Category: Music Review

  • CMA Songwriters Series: Live at Whelan’s Review

    CMA Songwriters Series: Live at Whelan’s Review

    CMAsongwriting_bannerOriginally published on Goldenplec.

    Thursday 21st February 2013, Whelan’s Dublin.

    The CMA Songwriter Series is an interesting concept, some of Country music’s biggest hit-makers share a stage, playing songs acoustically that they’ve written and telling stories about how these songs came to fruition.

    Sitting on a row of stools across the Whelan’s stage, the evening was introduced by Bob DiPiero, a seasoned songwriter who has written ’20 number 1’s’, his first, ‘American Made’, in 1983 for The Oak Ridge Boys. Next was Chris Young, 2006 winner of TV show, ‘Nashville Star’. It wasn’t until his second album that Young achieve success but as a recording artist, he’s now achieved his fifth consecutive number 1.

    Kristian Bush has had success as a solo artist and also as part of ‘Billy Pilgrim’ and more recently ‘Sugarland’. Apart from writing, he’s also produced music for artists including Beth Wood and Shaun Mullins as well as the soundtrack to ‘Shallow Hal’. On the last stool sat Brett James, who has written, amongst others ‘Jesus take the wheel’ for Carrie Underwood and Kelly Clarkson’s ‘Mr Know It All’. He’s also the wearer of the best cowboy boots Ireland has ever seen. Sitting behind the four is Kristian Bush’s brother, Brandon, to provide a little keyboard backup. In earnest though, his talents shouldn’t be looked at as back up. As well as playing with Sugarland, Brandon has also played with Train and John Mayer. So, these guys know how to make records that sell.

    Whelan’s has an attentive, all seated audience for the show, which started promptly at eight thirty. The four are at ease with other, three of them having definitely worked with each other before. The jokes and banter start with Young, telling of how his bags got lost and having to go shopping to get some clean clothes. He’s not lying, he even had to borrow a guitar for the evening. Once the introduction niceties are over, each play a song it turn, giving a back story about how the song came about . Bob DiPiero starts with ‘The Church on Cumberland Road’, a song made famous by Shenandoah.

    First song of the night for Chris Young was ‘Get You Home’. At 27, Young’s voice seems older than his years. He has a timeless deep classic rich velvet country voice. Throughout the night, the other comment on his voice, with Kristian Bush, saying that he wants to swap seats the following night as it’s unfair to have to follow Mr. Young. When it is his turn, Bush hits the nail on the head with his description of what the CMA Songwriter series is all about as a chance to ‘get to play the songs you might know, with a voice you might not’.

    Of the four, Kristian Bush, is the one you would instantly want to be friends with. He’s not quite like the others, he wears a scarf, and a little fedora and constantly smiles. To a non country music audience, his music would also be the most accessible. ‘American Window’ wouldn’t be out of place on a Bruce Springsteen record.

    As Brett James, introduces his first song, he tells of Kenny Chesney calling him one Christmas Eve, asking what he was doing on December 26. After leaving his wife and kids behind for the songwriting session, ‘We Went Out Last Night’, was based on the session before the songwriting.

    Throughout the night, Bob DiPiero tells of how ‘Blue Clear Sky’ was inspired by Forrest Gump. Brett James gets everyone laughing, doing his impression of what Kings of Leon would sound like singing ‘Cowboy Casanova’, Kristian Bush shows what catchy songs he writes with ‘My Headphones’ and ‘In My Flip Flops’ getting everyone singing. He tells us his songs only get the go ahead once his kids, who acts as his informal A&R guys, give the OK. Chris Young admits to wearing sweatpants and gives chat up line tips with ‘I can take it from here’.

    The last song of the night is due to be Brett James with ‘Jesus take the Wheel’ but with a standing ovation, there’s no way, they can’t do at least one more tune. We get four. And they are crackers. DiPiero starts off with the infectious ‘Daddy’s Money’, Chris Young finishes with ‘Voices’ which won 2011 American Country Music Award for Best Single, Kristian Bush with ‘If You Got to go’ when Brett James finishes with his version of Uncle Kracker’s highly singalongable ‘When the Sun Goes Down’.

    Almost three hours later, the music ends. This was an amazing night of music, showcasing some of the best Nashville and Country music has to offer. There are not too many chances to catch artists like Chris Young and Kristian Bush in a venue like Whelan’s, never mind hearing the songs stripped down to how they were written. A fantastic night’s entertainment and for the uninitiated an unbelievable Country music education.

  • Everything Everything: Live at Whelan’s Review

    Everything Everything: Live at Whelan’s Review

    EE-Whelan2Originally posted on Goldenplec.

    Monday February 18th 2013, Whelan’s Dublin.

    Monday nights aren’t known to be the best night of the week, looks like someone forgot to let Everything Everything in on that secret when they came to Whelan’s in support of their second album, ‘Arc’.

    Opening up for EE were Post War Years, perfect timing for the London based quartet as their new album, ‘Galapagos’, is just about to be released. As the venue was filling up quite quickly, it gave them the opportunity to show off their wares and they made sure they took the chance with both hands. They introduced themselves with an instrumental, the title track from their album, a beautiful build up of instrumentation. As they move into ‘Glass House’, a couple things become very appartent about the band. They have a great layered sound and this is fuelled by the rhythmic playing of Fred McLaren. The other most obvious stand out is the strength of the vocals. Yes, they do have three vocalists, swapping lead but they compliment the music beautifully and cut through to leave something pure. It’s a strong set with packed aural delights. Indie kids will like them, dance/electronic kids will like them, expect to see them at lots of festivals this Summer.

    As Post War Years end their set, the sold out venue is getting to the ‘get to know your neighbour very well’ stage and despite a thirty minute wait, the audience are in good spirits and are definitely up for it.

    Without fuss or fanfare, a rather smart looking Everything Everything come onto stage and immediately start off with ‘Kemosabe’, the Whelan’s crowd are immediately into it, singing every word. Sometimes at live gigs, it can take a band a few songs to settle in and feel at one in the venue, EE didn’t have this problem at all. Wry smiles and knowling glances from the band to each other indicated they knew this was going to be special. ‘Torso of week’, an album track from Arc, confirmed this. Singer, Jonathan Higgs, didn’t need to stretch his vocals too music as the collected assemble were doing a fine job of that.

    Since the release of their debut ‘Man Alive’, the band have been building up a steady following with their art school indie rock. Just to prove it, the audience are as into the frantic paced ‘Qwerty Finger’ and more subdued ‘Final Form’ as any of the material from their UK Top 5 ‘Arc’. The cheers after each song just keep getting louder.

    The band acknowledge this on a number of occasions and mention how cool it is for them to hear their lyrics sung back to them. After ‘Schoolin’ saying how Whelan’s is ‘one of the best venues we’ve ever ever played’. There’s an indoor festival feel to the night, people on other’s shoulders singing and reaching towards the stage like their lives depended on it. It’s not just the crowd reaction to their music that made tonight special.

    Listening to EE on record, their production and instrumentation is big layers and complex. In this live setting, they’re joined by a fifth member so you’ve still got all the synth and electronic sounds, but the band perform wonderfully and their live sound is honed to perfection. They’ve struck a balance and have a great live band sound. Throughout the night, there are things one may not even normally notice in their music, brilliantly subtle guitar licks, what can only be described as demon bass playing from Jeremy Pritchard and beautifully controlled drumming. Together, it’s EE’s sound but live it’s then we can appreciate each member for what they bring to the party. They’ve just got it.

    And it is a party, Higgs swaps his guitar for drumsticks and a floor tom and ‘Cough Cough’ is announced as the last song of the night. The audience and the band on stage are both giving as much as each other. After that, there’s no way this could be the last song. After a quick breather the band are back on for ‘MY KZ, UR BF’, the song that got them into people’s consciousness. They finish with the instantly accessible and very danceable, ‘Don’t Try’. On this live performance, ‘Don’t Try’ could be one of the hits of the Summer and Everything Everything should be band of the year.

    Post War Years
    PostWarYears

  • Everything Everything: Arc – Review

    Everything Everything: Arc – Review

    EverythingEverything_Arc_coverWhen a band or artist you admire are about to deliver a new album, there is always an element of nervous anticipation. When it’s a sophomore album, there are the obvious ‘difficult second album’ cliches and a genuine wonder if they can live up to the hype that surrounded a debut release.

    ‘Arc’ is Everything Everything‘s second album, the follow up to 2010’s Man Alive, which had been on repeat on the nessymon stereo in 2010. Where ‘Man Alive’ was art college clever and jerky, Arc shows the band all grown up and instead of the possible over compensating electronic pips and squeaks of ‘Man Alive’, Arc shows EE as a band rather than an electronic project.

    The album opens with the first single from the album, ‘Cough Cough’, the percussion fueled track still hints at the jerky production and vocals of their debut but as soon as the bass line kicks in the chorus, shows a definite live band feel. The arrangements and mixing have been honed and polished and that makes ‘Arc’ a lot more accessible than its predecessor. It seems that the band have grown into their skin without diluting what made them so good in the first place.

    They’ve still got their clever lyrics as in ‘Torso of the Week’ but even the storytelling aspect of their lyrics seems to have matured. ‘Arc’ has also shown Everything Everything to have opened themselves up, making their sound more diverse. ‘Duet’ and ‘Feet For Hands’ acoustic guitar wouldn’t have made it to their debut.

    Overcoming the changes in the band, their sound and their musical technique and ability, ‘Arc’ is a great bloody album. It brings you through the highs and lows in tempo and emotion and even gives us a total 80’s singalong chorus in ‘Amourland’.

    Even after listening to this album for two weeks, there’s still something new to discover each time. Everything Everything are a kaleidoscope of musical notes, melodies and production. ‘Arc’ is the perfect result. We normally look back at great music releases and remember what happened in our lives at that time. I’ve got the album, now I’ve just got to make the memory.

  • Garret Moore: Breaking Ballets E.P. Review

    Garret Moore: Breaking Ballets E.P. Review

    GarretMoore

    ‘Breaking Ballets’ is the follow up to Garret Moore‘s debut ‘Aggy’s Rest’ which was released on Toast Office Records in 2011. While ‘Aggy’s Rest’ was an eight track acoustic based, ‘Breaking Ballets’ sees Moore delve into percussion and amplification.

    The three track E.P. opens with ‘JUST!’, which immediately grabs attention with the ferocity of its drum/percussion intro. The rhythm sucks you into the track and is joined by guitar and vocals. The track features gorgeous musical breaks and the vocals possess just the right amount of effect, if anything they could be a bit louder. ‘JUST!’ does more than enough to get you to listen to the rest of the EP.

    ‘Breathing Hard on Thin Air’ immediately reminds your scribe on the production on Sophie B Hawkins’ The Darkest Childe from the album Timbre. Layers of percussion, pips, squeaks and breaths provide a great info for the track, which wouldn’t be far away from Little Comets, a ska reggae indie combo. This features a memorable refrain and guitar hook and makes you want to dance. Like this a lot.

    The title track comes last on the EP and opens with a dramatic atmospheric style. Cleverly, everything drops to leave Moore’s lone vocals before the instrumentation kicks in. This is very much in the indie rock category built around piano, there’s something about Moore’s vocals that are reminiscent of Dan Broeckner from Handsome Furs, vocals providing a happy dischord with the instrumentation, a throwback to a folk style perhaps.

    This is a good step from Moore’s previous releases and is a good indication of him as an electric artist. The EP features interesting tracks with good production and song writing ability. I’d like to hear more.

    Breaking Ballets EP is available from Bandcamp as a free download below.