanigans
take place. It’s here that the pilgrims
congregate on three successive nights at the start of December,
10,000-strong at least, and not all of them native Rennais. The
city’s large student population turn out in force alongside locals
of all ages for their annual highlight, well-oiled and ready to
party with whoever and whatever appears in front of them. Trans
Musicales is well and truly on.
Thursday, the traditional
easing-in day, gives me a chance
to get used to the scale of the
operation at Parc Expo. The
festival takes up five of the
site’s 10 hangars, or Halls,
Anna Meredith
each one
big enough on its
own to hold 10,000
people. The scale
is staggering –
especially given
the relative
obscurity of the
line-up. Scottish composer
and polymath ANNA MEREDITH is
nominally this year’s headliner, which seems a bit of a comedown
from previous years. London Grammar and Benjamin Clementine
headlined in 2013, with M.I.A. playing in 2010, and Rodriguez
appearing alongside Major Lazer and Fever Ray in 2009. In fact,
a potted history of Trans Musicales’ past acolytes is displayed
around the walls of the entrance hall in the form of interviews
published by French indie media royalty Les Inrocks. And the
legacy here speaks for itself: The Fugees (2005), Beastie Boys
(2004), Fatboy Slim and Basement Jaxx (1998), Daft Punk (1996),
Portishead and Massive Attack (1994), Nirvana (1992), and even
The La’s in 1990. Though it may
not be the first festival on the lips
of UK musos, this is a festival that
flamboyant director Jean-Louis Brossard
and his team have worked hard on for more
than three decades, and it comes with a pedigree
that lots of UK festivals would kill for.
If the rumours are to be believed, old Jean-
Louis was so taken by this year’s star turn
Meredith when he saw her performing at
The Great Escape that he booked her there
and then. As the huge whomp of the tuba
ramps up for the storming intro to Nautilus –
taken from Meredith’s brilliant leftfield album Varmints
– everything from my temples down to my shins begins to
shake; and Monsieur Brossard looks like he’s pulled another
rabbit out of the hat. The satisfyingly loud classical/techno
mashup occasionally threatens to break out into a full-on rave,
and has no trouble in filling up the vast auditorium. It also has
me grinning inanely. Turbo-powered by this huge production,
Meredith, tuba et al will be a festival fixture for a while, and
you daren’t miss it.
Sowetan band BCUC (Bantu Continua Uhuru Consciousness)
are undoubtedly the hardest working band on show at this
year’s Trans, playing three shows in vastly different situations.
The explosive nature of their indigenous funky soul has them
owning Hall 8, as Jovi Nkosi stalks across the stage and exhorts
Fishbach
TRANS MU
Words: Christopher Torpey / @CATorp
Photography: Nicolas Joubard and Marion Bornaz

Bido Lito! February 2017
15
the crowd to move with him. Their mantra “You are made of
peace” is amplified when they visit a local prison to spread their
message of tolerance and acceptance, which is delivered so
potently through their music that you can’t help but be moved.
But, it’s up close and personal in
BCUC
Rennes’ main metro station where
the magnetism of BCUC becomes so
evident. At close quarters, and in earpiercing
distance of the group’s traditional
penny whistles and pounding drums, it’s the
passion which hits you most. You just don’t want it
to end.
A 15-strong Icelandic rap crew would
normally be so far out of my comfort zone
as to be laughable; but Trans Musicales has
changed me. So, it is with glee and a fair amount
of
nervous excitement that I await the arrival of
REYKJAVÍKURDÆTUR – and these 15 Daughters of
Reykjavik have me in the palm of their hands throughout. Apart
from the odd song in English, and the liberally employed “fuck”,
I can’t understand a word of what they spit out over the next
hour, but it doesn’t matter: the conviction with which each of the
crew attacks their flows is enough to cross linguistic boundaries.
And when one of the group jumps about the stage sporting a
strap-on dildo, things don’t exactly need spelling out.
Some things at Trans are less surprising, however, like the
locals’ love of hard techno of questionable quality. The largest
crowds pile into the vast Hall 9 for some non-stop techno
banging from COMAH, while DAS MORTÄL is one of many to hold
court in the 360-degree audio Greenroom, while the pleasureseeking
Rennais lose their shit and drink up the bass throbs. And
if the reception given to REJJIE SNOW and TIGGS DA AUTHOR is
anything to go by, softcore UK rap is still a popular taste on the
French palette.
It’s not all hits either – and I’m prepared to forgive Jean-
Louis and co. a few bum notes in the
programming, even more because
of pleasant surprises such as
SUPER PARQUET (traditional
French psychedelia). But I’m
not buying HMLTD; sometimes
people get lulled into ‘liking’ a
Reykjavíkurdætur
band
because
they’re talked
about so much that
they think they
ought to. HMLTD
just sound
like a goth
punk version
of Duran Duran
‘performed’ by a load of shouldknow-better
hipsters dressed like they’re auditioning for a minor
role in the Joker’s entourage. And that’s never good.
Away from Parc Expo there are still some treats to be
had. Chroniclers of France’s fertile underground scene, La
Souterraine, host a showcase in the gorgeous Theatre du
Vieux Saint Etienne, a converted chapel in the north of the city.
BARBAGALLO, fronted by percussionist extraordinaire Julien
Barbagallo, and AQUASERGE headline each afternoon of these
cosy gatherings, doing so with groove and nuance. And then
there’s the sixth form theatrics of FISHBACH’s resident show,
which is toe-curlingly OTT, even by French standards. Delivered
straight I can see how this would work – and I’d be prepared
to give it another go as Fishbach definitely has some songs in
her armoury.
Les Trans is also big enough to command its own offshoot
festival, Bars En Trans, which takes place across about 10 of
the smaller bars and venues dotted across Rennes city centre.
Admittedly the quality is patchy at best, but all of the (usually
sleepy) venues are packed, such is the Rennais’ clamour for
live music. And while LAURA CAHEN’s enchanting set at Bars’
opening at Le Gatsby Club draws a packed crowd, the live music
sprawl in Rennes isn’t to the taste of all the locals: further up the
street, past the infamous ‘Rue de la Soif’ (quirky by day, sleazy
by night), there’s a sign in one window saying ‘Bars Off Trans’.
The success of Trans might not have crossed over into our
mainstream in the UK, but the ease and professionalism with
which they pull it off, year after year, can tell us a lot about
the value in building a borderless community. And, with the
crossover success of Christine And The Queens reenergising
French pop, it is entirely likely that we’ll be consuming more
musical Gallic exports in the future. It’s amazing what you can
achieve with a continent-wide union all pulling in the same
direction, and a system that recognises the value of
culture and apportions funds to it. Ah, the European
dream – it’s still alive for
some.
lestrans.com
SICALES

16
Bido Lito! February 2017
bidolito.co.uk

Bido Lito! February 2017
17
The Germans have a way with words. Zeitgeist, literally
translating as ‘spirit of the times’, packs so much more
weight and cultural heft on top of its original meaning
that it now stretches beyond linguistic boundaries to invoke
the idea of a defining mood of an era. Zeitgeist is undoubtedly
a wonderful word, but it is an incredibly difficult thing to capture
– unless you’re DANNY BOYLE.
The Lancashire born and raised Boyle has become something of
a household name since his second film, Trainspotting, made its
impact in 1996. Who would have thought that the director of this
drug-soaked, foul-mouthed, faeces-stained masterpiece would
go on to direct the Queen? As controversial and disturbing as
Trainspotting was (and remains), the release this year of its sequel,
T2, is a good time to remind ourselves of exactly how much of a
zeitgeist moment that film’s release was.
Based on the novel by Irvine Welsh, which was made into a
play before Boyle got his hands on it, the film became a defining
moment in British culture. It could only have happened in the
middle of the 1990s, right at the point when a weirdly ‘cool’ strain
of Britishness was thriving. British cinema was dragging itself
out of the Orwellian quagmire that Thatcher’s government had
bestowed upon it in the 80s, and, if Boyle’s 1994 debut Shallow
Grave dribbled onto the memory of those dark years, Trainspotting
spat right back in its face.
The film was a directorial triumph, no doubt, and the
performances from the stellar cast were nothing short of perfect;
but it was Boyle’s recognition of pop culture and politics at that
soundtracking
a whole movie – precisely because it means so much to him.
Speaking to The Huffington Post in 2013, prior to the release
of Trance, he responded to the oft-repeated and thinly-veiled
criticism that his films were like music videos playing on repeat
on MTV by declaring that “film has a certain rhythm and I try to
bring that out in songs…”
“The songs mean so much to
me. They are your lives, our lives.
Some songs you love for decades.
They are like photographs of family
members that you keep around, so
you have to respect that and your
relationship with them.”
Danny Boyle
Prior to Trainspotting, Boyle had exhibited this knack for picking
a tune to resonate with a scene by using Andy Williams’ Happy
Heart over the dark-as-treacle ending of 1994’s Shallow Grave.
But even blinders like this aren’t all meticulously planned: “I was
looking for a way to close the film,” he told The Huffington Post
in the same interview, “and we were getting in a cab in Glasgow
one night when I heard Happy Heart. It was then I said, ‘That is
the song for the end of the film.’”
Boyle’s subsequent attempts at matching visuals with the
perfect tune have perhaps never quite equalled the work achieved
Words: Del Pike / @del_pike
Illustration: Nick Booton / bruistudio.com
Danny Boyle
time – and his genius ability to embrace that in the imagery and
soundtrack – that nailed Trainspotting as a true zeitgeist moment.
Reservoir Dogs posters were ripped from students’ walls to
replace the now instantly recognisable orange and white profiles
of Renton, Begbie, Sick Boy, Spud and Diane, each given their own
serial number in true Trainspotting fashion. Each beautiful image
captured their character traits, from Spud’s strung-out stupour to
Renton’s soaked-through junkie in rehab.
The soundtrack album, dressed in that same house style, was
the must-have CD of that year and held the secret of that film’s
success. For this was the Britpop era, with Tony Blair waiting in
the wings to unleash New Labour on the country as a new breed
of talent dominated the airwaves; and Boyle used this as his
quarry. That year’s Britpop stars rose higher than your average
indie bands of yore, providing their own soundtrack to the 90s
and imitating, to some extent, Bowie, Iggy Pop and Brian Eno in
both sound, image and art-school stylings. There was provocation
in the class war of Blur and Oasis, in the sleazy bedsit sex of Pulp,
and in the androgyny of Placebo and Suede.
The mix of new and old meant that Iggy’s Lust For Life became
iconic as the pounding intro to the film, as Ewan McGregor’s Renton
tears through the streets of Edinburgh spouting his “choose life”
wisdom. Not since Scorsese has a director so meticulously chosen
his off-the-peg soundtrack. Lou Reed’s Perfect Day playing over
Renton’s journey to the hospital after a particularly bad hit, or
Blur’s sinister Sing to reflect a cot death, are so touchingly perfect
they could make you cry. Or how about New Order’s Temptation
sung tenderly to Renton by the teenage Diane? Or the climax
of the film made even more powerful and unforgettable due to
Underworld’s Born Slippy? He’s a clever sod is Boyle.
Boyle is as capable of choosing the right tune as directing
on Trainspotting, but there have been moments that are truly
inspired. The disappointment of Trainspotting’s successor, A Life
Less Ordinary, was softened by the choice of music to distract
from the unlikely pairing of Ewan McGregor and Cameron Diaz
acting out a watered-down Wild At Heart scenario. The problem
was that Trainspotting was so damn relevant, so, to move the
action Stateside and go for the romantic jugular was never going
to maintain the ‘Boyle-as-cult-director’ fanbase. Ash, another
component of that same Britpop scene, provided the title
track and, in fairness, the zeitgeisty feel was still there – just.
The inclusion of Underworld again (who would appear in most
of Boyle’s future projects due to his friendship with the band’s
Rick Smith) alongside other indie faves Beck, The Cardigans and
Sneaker Pimps, showed that Boyle still had his finger on the pulse,
but it was a much less effective affair than his previous effort. A
stunning, pared-down version of Leave by REM makes the whole
experience worthwhile.
Perhaps 2000’s The Beach would provide us with a
foreshadowing of the style of soundtracks that Boyle would
curate in the future. He would never re-create that once-in-alifetime
Trainspotting moment, but this mix of new score and
procured songs would serve him well. Working alongside Angelo
Badalamenti (the composer behind much of David Lynch’s work,
notably the Twin Peaks TV serial), Boyle could paint an exotic
landscape of the paradise beach of the title. A collaboration with
DJ Pete Tong would provide the pick of the best from the likes of
New Order (The Exclusive Brutal), Moby and, weirdly, All Saints.
Shaznay, Nicole, Natalie and Melanie’s Pure Shores was a huge
hit and did as much to promote the film as did the pin-up poster
campaign featuring the young Leonardo DiCaprio.
This catapulted Boyle into the Hollywood mainstream, and his
choice of films thereafter became more epic and needed a more
widescreen palette beyond the NME-tinged rollcall of his films
so far. His move towards horror in the zombie apocalypse of 28
Days Later (2002) needed high octane drama in the soundtrack,
and he found this in the work of John Murphy. A Liverpool-born
composer who had worked with Guy Ritchie on Lock Stock… and
Snatch, Murphy provides one of the most affecting main themes
imaginable in a piece that builds up to a sinister crescendo: slow
against the fast-moving zombies, it is another stroke of genius,
and is terrifying.
By now Boyle had found himself in the role of a director
laureate of sorts; a practitioner who rarely puts a foot wrong,
but who could hardly be considered an auteur in that he has an
almost unique trait of skipping from one genre to the next. 2004’s
Millions, a lesser seen, low budget affair based on the children’s
book by Frank Cottrell-Boyce, saw a further collaboration between
Boyle and Murphy. Despite including tracks from The Clash, Muse
and Vangelis, the film did not merit a soundtrack release. In a
typical generic leap, Boyle’s sci-fi epic Sunshine (2007) again
saw Murphy on board, working once more with Underworld’s
Rick Smith to create vast soundscapes to accompany the visuals,
shamelessly influenced by 2001, Solaris and Alien. Adagio In D
Minor is as beautiful a piece of film music as you will ever hear
and captures the majesty of the scale of the movie.
The surprise hit of Boyle’s career was perhaps Slumdog
Millionaire, the 2008 movie bagging eight Academy Awards
and cementing Boyle as household name. The soundtrack,
by composer A.R. Rahman (‘the Mozart of Madras’), showed a
broader range again – and for the first time in a Boyle film, he
incorporated a piece of music into a musical narrative, with the
cast and a sea of extras singing and dancing along to the film’s
Oscar-winning theme Jai Ho in an irresistible scene. With hints
of Bollywood stylings set against a rather grim plot of torture,
the film somehow worked and was a great success – and it was a
million miles away from Trainspotting.
A further collaboration with Rahman on 127 Hours gave way to
Boyle reuniting with Rick Smith in the artsy heist movie Trance.
The shooting of the film was interrupted by the herculean 2012
Olympics opening ceremony, which Boyle directed alongside
Smith and fellow Underworld member Karl Hyde as musical
directors, with Frank Cottrell-Boyce working on the narrative.
Boyle had travelled a long journey to reach this point, and some
saw his involvement in the Olympics as a sell-out. A return to his
roots this year with T2 should be enough to convince fans he is
back on familiar territory.
Once again, the soundtrack is shaping up to reflect where
we are right now, and while it might not succeed in capturing
the zeitgeist in the same way, it looks like it still might satisfy.
And, once again, the soundtrack is a mixture of new and old with
Young Fathers, Fat White Family and The Rubberbandits rubbing
up against Queen, Frankie Goes To Hollywood, Blondie, The Clash
and Run DMC. Back in 2013, Boyle revealed that he’d been trying
to fit The Clash’s White Man (In Hammersmith Palais) into each of
his previous 10 films, and in T2 he finally has achieved his dream.
The potential problem here is the balance being tipped very
much towards the oldies, with Iggy and Underworld still topping
and tailing the tracklist à la ’96. It’s easy to imagine how the
brooding and sinister Silk by Wolf Alice, with its euphoric climax,
will fit into the world of Trainspotting and it is not beyond the
realms of sensibility that Young Fathers’ Rain Or Shine has echoes
of both Pulp’s Mile End and Damon Albarn’s Closet Romantic. But
the characters of T2 in 2017 are not the characters of Trainspotting
in 1996: they’re older, more weary, less dependent on uppers to
get through the day. The carefree lust for life is still there, but it
might not be as fast as it once was.
Where Trainspotting saw Boyle as a genius novice, T2 finds him
a tried and tested national treasure, albeit one with a damn fine
taste in music. Long may he reign. Choose Boyle.

18
Bido Lito! February 2017
SAVE UR
CULTURE
Words: Jessica Greenall / @jessrg1995
Photography: Sam Rowlands / samrowlandsphoto.com
Gary Brown / gbmultimedia.co.uk
Over the past decade, we have witnessed Britain’s
subcultures and creative spaces suffer under
redevelopment and gentrification. Clubs have been
an easy target for these convenient closures, being dubbed as
dangerous, hedonistic, drug-fuelled wastes of public space.
Rather than helping clubs deal with drug use or to build a
relationship with its community, closing them is becoming an
all too familiar ‘solution’ for local councils and town planners.
Since recently being threatened by property developers looking
to build flats in the Baltic Triangle, 24 Kitchen Street said it best:
“we want music venues and creative spaces to be embraced
within the city’s long-term vision, not briefly tolerated, then
swept aside...”
The closing of Fabric London’s doors in September 2016 felt
like the final blow to Britain’s club culture, and its reopening
doesn’t provide much hope of a brighter future. Fabric’s
management was given a 155-page document stating the
rules and regulations the club must abide by to remain open.
This included raising the minimum age for entry to 19, a more
thorough CCTV monitoring, ID scanners and lifetime bans for
anyone caught asking for drugs. When compared with Europe’s
more forward thinking attitude towards clubbing, lumping
these new conditions onto Fabric feels like a useless attempt
to do the impossible: prevent drug use in clubs once and for all.
Ironically, on the same day Fabric announced its closure, a
German court ruled that Berlin’s famous nightclub, Berghain,
should be considered as culturally significant as theatres, concert
venues and museums. By boosting its status, the club is now taxed
at a lower rate than regular ‘entertainment events’. To provide a
safer environment for clubbers, the Netherlands has encouraged
harm reduction approaches by using monitoring systems for safe
and legal drug testing. Not only has this prevented tragic deaths,
but it has allowed authorities to be notified about new and
dangerous substances. Although free, charity-run drug testing in
clubs has been supported by Lancashire and Manchester police,
who have said they will not prosecute anyone who makes use
of the service, it appears Britain still has a long way to go. Our
nightlife, which holds global significance and has helped form
the careers of an endless list of musicians, isn’t being considered
with the same cultural significance and identity.
This gradual regression of creative spaces has revealed
their vital importance to both the public and artists who are
rightfully fighting back. Fabric launched the campaign ‘Save
Our Culture’ to raise money for their legal battle. The campaign
was accompanied by electronic and house music events,
including two daytime events at Camp and Furnace hosted by
Circus. Circus has been providing Liverpool with internationally
celebrated electronic artists for over a decade. Starting off as
a simple house party, Circus evolved into an integral part of
Liverpool’s club culture. Its founder, Yousef, stated that the
public’s eagerness to help Fabric revealed “an underestimation
of how important this culture is and how dance music has
permeated many areas of modern life.”
A disregard for and prejudice against club culture is something
we have seen before. Just as the Northern Soul phenomenon of
the late 60s and rave culture of the late 80s created controversy,
their cultural significance is now recognised. Today’s club scene
has its roots in these and numerous other cultural phenomena.
It is a culture that is already cemented into our history and
identity. Long may that be the case.
After it was announced on Monday 21st November that Fabric
would reopen, 27th November and 27th December became two
days of celebration at Camp and Furnace. Here’s my experience
of the two nights…

Bido Lito! February 2017
19
Camp and Furnace is no stranger to clubbers, and vice versa. The
atmosphere of the large warehouse is oddly homely, as the queue
enters and people spill into the places where they know to find
what they came for; I follow the thumping bass into the Furnace and am
welcomed by PACO OSUNA. An eager crowd gathers under the twisting vines
and the hanging thunderclouds of The Night Garden. Paco delivers a deep,
rumbling set that promises a good night ahead. His sophisticated sound
scrambles intelligent techno beats with an underlay of repetitive house
rhythms. STEVE LAWLER takes over and continues to fuel us with a heavy
set. Living up to his nickname ‘King of Space’ in Ibiza, his set delivers an
abundance of anthemic rhythms and intense drops that send his crowd off
into a gratified groove.
MIND AGAINST and MACEO PLEX successfully keep the packed venue
fervent and focussed. Atmospheric and, at times, dark, both sets blast out
hypnotic beats and body-shaking basslines. Maceo Plex’s Conjure Dreams
and Solitary Daze are two highlights and the crowd’s love for the familiar
tunes is almost tangible. YOUSEF himself finishes off Furnace with everfunky
and trend-defying beats, twisting emotive vocals with techno and
house.
Meanwhile, the set in Camp is just as powerful and exciting. I catch the
tail end of NASTIA’s set as a recording of Stevie Wonder passionately sings,
“clap your hands just a little bit louder” over a build-up of techno beats. B.
TRAITS follows with a rich and high-energy set of thumping basslines and
cleverly crafted techno overlays. She effortlessly enchants her crowd into a
dancing frenzy. In fighting to keep these cultural institutions alive, B. Traits
participated in BBC Radio 1’s talk, Fabric And The Future Of Clubbing, and
has stated her view on drug use in clubs: “as a DJ, I think it’s to an extent my
responsibility to keep your patrons, fans and family safe […] the best thing
we can do is to make the environment that they are experimenting in safe,
so that in case anything goes wrong, it’s there for them.”
A quick exchange of headphones and MANO LE TOUGH takes over. He
delivers a different, more melodious set, but continuous to feed the energy
built up by B. Traits. He surprises us with Hans Zimmer’s poignant theme
for Interstellar, gradually unfolding the familiar melody into a fast-paced,
repetitive house track. The Berlin based duo, TALE OF US, end the Furnace set
with intense tracks like North Star, mixing disco and pop with beloved house
rhythms bringing out the best of the crowd’s seemingly harmonised dance.
The Christmas Special at Camp and Furnace welcomes another impressive
DJ set and an even bigger herd of eager clubbers. Under giant hanging
snowflakes and laser lights, MATTHIAS TANZMANN blasts out infectious
basslines and metallic melodies in the Furnace, setting the fast momentum
for the evening. Another pulsating set from Yousef, before HOT SINCE 82
introduces some disco and funk elements. Confetti blasts over the euphoric
crowd during the uplifting track, Veins, before SAM PAGANINI brings the
powerful groove emanating through the Furnace to a close. His dark and
eerie set reaches intense heights; the rumbling rhythm of The Beat shakes
his crowd into a united wave of bopping heads and raised hands.
Camp has taken on a surreal Alice In Wonderland theme, with giant
lotus flower lights, vines, and cardboard cut-outs of characters and playing
cards hanging from the high ceiling. A rectangular canopy falls just above
the audience in the middle of the dance floor, brought to life by erratic
light installations that fizz and flash to the rhythms. Once again, the set
is extremely rich and diverse. GUTI fuses electronic with his jazz and Latin
roots, adding a sophisticated funky rhythm beneath harsh house beats,
whilst ANDREA OLIVA keeps it traditional. Scream gets his crowd eagerly
cheering and whistling to the familiar build-up of a repeated, fierce vocal
scream, before dropping into a deep house beat.
JOSEPH CAPRIATI takes over with a darker and slightly sinister sound, but
nonetheless infectious, and keeps hold of his crowd’s focus. He energetically
delivers his vigorous set of slick techno beats and further enchants the
decorated Camp. For Joseph, his work is a healthy outlet for both himself and
his audience: “When I’m playing I totally forget everything and this makes
me happier. Looking at the people dancing and following my musical trip
is an amazing thing.”
Circus host Green Velvet and Davide Squillace at Arts Club on 25th February.
Fabric have announced their winter season of weekly shows running through
February and March, taking place under new licence restrictions.

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22
Bido Lito! February 2017
FEBRUARY IN BRIEF
THE BLUECOAT @ 300
It’s hard not to take some things for granted, especially when they’ve been around for such a long time. Not so for The Bluecoat – the oldest building in
Liverpool’s UNESCO World Heritage site and the UK’s first arts centre – which celebrates its 300th anniversary from 4th February with a 300-day programme
that unpicks the amazing archive of material the venerable building has hosted. The Bluecoat’s distinguished history of presenting contemporary art,
from Monet to Matisse, will be told during this 300-day period, with the Public View exhibition giving particular focus to 100 artists who have exhibited
in the building over the past five decades, often at the beginning of their careers (including Yoko Ono, Mark Leckey and Jeremy Deller). bluecoat.org.uk
SUNDARA KARMA
It takes a certain amount of gumption to land your debut album at the beginning of the year, when listeners are still drunk on festive messages and
bogged down by the long, gloomy winter stretching ahead. Reading quartet SUNDARA KARMA certainly have the brio to carry this off, with their Chess
Club-released album Youth Is Only Ever Fun In Retrospect coming across as a bold statement of intent. Brash, bright and unafraid to aim big, Sundara
Karma have everything in their arsenal to make the step up to the indie big time.
O2 Academy / 12th February
5 YEARS OF MADNICE
If it hips or hops in Liverpool, chances are the Madnice Marauders are behind it in some way. In cahoots with No Fakin’ and Bam!Bam!Bam!, they’ve
been at the heart of some of the best gigs in town for the past few years, chalking up memorable shows with Peanut Butter Wolf, Nightmares On Wax
and Jonwayne along the way. To celebrate five years, the crew are hosting an epic party headed up by an amazing tribute to James Dewitt Yancey with
the live performance of ABSTRACT ORCHESTRA DOES DILLA. The 16-piece ensemble (pictured) will perform a range of Dilla pieces in a jaw-dropping
fashion, keeping the adventurous spirit of hip hop alive.
ESA SHIELDS
Get your weird on down at The Bull and engage with some shit from the other end of the spectrum that will make you feel alive. Dream-space
troubadour ESA SHILEDS heads up proceedings here, taking you into an acid-fired otherworld of psychotropic goodness. On top of that you can chill
in with THE MEKANO SET’s warped, bassy, magickal adventures, and chill out with the SIMON JONES CHILLOUT DONK EXPERIENCE (“banging tunes for
weirdos”). With Projectile Vomit on the visuals and Bog FM on the stereo, your alternative night out is complete.
Drop The Dumbulls / 11th February
OYÉ’S SILVER ANNIVERSARY
That jewel in Merseyside’s festival crown, AFRICA OYÉ celebrates 25 years of bringing the best music from Africa and its diaspora to the region this
year. Join the party at Sefton Park on 17th and 18th June when selected artists from the festival’s illustrious roster of headliners from previous years
will be performing. It’s sure to be a special atmosphere, and a chance to mark the anniversary of one of the city’s most loved events. Before that date,
there is also the little matter of the incredible Tuareg blues maestros TINARIWEN coming to Invisible Wind Factory to kick off the silver anniversary
celebrations on 7th March.
THE CUBICAL
The newly-kitted out live room at 81 Renshaw Street gets kicking into action in February with a night of rollicking roots sounds. Garage-blues
stompers THE CUBICAL head up the night, where they will trial some of the material that will be featured on their new album, Blood Moon, being made
through Pledgemusic. Joining them on the bill are the raw rock quartet MUDCAT LANDING, and CHRIS ELLIOT, an up-and-coming singer-songwriter
with a bluesy voice that veers between haunting and thrilling.
81 Renshaw Street / 10th February
WIN FREE STUDIO TIME!
Liverpool’s North docks area welcomed some new musical neighbours before Christmas in the form of PIRATE STUDIOS, who have set up their
newest rehearsal spaces on Regent Road giving artists 24/7 access to affordable practice rooms with boss facilities. The studio’s sixth UK space
features Pirate’s bespoke booking system which utilises disposable code lock technology, ensuring complete autonomy for its users. To celebrate
the opening of the premises, we are giving away free time in the studios to followers of the Bido Lito! Facebook page: all you have to do is like
and share a forthcoming post on there. Keep your eyes peeled for a great prize.
bidolito.co.uk

Bido Lito! February 2017
23
JULIAN COPE
Arch-Drude and one-time 36th greatest Merseysider (as voted by Liverpool Echo readers) JULIAN COPE doesn’t do things by halves. As a rocker in the
70s and 80s with Teardrop Explodes he was ahead of the curve, breaking new ground and providing those that followed him with the raw materials
to form into genres, before he’d move on to another new project or collaboration, always creating something new. Latterly as a poet, occultist and
authority on krautrock music, Cope has stayed active and interested, and with his latest album, Drunken Songs, he confronts the “Age Of Trump” in
the only way he knows how: with 40 minutes of gnostic drunkenness. Arts Club / 11th February
BIDO BEER @ BLACK LODGE
The Baltic Triangle’s premier brewery tap Black Lodge has had a facelift with a spanking new brew kit producing more of the city’s finest tipple,
ensuring great beers on continual rotation. To take full advantage of the new gear, Bido Lito! will be brewing up a new Bido beer to be unveiled – along
with a shiny new print and digital look! – at our upcoming Bido Social in Black Lodge on 23rd February. The hoppy drop will come with the trademark
pink hue, but will only be available for a limited time. New signees to Modern Sky records FUSS will be joined by DANYE and MARY MILLER to help us
celebrate this auspicious occasion. We recommend you book the Friday off.
BALTIC VIBE-ANGLE
Winner of the Best New Festival at the UK Festival Awards, POSITIVE VIBRATION have signalled their intent to build on their success with the 2017
edition of the dub and reggae event. Legendary two-tone band THE SELECTER (pictured) have been announced as the first headliner for the Constellationsbased
reggae extravaganza. As well as a partnership with legendary label TROJAN RECORDS, Positive Vibration have also added SCIENTIST and ABA
SHANTI-I to the bill for 2017. Tickets are still on sale for the family friendly festival with day tickets starting at £8. Exorcise the winter blues by putting
this into your iCal for 9th and 10th June.
STEVE DAVIS AND KAVOS TORABI
The Merchant present a Sunday Session special at the end of the month, featuring a slew of top notch selectors. Snooker legend turned turntablist
du jour STEVE DAVIS joins forces with the co-presenter of his Interesting Alternative radio show, prog journeyman KAVOS TORABI, on the decks for the
main event; expect to hear everything from Berghain techno to rare prog as the duo get together. And also expect smiles aplenty, as Davis once again
locks horns with BERNIE CONNOR in some deck action, after they struck up a friendship at last year’s Liverpool Psych Fest. You have been forewarned.
The Merchant / 26th February
AD HOC OPPORTUNITY
Looking for a new studio, workshop or gallery space? The space you work in is essential to your comfort, and it’s becoming increasingly difficult to find
affordable premises to allow your creative vision to flourish in. Ad Hoc Property, the company behind the Bido Lito! collaborative Ad Hoc Creative events,
are coming to the rescue of creatives in the region with a mix of commercial and retail units perfect for musicians, start-ups and artists looking to get
a project off the ground. There are spaces available from as little as £120 a month meaning 2017 could be the year you finally realise that dream. For
more info contact Ad Hoc on 0151 236 6061. adhocproperty.co.uk
PERFECT 10 FOR SOUND CITY
LIVERPOOL SOUND CITY is going big with its 10-year anniversary celebrations this year, with some A list headliners announced for the four days of
celebrations between 25th and 28th May. The festival is preceded by the legendary JOHN CALE’s exclusive live performance of The Velvet Underground
And Nico, as well as a celebration of the English avant garde on the Thursday night with THE HUMAN LEAGUE, A CERTAIN RATIO and ART OF NOISE. Dance
rock doyens METRONOMY (pictured) headline the Saturday night of the festival proper, with THE KOOKS closing things out on Sunday on the new, larger
Clarence Dock site (adjacent to Bramley Moore Dock). THE KILLS, PEACHES and LOCAL NATIVES are also slated for the bash. liverpoolsoundcity.co.uk
IF YOU GUILD IT THEY WILL COME
Liverpool’s thriving comedy scene will be further bolstered this month with a new weekly stand-up night taking place every Thursday at Liverpool
Guild of Students with Comedy Central Live. The Guild’s Cellar space will host nationally recognised names each week who will perform in the
traditional stand-up setting of an underground space with only a harsh spotlight and audience for company. The first line-up features former FHM
Stand Up Hero star MARLON DAVIS (pictured), MICHAEL LEGGE and So You Think You’re Funny 2016 finalist KELLY CONVEY.
The Cellar / Every Thursday
COMPETITION: WIN JON BODEN TICKETS
The Atkinson in Southport hosts one of the first music festivals of the year this month as Love Folk comes to the arts centre. Emerging talent in the
form of LUKE JACKSON and LADY MAISERY will support folk legends JON BODEN (pictured, ex-Bellowhead) and FAIRPORT CONVENTION. We’re teaming
up with The Atkinson to give away two tickets to the Jon Boden performance on 11th February. To be in with a chance of winning, all you need to do is
answer the following question: Name the other founder member of Bellowhead: a) John Spencer b) John Spiers or c) John Squire. Email your answer
to competition@bidolito.co.uk by Monday 6th February. Winners will be notified by email.
bidolito.co.uk

FRI
FRI
FRI
FRI
FRI
FRI
SUN
SUN
SUN
SUN
SUN
MON
MON
MON
27.01
03.03
27.01
03.02
10.02
17.02
22.01
29.01
05.02
12.02
19.02
30.01
27,02
30.03
SOUNDS
FAMILIAR
NIGHTGARDEN
CAMPFIRE
TUNES
DJANGO JAM
SUN
29.01
FAIRPORT
CONVENTION
TUE
TUE
TUE
TUE
24.01
31.02
07.02
14.01
HANG THE DJ
FRI
20.01
IAN SKELLY DJ SET
[THE CORAL]
67 Greenland Street
Liverpool
L1 0BY
campandfurnace.com
@campandfurnace
0151 708 2890

[What’s Happening]
FEB
1ST SOULJAM
2ND GIT PRESENTS DEEP CUTS
3RD MIA MENDI PRESENS OC & VERDE
7TH ILOVELIVE PRESENTS BOXED IN
9TH EVOL PRESENTS HOWIE PAYNE
10TH MANCHESTER COLLECTIVE : TRANSFIGURATION ONE
17TH TRIBE 1ST BIRTHDAY WITH LUCY
18TH TUFF LOVE SOUL CLUB WITH MANSHIP & P BLEASDALE
24TH SO FLUTE
MARCH
8TH HARVEST SUN PRESENTS MAN & ECHO
10TH FAMILIAR CIRCLES WITH ROSS FROM FRIENDS AND BANOFFEE PIES
15TH EVOL PRESENTS TEN FE
17TH UPSTAIRS WITH SCHMUTZ
18TH STREETLIFE WITH TRUTH BE TOLD
23RD PAUSE PRESENTS 15 YEARS OF THE STREETS
24TH MANCHESTER COLLECTIVE : TRANSFIGURATION TWO
30TH ABANDON SILENCE & RESIDENT ADVISOR PRESENT KINK
WWW.BUYERS-CLUB.CO.UK
FOOD AND CORPORATE BOOKINGS: INFO@BUYERS-CLUB.CO.UK
BOOKINGS AND EVENT ENQUIRIES: ANDREW@BUYERS-CLUB.CO.UK
24 Hardman Street, Liverpool L1 9AX
0151 709 2400

26
Bido Lito! February 2017 Reviews
Caves of Kronia (John Johnson / johnjohnson-photography.com)
CAVES OF KRONIA –
THE FINAL EPOCH
Invisible Wind Factory
One year on from the spectacularly imagined,
superbly realised Return To Planet Kronos
that brought the Kazimier era to a suitably
out-there, emotionally charged ending (end of
the location, not the ethos, you understand),
the Kaz team seek to celebrate the first year
in their new home, the Invisible Wind Factory,
with another piece of theatrical cabaret, the
CAVES OF KRONIA.
As always, there’s a theme you can get
yourselves sartorially prepped for if you want
to be part of the spectacle, or just to get in
the mood if you’re going along as a spectator
(tonight we are invited by Fortuna, The Weaver
of Fate, to visit the Caves of Kronia, source of
crystal on Planet Kronos). And, again as always,
the vast majority of people seem to have put
an amazing amount of thought and energy into
embracing the whole concept of the evening
and dressing accordingly.
We are ushered down steps, welcomed
by hard-hatted assistants and shown the
Caves of Kronia (John Johnson / johnjohnson-photography.com)
bidolito.co.uk

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entrance to the Caves of Kronia. Through the
cellar space of the IWF in near darkness we
scrunch our way along a gravel path, winding
between columns of flashing lights, our very
own yellow brick road leading us in an amused,
whatever-next state of anticipation towards
the Oz of our imaginations. A deep, industrial
rumble accompanies our progress.
Up a couple of flights of stairs, and we burst
onto the main stage to be confronted by a
kaleidoscope of movement, colour and sound.
Entering onto the main stage is a neat way of
making people feel immediately a part of the
spectacle, you almost feel as though someone
should announce your name as you descend
the steps to join the throng, which, even early
in the evening, is pretty substantial.
An electro-pop duo are playing on a second
stage, spinning the crowd right round, and
various fortune tellers are regaling delighted
punters with details of their fate. The costume
competition develops into a wacky gameshow,
the four fates – Creation, Order, Chance and
Doom – all represented and encapsulating
the ‘Cabaret meets Alice In Wonderland with
a twist of glam’ vibe of the evening, whils
creatures from the darkest Mittel-European
forests dance with futuristic automatons. “I’m
in the fifth dimension,” whispers one firsttimer,
and I talk to several newcomers who all
appear to be happily dazzled by proceedings.
Doom’s candidate takes to the stage. “What’s
your name,” asks our host. “Obsidian” states
the bare-chested, high-heeled, leather-clad
extra from a Frankie video as the Wheel of
Fate begins to spin behind them. The Caves
of Kronia are mined for crystals and they
hang, spinning from the ceiling, shining like
misshapen, fossilised disco balls. Lady Lindsay
wins the crystal growing competition, and
rushes down from the balcony to receive her
prize before a fairly unruly barn dance, in which
the instructions from the stage take twice as
long as the dances themselves. No one seems
to care as they wheel and cavort in a Circle
Dance of Chaos.
There follows a short hiatus as the crowd
gravitates towards the main stage, which has
been quietly transformed behind our backs, a
four-tiered platform now at the centre. Enter
Fortuna to a thunderous drumbeat and the kind
of choral music that ratchets up the tension
Caves of Kronia (John Johnson / johnjohnson-photography.com)

Reviews
Bido Lito! February 2017
29
in a Hammer horror film. Her attendants sit
below her and they are joined by a troupe
of lantern assistants as the four Fates make
their entrance: Chance takes the opportunity
to spunk silly string over the audience; Doom
is roundly booed before being defeated by
our flying hero, Captain Kronos, who counts
the New Year in before letting fly salvos of
confetti over a cheering, bouncing crowd. The
costumes are superb, Fortuna’s illuminated
veil and many pointed headdress the pièce
de résistance, and, whatever the venue, it
appears that the Kaz team can put on a show
mixing imaginative music and theatre with
a tongue-in-cheek sensibility that ensures a
great party. The dancefloor is jammed as the
hits keep coming: Sylvester feels mighty real,
Devo whip it good and Queen aren’t stopping
any time soon because Dipsy et al are having
a ball.
And after all that you get DOGSHOW. The
Crombie brothers’ drum and synth wizardry
ensures that the party continues with a
collection of irresistible beats and soaring
electronica accompanied by a dazzling
lightshow that turns the crystal backed stage
into an Escheresque checkerboard.
This year we walk out into the night without
the bittersweet smile on our faces. The new
Epoch has begun.
Glyn Akroyd / @GlynAkroyd
THE LAST WALTZ
Mellowtone @ Philharmonic Music Room
The sense of anticipation around this gig has
been building for weeks, echoing the striking
intro to The Last Waltz itself, and reaching a
crescendo tonight as the band ascend the
stage to whoops and cheers from the sold-out
crowd. The room is theirs. And they haven’t
even played a note.
Wordlessly, Dave O’Grady and SEAFOAM
GREEN – Adrian Gautrey (guitar/keys), Martin
Byrne (bass), Ben Gonzalez (drums), Muirreann
McDermott Long (vocals) Jez Wing (keys) – and
Dead Hedge Trio’s Rory Valentine (trumpet) go
straight into Up On Cripple Creek, O’Grady taking
the lead on vocals. Vocal duty then switches to
Gautrey, still sitting at his customised Roland
keyboard, for The Shape I’m In. He straps on a
Telecaster for The Night They Drove Old Dixie
Down, and pretty much stays centre stage all
night, delivering highlights including a fine
rendition of Neil Young’s Helpless and an
extended guitar solo on a spine-tingling It
Makes No Difference.
O’Grady, key orchestrator of this event –
along with the always dependable Mellowtone
– had explained before the gig that he
wanted to bring together a local community
of musicians to recreate that 1976 on-stage
The Last Waltz (Glyn Akroyd / @GlynAkroyd)
community when The Band took their final
bow, and this is achieved throughout, starting
with Paul Dunbar’s lively version of Who Do
You Love. One half of Clang Boom Steam guest
on Evangeline, with McDermott taking the
Emmylou Harris role and then giving a faithful
delivery of Joni Mitchell’s Coyote, before the
first half of the show ends with The Weight,
Rory Valentine giving it his all on trumpet.
When they return, O’Grady thanks us for
“keeping The Band’s music alive” with them
and reveals that Robbie Robertson has sent
him a message: “Knock ‘em dead!” – kudos,
guys. With that, they swing into a spirited
version of Ophelia, then Mystery Train, with
O’Grady on harmonica. Next, Dunbar returns
to the stage and completely owns it, delivering
a compelling, mesmerising performance of
Mannish Boy, mic clenched in one hand, the
other making a series of ever-wilder gestures
as he commands guitarist Gautrey’s playing.
Even the power supply seems overwhelmed.
Once restored, it’s time for another guest –
Edgar Jones, who gives Eric Clapton’s Further
On Up The Road the full blues treatment and
continues into Such A Night, with Jez Wing
outstanding on honky-tonk keys.
There’s a visual as well as an aural treat in
store next as the exotically-dressed Alessandro
performs Van Morrison’s Caravan, delighting
TLW geeks with his delivery of ‘radio’. Gautrey’s
sublime Forever Young, with its most lovely
of wishes, is a delicate stand-out moment
before Nick Ellis and the band rock into a
decibel-raising Baby, Let Me Follow You Down.
Finally, everyone crowds onto the stage for I
Shall Be Released. As they exit, the audience
collectively spring to their feet, shouting for
“More!”, and the band oblige with Don’t Do It,
guests slipping back in ones and twos to join
in. Another standing ovation and they’re gone.
The room breathes out, possibly for the first
time this evening.
Love for, and appreciation of, the original
event has been apparent throughout – the
band and their guests are all clearly delighted
to be on stage, honouring The Band and
their music, keeping TLW alive not through
performing a tribute night, but as a living,
breathing celebration of Americana’s finest.
“May you stay forever young” indeed.
Debra Williams / @wordsanddeeds
TALIB KWELI
L100 Cypher
Bam!Bam!Bam! @ 24 Kitchen Street
It’s safe to say that 24 Kitchen Street is
Liverpool’s home for hip hop. The start of 2016
saw the likes of Loyle Carner and Saul Williams
grace its stage and, throughout the year, we’ve
seen The Mouse Outfit and Pharoahe Monch
pull crowds into its bowels. It’s the place to be
for B-boys and girls. Now, as we stride into the
final month of what has been in many ways a
brutal year, the venue continues its winning
streak by playing host to a true legend of the
genre.
But before we get to that, the heady
vibrations created by basslines and beats serve
to warm the cold air on this December night
whilst the venue is filling up fast. Pretty soon
it becomes a case of deciding where to stand
and sticking to it; it’s plain to see how much
people want this.
There’s a legitimate crew in to start the
proceedings tonight. They go by the name L100
CYPHER. If there’s one thing that’s plain to see
from the outset with this bunch it’s that they
clearly adore what they do. There is, however,
a part of their act that comes across as being
inauthentic. While some of their performers
spit honest raps that are lyrically sophisticated
and deeply human, there are some who come
across as though they’re trying to fit an image
of a typical commercial, or ‘gangster’, rapper.
They are a talented crew who certainly make
their mark on those gathered here tonight,
although, with any group of performers, some
stand out far more than others.
After Cypher have left the stage the crowd
are given about forty minutes of audible treats
straight from the mad talents of No Fakin’ DJs.
Everything gets a spin, from A Tribe Called
Quest to The Roots and Common. It’s a lovely
mix and the vibes reach every corner of the
room.
And finally, here we are. The DJs have
switched their equipment and the touring
DJ has given a show of scratching skills and
shout outs to hype the crowd. Not that any
hype is needed; the crowd explodes into a roar
as soon as TALIB KWELI steps up on stage. He
starts the show with a heavy display of true
MC craft; there is no false pretence here as
this DJ/MC gives Liverpool a taste of pure,
distilled hip hop from the source; Brooklyn.
In between some of the songs in the set Kweli
doesn’t hold back on offering his opinions on
the state of hip hop as a culture, misogyny in
hip hop and a whole host of other discussion
points. This set is drenched in meaning and
discourse. He also pays touching tribute to hip
hop legends who have passed on: Sean Price,
J Dilla and, of course, Tribe’s Phife Dawg all
receive deserving tributes.
This set fuses the best of what’s old and
new. There are tracks from Kweli’s legendary
Reflection Eternal album as well as some of
his most recent, including Fuck The Money, the
title track from the rapper’s 2015 album. It’s a
deserving set for an adoring crowd.
Talib Kweli came from the home of hip hop
and brought the best with him. 24 Kitchen
Street couldn’t have done any better.
Christopher Carr / @ccar88
bidolito.co.uk

30
Bido Lito! February 2017 Reviews
THE LEMON TWIGS
Goat Girl
Harvest Sun @ District
As District starts to fill in anticipation for
THE LEMON TWIGS, support band GOAT GIRL
emerge and mill about on the stage for a bit,
nudging and smiling knowingly at each other,
before taking their places and launching into
the surly venomous blast that is Scum, with the
killer post-Brexit line “how can an entire nation
be so fucking thick?” The band, communicating
as a unit through knowing nods and glances,
deliver Country Sleaze, Scum’s double A-side,
letting its acerbic lyrics “I’m disgusted, I’m
ashamed of this so-called human race,” do the
talking. They regard the audience with a cool
confidence and steady cynical eye throughout,
almost like we’re not meant to be there. It will
be interesting to see how that approach holds
up in shows as the band gets bigger, because
they will.
The Lemon Twigs are a peculiar set up, former
geek child actors, turning to music full-time
once their voices broke and no longer slotted
tidily into the Nickelodeon business model.
Brian D’Addario takes the vocal lead for the first
third of the set, the more melodic laid back of
the two, with younger brother Michael hidden
in amongst the drum kit (one that seems far
The Lemon Twigs (Sam Rowlands / samrowlandsphoto.com)
too big for him). With his Gram Parsons fringe safety of the keyboard. New song Why Didn’t
hanging over his eyes, Brian settles behind the You Say That? is a bright delight of tune, a kiss
of the summer sun on a dark cold December
night. And the single These Words sounds
terrific, because, how can it not?
When it’s Michael’s turn to come up front,
(him in the glam satin kecks in all the press
shots), we’re more than a little bit gutted to
see that he’s in mere polo shirt and jeans.
But, we get over our disappointment soon
enough. Michael’s the performer, the rock star
of the duo, he scissor kicks, jumps and back
flips like he’s just learned how to do both for
the very first time, and wants everyone to see.
There’s a cockiness to him; swigging from his
water bottle and lashing it on the stage floor,
fat splashes of water going everywhere. He’s
beyond cute.
More new songs are debuted tonight,
including Queen Of My School, from an EP due
out early this year. The comparisons to Big Star
are of course obvious, and Alex Chilton’s All Of
The Time gets the right treatment tonight; and
when Michael notices there’s a guy wearing a
Big Star t-shirt in the audience, he asks him to
come to the front so he can see.
It’s my belief that drum solos should never
have been invented in the first place, but the
D’Addarios are fans of the concept, Michael
indulging himself for longer than he should.
When Brian takes up the sticks, he does a drum
solo as well, only not for as long. For that, he
has our gratitude.
The High Llamas
Union Chapel, Islington
Saturday 28th January
Ezio
plus Seafoam Green
The Philharmonic Hall, Liverpool
Thursday 16th March
Ian Prowse & Amsterdam
25th Anniversary show celebrating 'Fireworks' by Pele
Ruby Lounge, Manchester
Saturday 18th March 2017
Kathryn Williams
The Philharmonic Hall, Liverpool
Sunday 23rd April
Nightingales & Blue Orchids
The Magnet, Liverpool
Friday 28th April
The Monochrome Set
The Philharmonic Hall, Liverpool
Sunday 28th May
@Ceremonyconcert / facebook.com/ceremonyconcerts
ceremonyconcerts@gmail.com / seetickets.com

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32
Bido Lito! February 2017 Reviews
The thing with The Lemon Twigs is, try to
resist as much as you can, but, harmonised
melodic pop, whether it leans heavily on the
music of Todd Rundgren, Big Star and their
peers from forty years gone, or not, still holds a
magic. The D’Addario brothers are an intriguing
and seductive combination. With pop music,
there doesn’t have to be a reason why it pulls
you in; it just does. And that is that.
Cath Bore / @cathbore
MICHAEL CHAPMAN
Nick Ellis
Mellowtone @ Philharmonic Music Room
An all too short set from NICK ELLIS kicks
things off, the Scouse troubadour bringing his
own brand of blues-soul musings on life, love
and light to a new audience with a natural
ease. A Grand Illusion, Lovers In July, and A
Walk Through The City, from Ellis’ new Daylight
Ghosts album, form the backbone of a set
that is rich in character, delivered with Ellis’s
trademark grace, poise and an understated
determination. With each performance he
grows, giving more of himself, and, as he
finishes with My Old Flame, the coup that
Mellowtone have pulled off with this most
perfect pairing of unique and individual
performers becomes clear.
The MICHAEL CHAPMAN fans who are packed
shoulder-to-shoulder in seated rows in the
Music Room, reflect this incredible artist’s 50-
year career in their spread of ages. Anticipating
greatness, they sit in reverent silence with
bated breath and widened eyes, as the opening
strokes of Chapman’s guitar start us on a
masterclass of acoustic blues that comes so
naturally from this instinctive and expressive
player.
Chapman’s part folk, part blues style of
intricately finger-picked melodies, dancing
up and down the neck, is as enigmatic and
evocative as his deep, dusty voice. And that
voice; tired, scratched and worn from decades
on the road, with lyrics part spoken, Lee
Hazlewood-style, over the hypnotic spell of his
guitar work. You can hear the dusts of time in
these tunings, these lilting and attractive riffs.
The simple, warm beauty of songs like The
Twisted Road, played here as the opener,
pulls us in and holds us close, each section
ringing out in the still of the Sunday night air.
Reflective, intimate and personal, it’s a lyric
that feels as though it was written for any one
of us. Maybe it was.
He is warm and personable as he recounts
his traveller’s tales and details his influences,
the places in his mind, and the people in his
mind’s eye, gracing us with stories of all those
years travelling all those roads. He introduces
us, in his Yorkshire drawl, to Caddo Lake, with
a story of a journey along the Louisiana/Texas
border in search of a town called Uncertain. He
pulled into some other dusty town to ask for
directions, but could only find one person to
ask. Predictably, he didn’t know. So, Chapman
sat down at the side of the lake and wrote.
The song itself, is a standalone testament to
Chapman’s innate skill, starting with a rhythmic
harmonic pattern played high up the neck,
before breaking into descending waves of
country blues picking. It’s a sound as high and
as wide as the Texan sky, and again, it comes
expertly presented by the stunning sound in
the Music Room. A most special Mellowtone
moment.
That Time Of Night, taken from the new
album 50, is another haunting highlight, a
lyrical picture of love and a simple fireside
country blues melody, painted over another
classic fluid Chapman six string serenade. The
gift in Michael Chapman’s writing is the real
sense of ease, the feeling that he doesn’t
have to try too hard. His vast body of work is
the very definition of instinctive and intuitive
musicianship, it is as though he can’t help
himself. For him, this is not second nature, it’s
just nature. This is simply what he’s always
been here for, he does it because he must.
As he finishes the set with another beautiful
picked-blues symphony, La Madrugada, from
his Americana 2 album, he explains that he’d
been told the title means “somewhere between
the darkness and the dawn” And in that one
description we find the perfect metaphor for
Michael Chapman’s music. The blue grey light
and the stillness of those moments before the
brightness of the day. In this music, we find and
we feel both sides of that moment.
Paul Fitzgerald / @NothingvilleM
PSYCHIC ILLS
Fuss – Dusst
Harvest Sun @ The Magnet
Magnet’s subterranean 60s stylings are
perfect for a triple bill of psych on a winter’s
night. First up (or down, this is the basement,
man), DUSST invite you to share their saucerful
of secrets. Happiness Is On The Horizon is the
obvious standout track, but none of their set
sags, and some of the numbers are surprisingly
short. The right length, perhaps, when many
bands would just recycle the chorus maybe
twice too often. Not so Dusst. Their taste of
the hippy dream gone sour isn’t a throwback,
it’s the sign of a refined palate.
Next up – and no, you didn’t hear that
correctly, theirs is a completely different

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34
Bido Lito! February 2017 Reviews
moniker – are FUSS, all beanie hats, permastoned,
coyote howls, and a beautiful sound.
Jangly and washy at the same time, it’s like
bathing in sherbet. They have something
other bands don’t. They also have a guy who
crouches behind a monitor for the whole set
over something that lights up his face like the
glowing MacGuffin in Pulp Fiction. Mysterious.
Speaking of mysterious, PSYCHIC ILLS can
hypnotise a room in approximately eight
minutes armed with just two chords. It helps
when you’ve Hecate, queen of the witches, on
bass (actually Elizabeth Hart) underpinning
Tres Warren’s distant, blurred vocals and
shimmering guitar. They released album
number five, Inner Journey Out, this summer,
and even with the sweeping vistas conjured
up by the generously-employed lap steel,
there’s no denying that, with a cold winter
bearing down on those upstairs and outside,
this new material can withstand the seasons,
soundtracking a blanketed session indoors
as well as a stumbling comedown through
the desert. Maybe once every ten minutes or
so, one band member will shoot a glance at
another. They might smile briefly in reply. What
fluctuation in all that density of sound, which
chord of the two in perpetuity, elicits such a
reaction?
Long-form psychedelia like this rewards
attention. Drones and repetition give the
superficial impression of sustained calm, but
as with still waters, such music runs deep, and
there are endless subtle eddies to be spotted
by the careful listener, that tug at the ankle and
pull you in. They’re a soundtrack band, and it’s
up to you to think up the image. When a guitar
laughs, you have a say in what it’s finding so
funny.
A sound that never stops is reassuring.
Perhaps that’s why it’s best they dispense with
encores as they drop their instruments and
leave the stage unceremoniously through the
crowd. There’s a groove running through the
universe at all times, and Psychic Ills tap into it.
Stuart Miles O’Hara / @ohasm1
MERSEYRAIL SOUND
STATION FESTIVAL
Moorfields Station
Anticipation, nerves and excitement arrive
into Moorfields Station today as well as the
usual carriages from across the region. Ten
bands are here to battle it out and go away
with the much-coveted Merseyrail Sound
Station Prize. The prize, encompassing industry
mentoring, studio time and free train travel
courtesy of the sponsors, has previously been
enjoyed by rapper Blue Saint, soul sensation
Katy Alex and indie rockers Soho Riots. This
Deliah (Keith Ainsworth / arkimages.co.uk)
year, there’s a suitably eclectic line-up looking
to impress a panel of judges who represent

Reviews
Bido Lito! February 2017
35
diverse facets of the city’s musical ecosystem.
First up on the impressively comprehensive
stage set-up in the Moorfields concourse is
GAZELLE, a soul singer who is today backed
by a three-piece band whose minimal grooves
serve her well in bringing to life some bankable
pop nuggets. We’re off to a promising start and
Christmas shoppers passing through seem to
agree.
A crowded concourse is keeping the
temperature from dropping too low as THE
JJOHNS take to the stage. There is no doubting
where these County Roaders come from and
their Cast-indebted, scouser-than-scouse indie
keeps up the momentum.
Proceedings are taken a bit leftfield from
here as the eccentricities of A LOVELY WAR bring
a fun-filled set of bouncing chamber pop to the
festival. When their disparate elements align,
it makes for something truly wonderful with a
Casio-driven exuberance shining through.
Perhaps more polished, with stage presence
to match their catchy soulful tracks, DELIAH
look like favourites to take the crown as their
funk-infused neo-soul songs reverberate
towards the Northern Line. These guys have an
exciting future ahead of them and the judges
appear to be taking note.
FAY MOORE’s raw talent is obvious as she
delivers an accomplished if slightly nervy set
of country pop tunes and host Jay Hynd’s Taylor
Swift comparisons are not wide of the mark.
She is followed by another set of professional
and competent musicians in the form of
STILLIA. Hailing from St Helens, the four-piece
deal in stadium-filling indie rock along the
lines of Blossoms or The Courteeners. Their
solid set should also put them into the judges’
summary conversations.
We experience a real change of pace with
the next set. Singer-songwriter ASTLES fully
captures the crowd’s attention and uses the
echo acoustics of the concourse to its full
potential with a captivating set of emotional,
finger-picked beauties. Originality, integrity
and heart are all in the Astles melting pot and
we seem to have a new contender.
The quality shows no sign of letting up as
JO MARY bring the noise. The Wirral psychsters
summon the spirit of the underground to this
underground station and we’ll definitely be
making a note to see how the quintet develop
from here. The same goes for KATIE MAC whose
trousers match her inimitable song style with
folk rock tracks which are loud, moving and
belie her young years.
The fantastic CAVEPARTY close the festival
and its fitting that a band who are clearly full
of ideas, with riffs that are as innovative as they
are catchy, should round things off so well. The
judges have a tricky task on their hands here.
The party moves to Tithebarn Street Danish
haven HUS after the musical smorgasbord
offered at Moorfields. Last year’s winner Katy
Alex welcomes the arrival of nervous artists,
supportive friends and family as well as the
panel of judges with a short set of acoustic
numbers. Shortly thereafter, head judge
Christopher Torpey makes the announcement
we’ve all been waiting for. The deserved winner
of the 2016 Merseyrail Sound Station Prize is
Astles, who showed enough talent as well as
raw potential to benefit the most from the
prize mentoring package while having enough
prowess to wow the crowd. There are no
arguments with the result and there’s a smug
satisfaction that Merseyside must contain the
most promising batch of emerging talent on
any regional railway network.
Gus Polinski
HOOTON TENNIS CLUB
Harvest Sun @ Invisible Wind Factory
Before heading off to this gig, a friend
expressed great envy that she wasn’t going
herself, and said “ooh, they found the dog!”
Wallph, a missing dog feared stolen, she
explained, posters about him all over town,
was found by HOOTON TENNIS CLUB. It threw
up an image of the band of going out and
fighting minor crimes across the streets of
Merseyside, or snuffling out lost pets at least,
in a 2016 cockapoo-whispering episode of
Scooby Doo, or The Monkees telly show.
Because that’s a bit what Hooton Tennis
Club are like; four affable types; happy, turnthat-frown-upside-down
characters. And
they’re true to form as they lollop on stage
tonight, friendly puppies themselves, and we’re
warmed by their smiles.
Starting with Growing Concerns, O Man,
Won’t You Melt Me? goes down especially well
and single from the first album P.O.W.E.R.F.U.L.
P.I.E.R.R.E is always a live favourite. Bootcut
Jimmy The G is slightly loopy, and loved by the
audience.
Bass player Callum McFadden takes on the
mantle of showman, throwing himself about
the stage, the middle visual that shouldn’t
work in theory but does anyway. We nearly got
the splits from him this evening… very nearly.
Next time, maybe. Vocalists Ryan Murphy and
James Madden share and swap roles easily and
casually, as Harry Chalmers powers away on
drums.
Hooton Tennis Club have released two
albums of quality pop songs in consecutive
years, but it’s reassuring that there’s still
something schoolboyish and ramshackle,
and slightly off the cuff about them. Ryan has
a snapped string early on in proceedings. He

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asks for a replacement instrument, explaining
the situation with an apologetic shrug. And
when we heard a rumour he was going to
be playing his new guitar later, made out of
a Dunlop tennis racket, we assumed tonguein-cheek
Hooton Tennis Club larks, but no –
it proved to be true. It’s a relief that Hooton
Tennis Club have lost none of their charm.
Songs from Big Box Of Chocolates, triumph,
the crowd giving them as enthusiastic a
reception as the old songs, the ones that aren’t
so old after all. This new grown up album shows
the band as a tighter, more confident unit than
ever before, with a performance this evening
that does the recordings proud. We are left with
no doubt that Hooton Tennis Club are playing
amongst the big boys and girls now, snapped
strings and novelty tennis rackets or not.
Cath Bore / @cathbore
ESMOND SELWYN
International Guitar Festival Of Great
Britain @ The Floral Pavilion
Wirral’s International Guitar Festival of
Great Britain celebrates its 28th year, quite
an achievement for a Council promoted event
whose stated aim has always been to bring top
class international and national artists (Paco
Hooton Tennis Club (Stuart Moulding / @OohShootStu)
Pena, Jan Akkerman, John Renbourn, Albert Lee)
to the Wirral whilst giving local talent a chance
to shine. The festival has always prided itself
on covering the widest possible range of styles
and repertoire and this year is no different,
featuring jazz, classical, Flamenco, blues, rock
and folk.
Tonight sees the return of jazz guitarist
ESMOND SELWYN, a performer of international
fame (he played for Frank Sinatra at a private
party at the Savoy, and has performed with
Chick Corea and Charlie Byrd and is a noted
teacher). Following a solo performance at
the festival in 2014 tonight he plays with his
quartet, featuring saxophonist Toni Kofi, a band
leader and reputed performer in his own right.
However, it appears that none of the above
plaudits have been capable of generating the
kind of audience that tonight’s subsequent
performance undoubtedly deserves. I walk
into the Blue Room and find myself amidst, or
rather sitting in splendid isolation amongst, an
audience of precisely eight people. For a festival
whose target audience is presumably the kind
of aficionado who would wear knowledge of
Selwyn’s pedigree as a badge of honour this is
totally mystifying. It becomes more so as the
evening unfolds.
The band launch effortlessly into versions
of Charlie Parker’s Cool Blues and Kenny
Dorham’s Blue Bossa. Selwyn cuts a relaxed

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38
Bido Lito! February 2017 Reviews
SOUND MATTERS
In this monthly column, our friends at DAWSONS give expert tips and advice on how to
achieve a great sound in the studio or in the live environment. Armed with the knowledge to
solve any musical problem, the techy aficionados provide Bido Lito! readers with the benefit of
their experience so you can get the sound you want. Inspired by the prolific home recordings
of issue 74 cover star Laurie Shaw, we asked Dawsons’ Terry Cooper about the best way to
harness your creativity with home recording equipment.
FOR THOSE WHO WANT TO GO
AT IT ON THEIR OWN, WHAT
TIPS CAN YOU GIVE WITH
REGARDS TO RECORDING YOUR
OWN MUSIC AND USING
MULTITRACK RECORDING
AND PORTASTUDIOS?
A more suitable option than a multitrack
recorder for many is the audio interface and the
bundles which are available. An audio interface
is a little box that you plug everything into –
guitar, microphone, etc. It turns that sound into
a digital signal which goes into your computer
and also converts it to an analogue signal for
your speakers or headphones for monitoring.
There are different models which have varying
numbers of inputs and different types such as
jack and phono. The quality is determined by the
preamps in the front end of it, and the chip which
converts it from analogue to digital inside it. Even
if you are producing electronic music, interfaces
are necessary to get the best quality and speed
of your plugins.
The Focusrite products tend to be very popular
in the shop, especially the bundle packs which
consist of the audio interface, software to record
with, a set of headphones and a good quality
condenser mic. It’s a fantastic package for artists
who are starting out and want to record their stuff
at home. As well as the Focusrite Scarlet bundle,
M-Audio do a similar one for £149 which also
works on iPad.
The bundles are perfect for artists who use
electronic drums which they can programme in
rather than a live kit – with such a set-up they can
do the whole thing themselves. If there is a full
drum kit involved, it is possible to use one of the
inputs to put a single mic in front of the drum,
but you’re limited to how many inputs you have if
there are other instruments involved, and also in
the extent to which you can mix the drums. With
a full drum kit, to give you the capacity to mix the
different elements, it is better to spend a bit more
and go for an interface with more inputs, perhaps
eight sockets. The Focusrite Scarlet 18i20 is great
for this job. Going up the range, there are also
the Claret products from Focusrite which have
Thunderbolt connection, providing great quality
and speedy connection to Apple products.
In terms of multitrack recorders, they often
double up as an audio interface as well, giving
you options on how you record. There are
the Zoom R8, R16 and R24, which give you an
increasing number of channels for recording a
multitude of set-ups. Multitracks are great if an
artist wants to keep it simple and straightforward
– whereas using an interface with a computer can
open up all kinds of possibilities in terms of postproduction.
If I’m asked to advise on which home
production package to go for, it comes down to
a couple of things: whether they want to keep
it simple and if they want to record live drums.
Multitracks are great for putting down live tracks,
but if a live drum is involved you will need at least
eight channels and that goes for a multitrack or
an audio interface.
I’ve mentioned the Focusrite and Zoom ranges,
and Audient also make excellent interfaces which
are really high quality but aren’t as well known
as some of the other brands. The Audient range
can also be used as monitor controllers, with the
volume configuration featuring on the top of the
unit.
To get demos down, interfaces and multitracks
are a fantastic way to play with ideas and also
share your sounds. Obviously, working with an
engineer has a lot of advantages but this is a
very cost effective way of getting a high quality
recording. A rule of thumb is that a decent
interface, as well as good mics, leads and good
monitoring headphones, will set you on course
and allow you to mix your sounds to a high level
in post, whether that’s yourself or a third party.
You can find Dawsons at their new home at
14-16 Williamson Square. dawsons.co.uk
figure, sitting, glasses perched on his forehead
as though browsing the Sunday papers, while
his fingers do the talking. Kofi’s playing is
lyrical, the melodies strong and sweet. Nancy
With The Laughing Face (Van Heusen/Silvers
– yep, that’s Sgt. Bilko to you and me!) sees a
floating Selwyn solo underscored by guttural
Hammond growls courtesy of John Paul Gard
and Kofi again coaxing rich, flowing passages
from his alto. It’s becoming apparent that this
is a night to sit back and revel in a choice set
list delivered with absolute quality.
Bernie’s Tune (Bernie Miller) lifts the tempo,
Kofi blasting off some fiery riffs and Selwyn’s
fingers a blur on the fretboard. Beneath it
all, drummer Coach York anchors the rhythm
with a delicate intensity before flying off
into passages of polyrhythmic propulsion as
he duets with Gard. The piece ends with an
Eastern flourish before Selwyn opens John
Coltrane’s blues Mr P.C., demonstrating his
famed technical ability, wringing clean, sharp
notes from his customised Hagstrom.
It is to the great credit of Selwyn and his band
that they play throughout as though there were
800 people in the room. Towards the end of the
set Selwyn surveys the audience, leans into the
mic and says: “John Coltrane said that if one
member of the audience is listening it’s like
having another band member on stage, thanks
Esmond Selwyn (Glyn Akroyd / @GlynAkroyd)
for being part of the band tonight”. That’s not
just professional, that’s downright cool.
On Van Heusen’s Polkadots And Moonbeams,
Selwyn is flying and York delivers a knockout
solo before being joined by Gard’s gnarly,
swirling Hammond. Kofi bobs and weaves like
a middleweight, light on his feet, as he plays
out the melodic hook of Thelonious Monk’s
Blue Monk quite delightfully. The applause is
sustained.
It is to be hoped that the organisers of the
festival are as resilient as tonight’s performers
and that they continue to drop this kind of
quality musicianship onto our doorsteps. Come
on people, get off your arses!
Glyn Akroyd / @GlynAkroyd
TOY
Prince Vaseline – Indigo Moon
Harvest Sun @ The Magnet
I arrive at The Magnet just in time to catch
the gloriously overdriven tail end of INDIGO
MOON’s set, and I’m pleased to see them
going down so well with TOY’s crowd. On a
bill of three bands, it’s always encouraging
to see those playing at the beginning of the

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Bido Lito! February 2017 Reviews
and lead singer Andrew Heselton. They’ve got
tunes too. A pleasing mixture of 70s rock, Jeff
Buckley-esque vocals, and prog metal (step
forward, guitarist Graeme Heywood) reaches
its culmination in new single Disappear. This
whole event is the launch party for the song,
and it’s an old-school (primary school) party
with party bags, pizza, and cake. As well as
drummer Sam Dobbyn working his behind off,
they’re joined for a few songs by guest vocalist
and mistress of the keys, Nicola Hardman.
Even technical problems can’t diminish the
sunny disposition of this band, who are so
obviously chuffed to be in a Kitchen Street
packed out to see them and welcome their
new release into the world (Completely Me
also gets a wild reception, before it’s even
begun). By the time Chocolate closes the set,
Heselton is singing to everyone atop a stack of
amplifiers, and the whole room feels like it’s up
there with him.
Stuart Miles O’Hara / @ohasm1
TOY (Darren Aston)
JAMES YORKSTON
Charlie McKeon – The Matt Barton Band
Mellowtone @ The Magnet
evening being greeted with enthusiasm and
encouragement from the audience. Clearly, the
songs I’ve missed have held the attention of
this appreciative crowd, and the band certainly
seem to enjoy belting out their own brand of
psych rock that’s heavy on the heavy, coupled
with high-powered and angsty punches.
Brighton’s PRINCE VASELINE, stripped down
here to the duo of Max Earle and Snowy
Mountain, bring haunting layers of angular
analogue keyboards, layered simply across
and around Earle’s guitar and vocal. This leaves
plenty of space around Prince Vaseline’s sound,
which adds to the drama. At times a seemingly
disparate pairing, there’s still some worth
and interest to be found in their set, with its
krautrock references and the pair’s guarded
introspection.
TOY bring much promise from the opening
bars of the very first song. Clearly happy to
be in front of the crowd, a feeling which is
absolutely reciprocated across the room, the
set is relentless, unremitting and definitive.
Here to promote new album Clear Shot, they
deliver a committed set of angular, driving
pop songs, perfectly poised, energetic and
engaging throughout. With a bedrock of an
explosive piledriver of a rhythm section, and
twisting, distorted guitars, they seem to have
acquired a new front, a new bounce.
It’s a new positivity they seem at one with
though, and they wear it very well. And although
their formative comparisons to Felt have never
seemed more accurate than in new songs like
I’m Still Believing (not that those comparisons
were necessarily a bad thing), the band seem
to have taken a more full on, less jangly
approach, and the crowd welcome this energy,
this propulsion, with eyes wide and arms open.
There’s a lilting play on the melodics in the new
songs, which made the sound difficulties they
seemed to be experiencing a little more than
just distracting, actually more detracting as we
struggled at times to pick out Tom Dougall’s
voice for the first third of the set. That rhythm
section, though. Thoroughly empowering and
determined playing from Charlie Salvidge and
‘Panda’ Barron, the latter of who ended up
in the crowd on several occasions, bass held
high, plainly enjoying the fact that he’s in such
a good live band.
Another important change to the sound is
the addition of a new keyboard player, Max
Oscarold, whose presence adds a certain
intensity, both sonically, in terms of the
textural drones and analogue stabs, but also
visually in terms of his disconcerting stare.
The new material certainly sits in well with old
favourites like Join The Dots and Heart Skips A
Beat; but I wonder, as the band leave us in a
swirl of feedback, where this new-found sound
will take them next.
Paul Fitzgerald / @NothingvilleM
LILIUM
Ovvls – Etches – God On My Right
Deathly Records @ 24 Kitchen Street
Not one word of a lie, as I’m putting in my
earplugs at the start of the evening, someone
standing nearby blindfolds themselves with
their scarf and sits on the floor. Perhaps
someone else covers their mouth at the same
time. Don’t be mistaken – GOD ON MY RIGHT
aren’t evil, though perhaps they wish they
were. At their best, this duo and the noise
they make – a synthesis of drum machines
and buzzsaw guitar not far removed from
Muse’s Supermassive Black Hole – are dark
and sexy. They’re followed by ETCHES, who
are sounding fierce these days. Apart from the
passing resemblance to Radiohead (not new
or old Radiohead, but the same musical thread
that runs through that band’s catalogue), more
than one of my fellow gig goers mentions them
in the same breath as Performance-era Outfit.
High praise indeed.
Deathly Records’ avowed mission is to
seek out the sinister, and they’ve found it in
OVVLS. They wear their heart on their black,
trailing sleeve. That said, even among the
MIDI vocals, singer Stephanie Stokes’ delivery
of her lyrics calls to mind the great alternative
frontwomen of the 90s – Shirley Manson or
Justine Frischmann, perhaps. They’ve got a
strong aesthetic, but just as you’re wondering
what else they have to help you get a purchase
on the set, they drop Winter, which really ought
to be a Bond theme.
Like 007, LILIUM have a great silhouette. With
bridesmaid of Frankenstein Emma Heselton
on bass and a backdrop of candle wicks, fluid
dynamics, and glowing filaments, their gothic
accoutrements are neatly balanced by the
bags of charisma possessed by arch-druid
A set of songs about life in the city start the
evening off, as THE MATT BARTON BAND open
up with a healthy brace of Northern folk pop
songs, loaded to the brim with characters and
dryly-observed wit. It’s a counterpoint that
contrasts well with both the night’s headliner
and CHARLIE MCKEON, who brings a gentle
approach to his main support slot. Based
around some of the best folk guitar to be
found anywhere in the city, McKeon’s set varies
between traditional Appalachian ballads – such
as the much-covered Americana standard John
Hardy – and his own quirky folk offerings like
I’m Going To Join An Army.
Poor JAMES YORKSTON. After having his
last show for Mellowtone in Leaf disturbed
and disrupted by a particularly loud open mic
night a couple of years back, they’d promised
him, and him them, that this appearance at The
Magnet as part of his Christmas tour would
make up for it. But as he takes to the stage in
front of a crowd seated around candlelit tables
on the Magnet dancefloor, it becomes clear that
he thought he’d spend the next hour and a half
struggling to find his voice, and reaching to find
that warm and natural burr with which we’re
all so familiar. One thing Yorkston’s writing
depends on is the space and silences he creates
as part of the rich and instinctive storytelling
style. Regardless, stoicism would be the order
of this particularly pleasant performance, and
he pulls himself through with typical and
strong sense of warm Caledonian humour, and
the sheer strength of his intuitive songwriting.
He really needn’t have worried. The entire
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42
Bido Lito! February 2017 Reviews
room is enveloped in the very palm of his hand
throughout, hanging on every word, every
gentle fingerpicked guitar melody, every lyrical
twist, and even every cough. If anything, the
slight (and in truth, it was really only slight)
crack in the vocal only serves to add depth and
drama to these beguiling songs of love, life and
longing. The audience sits almost hypnotic in
attention, drawn in by the tales held in old
favourites such as Shipwreckers, or Broken
Wave, a haunting depiction of the pain in the
loss of a close friend, in Yorkston’s case that
of Doogie Paul, his best mate and bass player.
Anyone who’s experienced such a visceral,
burning, and all-encompassing pain can relate:
the ‘if only’s, the need for more time, and the
dreadful and absolute finality of the goodbye.
The room is left stunned by its beauty, and his
devoted and distraught performance, as the
song’s final notes seem to hang in the air long
after they’ve faded into a deep silence.
We find in James Yorkston, on that cold
winter’s evening, the warm charm, and selfdeprecating
humour of a performer, wide-eyed
with wonder and appreciation at the reception
he receives from a dedicated and committed
roomful of music lovers, more family than fans,
guests at a party more than mere gig lovers,
such is the intimacy of the songs, the room, and
the many happy moments he brings.
Paul Fitzgerald / @NothingvilleM
BILL RYDER-JONES
By The Sea – Matt Maltese
Harvest Sun @ Floral Pavilion
Has Bill stitched us up tonight? He’s brought
us over to New Brighton’s Floral Pavilion,
looking out onto the lashing waves of the
Mersey on one of the coldest nights of the
year, where there’s still frost on the ground.
It had better be worth it. Although, I think we
know it will.
The conference room is well carpeted and
spotlessly clean – a little too corporate for
this kind of event, perhaps, but once the light
goes down and MATT MALTESE emerges we’re
beginning to lose ourselves a little. Maltese
is a revelation as it happens. His songs are as
cinematic as their delivery is theatrical. There is
no denying the flourishes of Rufus Wainwright
but the lyrical content is way more off the wall.
Sat alone at his keyboard, Maltese’s songs of
the city are bittersweet in the extreme, and
tell of 21 st century romances in the strangest
Bill Ryder-Jones (John Johnson / johnjohnson-photography.com)
of places, Tesco being one of them. Perhaps
the highlight of his set is As The Earth Caves
In, a love story that involves Putin and Theresa
May, snuggling up on the couch on the night
the red button is pressed. It’s a perfect mix
of politics and twisted romance. Maltese has
been working in the studio with BILL RYDER-
JONES, but any similarities end there; he has a
unique sound and lyrics to match.
BY THE SEA provide perfect support tonight,
the fellow Wirralites headed, conveniently, by
Liam Power of Bill’s band. They are a great band
in fairness and are satisfying for anyone who
left their heart in 1986, even if they weren’t born
then. Power’s vocals sound eerily like Lloyd
Cole at times and the songs are cast from the
same mould. Jangly guitars give way to darker
times in the middle section and Cornucopia
rounds up the short set with pure Bunnymen
flourishes. Power may be overshadowed by Bill
Ryder-Jones, but potentially he has talent in
spades that could one day draw even.
Our headliner enters the scene about 15
minutes earlier than planned so everyone can
get home safe. Phew! New Brighton does feel
a million miles from civilisation tonight so we
are grateful. Nice touch Bill.
He’s not well, this is clear, but he’s not letting
that get in the way. We’re only a few songs in
and already the slightly moody, subdued singer
we saw at the Arts Club has been replaced by
a consummate pro. The set has a structure,
the banter between songs is hilarious and the
band are as tight as the proverbial camel’s arse
in a sand storm.
True to his word, Bill treats his own “Leisure
Peninsula” to a strong opening run that
includes He Took You In His Arms (rapturous
applause), Let’s Get Away From Here and
There’s A World Between Us. He’s got a great
back catalogue already and it’s never sounded
so good. Although Let’s Get Away… is from the
last album, (he’s gone off track already).
His solo spot opens with By The Morning
I, which sounds uncannily like Strands era
Michael Head as Bill’s vocals are a little fragile
tonight. It’s a beautiful moment, closely
followed by pared down versions of Seabirds
and Put It Down (possibly the highlights of the
night). Baby, a new song is dedicated to Bill’s
Mum who’s not here tonight, and he makes
sure we don’t think the song is actually about
her. Admittedly, that might be a bit weird.
The expected chatting in the crowd during
these quieter moments is becoming annoying
and people are shushing them down “thanks
for that” says Bill to “the shushers”.
As promised, the second half is a run through
the best bits of West Kirby County Primary,
the album that won us all over last year and
transformed Bill from “Him from The Coral”
to a bona fide artist in his own right. Two To
Birkenhead is always going to be a crowd
pleaser and Catharine And Huskisson is the
only track that can better it tonight.
The album run is interrupted by another new
song, There Are Worse Things. There certainly
are, this is a brilliant song that could be next
year’s Two To Birkenhead, riffing on The Velvet’s
Sweet Jane – it’s perfect.
The show ends with a wonderfully
predictable trio of Daniel, Wild Roses and
Satellites. If it’s all about pleasing the crowd,
then Bill just scored a blinder and off we all go
in time for the last train. Thanks for that Bill.
Del Pike / @del_pike
MINOR VICTORIES
Loved Ones
Harvest Sun @ The Magnet
On a bitter Sunday night in mid-December
we find ourselves in The Magnet’s underground
basement. The likes of Mogwai, Slowdive and
Editors are names more readily associated with
stadium tours than small back rooms so the
chance to catch members of each under the
guise of MINOR VICTORIES seems too good an
opportunity to miss.
First, we get a rare chance to catch elusive
LOVED ONES. Having been a stalwart on the
Merseyside scene for years, Nik Glover, formerly
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44
Bido Lito! February 2017 Reviews
of Seal Cub Clubbing Club, with the help of new
band mates has delighted audiences with their
offbeat, ambitious and infectious sound, which
has caught the imagination of the region.
Drawing a crowd which encompasses nearly
the whole room, the crowd watch, entranced
by the group’s hypnotic stage presence as they
create waves of sound spun through drum
machines, pedals and pre-recorded tracks,
which are only broken by intervals of small talk
or a moment to fix the backing track. Having
drifted in and out of the public’s conscious,
the West Kirby group’s performance leaves
us hungry for their album due in the coming
months.
Having suitably whet our appetite for more
sonic explorations, the modest stars of the
main act walk through the crowd with no
sense of grandeur in the slightest. They finally
find their way onstage with a couple of bottles
of wine whilst they sound check as we gaze
in anticipation, twitching with each twang
of a string, each tap of a pedal. Set up, and
raring to go the group spearhead along into a
sound which engulfs the room, captivating the
crowd with its sheer velocity and volume. The
soaring guitars fly amongst the angelic vocals
of Goswell which are only kept grounded by
the drum beat. Between the epic post-rock
soundscapes come electronic interludes of an
almost 8-bit nature. The sheer drama and awe
of the music is only stopped by a minute to
change up pedals, check setup and have a quick
swig of much overdue wine (after a no alcohol
rule on their arena tour with Placebo).
With a calm and friendly atmosphere, Minor
Victories seem to have cracked the key to the
‘supergroup’: the need for it to come from
a creative space and not one of necessity.
Despite the obvious influence of their previous
projects, Minor Victories seem to have created
something brand new, innovative and truly
hypnotising. It’s amazing and rare to see
musicians of such prowess play such a small
room. As it all comes to an end, the only criticism
we can find is there’s simply not enough. The
show’s not so much a minor victory but a major
success, witnessed by a crowd that know how
lucky they are.
Matt Hogarth
an indie-kid ape man. His physical style may
be reminiscent of his baggy forefathers, but,
within this warehouse monument to futurism,
The Vryll Society are moving forward on the
evolutionary scale of sound with archetypes
Ian Brown, Richard Ashcroft and Tim Burgess
falling further back on the linear timeline. The
Vryll Society’s sound possesses a Northern
soul that is much more trippy, experimental
and likely to take you off the urban hymn book
to higher planes of reality.
With all this talk of creation it might be a
good opportunity to tell you that the songs
they are performing are sexy with a lysergic
intelligence that renders the need for any time
teleportal machine back to the 60s defunct
– although such devices would look right at
home in the Invisible Wind Factory’s space
age surrounds. Their debut single, Deep Blue
Skies is one such mellow stroke over the eyes
of reality, combining dreamscapes and chords
that both anchor the mind and create a sense of
inner spaciousness. That is before our hypnotic
journey is called back in by a drumbeat and the
familiar call to funk of wakka-wakka guitar
riffs to set the crowd dancing. Beautiful Faces
progressively beats and strains before pausing
every now and again for rhythm and euphoria.
The Vryll Society are giving us a stylish yet
experimental ride through psychedelia that
frees itself, and the crowd, with its mix of
polished spontaneity; the quality of each live
song reflecting their daily practice. Michael
Ellis leaves the stage at the end of the set,
while his long-haired counterparts play on
in a rolling instrumental of groove. Formerly
called Dirty Rivers, The Vryll Society are a band
that are beginning to reap the benefits of their
development with Liverpool label Deltasonic
and are undoubtedly on the path to higher
planes of success.
Sue Bennett / @sue_writes
THE VRYLL SOCIETY
EVOL @ Invisible Wind Factory
Within the out-of-town metropolis of the
Invisible Wind Factory, THE VRYLL SOCIETY are
performing a mesmeric homecoming gig to
their large and growing fan-base. Hot off the
back of a UK tour with Blossoms, the lads arrive
on stage with plenty of Scouse swagger and a
highly-polished set of psychedelia. Lead singer
Michael Ellis dances through the dry ice like
The Vryll Society (John Johnson / johnjohnson-photography.com)
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DIGGING A LITTLE DEEPER
with Radio Exotica
We’re always interested to hear what waxy gems are lurking in the depths of the record bags of
the city’s DJs, or the kind of music they’re indulging in away from the dancefloor. In the latest in
our series, the guys from RADIO EXOTICA take us on a tour of some of their favourite music from
around the world. This month we celebrate Chinese New Year, with Rory Taylor putting together an
enthralling mix that explores the diverse sounds of China – from the ancient tones of the erhu and
pipa to the roots and dub reggae of the Yunnan Province. Blending the cutting-edge, dub-inflected
rhythms of electronica with traditional Chinese instrumentation and folk melodies, this selection is
an adventurous and wholly original marriage of East and West, as well as the ancient and modern.
JAH WOBBLE AND THE CHINESE DUB ORCHESTRA
HAPPY TIBETAN GIRL
Legendary bass player and contemporary renaissance man, Jah Wobble
is no stranger to music experimentation, but Happy Tibetan Girl and
the album on which it features, Chinese Dub, are on another level. Born
from a commission for the city of Liverpool’s Capital Of Culture year, the
album represents a cross-cultural collaboration between Wobble and
a 22-piece outfit consisting of Mao and Tibetan musicians and dancers, Sichuan opera mask
changers, an Anglo-Chinese dub band, and Pagoda Chinese Youth Orchestra, a Liverpool-based
orchestra who are also the oldest Chinese Youth Orchestra in Europe.
THE FINAL SAY
Words: Tom Bell / @WriterTomBell
Each month we hand over the responsibility of having the final say to a guest columnist. After
waiting in an online queue to buy tickets for Radiohead’s latest arena tour, Tom Bell found himself
questioning the monetary value that can be placed on our loyalty – and whether there’s wisdom
in just accepting it.
SHANREN
30 YEARS
Formed in 2000 in the remote Yunnan province of southwest China,
SHANREN (meaning “mountain men”) have become one of China’s most
celebrated folk rock bands. With members representing some of China’s
56 ethnic groups, including the Wa and Bouyei people from Yunnan and
Guizhou, the four-piece aim to promote and preserve the colourful
and diverse heritage of Yunnan and Guizhou’s many ethnic minority tribes through original
compositions and re-workings of local folk melodies. One such composition is the brilliant 30
Years, in which the singer (a migrant) laments that nothing in the big city is there for his taking –
be it work, money, love or music. The grass isn’t always greener! Be sure to check out the video
which accompanies 30 Years too, it’s ace!
LAO HEI
YUNNAN REGGAE
You don’t usually associate reggae with China or China with reggae,
but over the past 10 years or so, there has been a burgeoning scene.
This is particularly true in the southern provinces of Guangdong and
Yunnan. Leading the way is the superbly talented and prolific LAO HEI.
Since discovering reggae music in 2000, he has gone on to establish
numerous bands, including Yunnan Reggae, The Pu’er Dub All Stars and Kawa, all of whom fuse
traditional Chinese folk music with Jamaican roots and dub. If you can get hold of any Chinese
reggae music (it’s not easy), be sure to check out Jiang Liang Sound System, San Duo Jiao and of
course, Lao Hei and his many bands.
DUB SIZE
CHINESE ROADS
Released in 2013 via the Glasgow-based Squinty Bass Records, Chinese
Roads is a stonkingly beautiful track that blends the hypnotic sounds
of the erhu (Chinese violin) with dub reggae. Despite carrying out some
research, I don’t have any more information on either the label or artist.
Thank God for Spotify – without it, I may not have discovered the track!
Want some more rare cuts from the Chinese underground? RADIO EXOTICA have provided us with a
Year Of The Rooster mix to accompany this column, which you can listen to now at bidolito.co.uk.
@radioexoticaDJ
You know the feeling. It was just after nine
o’clock and tempers were frayed. Radiohead
had announced gigs at Manchester Arena,
I’d been umpteen thousandth in the online
queue, but I’d got through. Glory! What was
the damage? They hadn’t said, and £70 at
the Roundhouse last summer had slightly
taken the piss. The payment page appeared.
Including fees per order, it was about £90 on
average – via Sandbag, Radiohead’s preferred
agent. Would we get to discuss this? For a few
seconds, and it would sell out in that time.
Once you’ve got that far, you kinda have to
suck it up, right?
There followed not euphoria but shock at
being mugged and a sense that this was greed
beyond belief. Sure, it’ll be swept away by a
value-packed Weird Fishes, the goodness of
Myxomatosis and the outstanding customer
service represented by a Karma Police and
Nude encore. And these things are not meant
to be measured in monetary terms. But if
others weren’t relying on my tickets, I’d want
to tell Sandbag: “This is wank, refund me.”
What one-band gig that was genuinely
any good (i.e. not nostalgia or a cash-in) ever
cost £90, or needed to? It can’t be driven by
demand (i.e. excluding people), but, if it is, play
extra dates. I texted my co-giggers venting
feelings of grubbiness. One replied: “If it was
£200, would I pay? When does it become
unacceptable for a diehard?” Ask yourself:
when does it?
I’d owned these tickets mere minutes when
I was intercepted by a charity rep. As fate had
it, we were standing outside Manchester
Arena. Here I was scrambling for why I couldn’t
donate, when they’d ‘caught’ me because I’d
slowed to send that text about torching north
of 300 notes, with more to come on corporate
nachos and lager-water. My hypocrisy stank:
I showed Juliana from Marie Curie the text.
She tried not to seem opportunistic, but we
exchanged a look, acknowledging that I’d
made some questionable life decisions. I had
a charity of choice: Radiohead. Spending habits
needn’t indicate worth, nor worthiness, but we
agreed I’d go away and reflect.
After the Roundhouse – when fanfare
about non-transferable tickets gave way to
anger at touts’ paws still being everywhere –
Radiohead’s Thom Yorke tweeted that he was
pissed off. How pissed off, exactly? They’re
endorsing the system. Yet so am I.
Weeks earlier I’d seen kids leaving Justin
Bieber’s Manchester Arena shows. Radiohead’s
current set-up is not elaborate. I bet Bieber had
pyro-this, virtual-that, dancers, musos and an
entrance by drone, and that those kids can’t
have paid £90 (they paid £45 to £65). Is my dosh
more disposable? Can I afford it? Evidently
yes, albeit by not owning anything of retained
value. But who are the venue, promoter and
band to assume that?
I’ve still no answer for Juliana from Marie
Curie. I’m investigating what set Radiohead’s
price, but it ain’t gonna fall by showtime in July.
As it stands (well, obviously) I’m attending. So,
what shade of idiot am I? And what would you
do?

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