Chopin, Rachmaninoff, Tchaikovsky, 8/1/2024 Eglise St Ephrem
Well, obviously, the artists named didn’t play as they are long dead.
Anyway, I didn’t think I’d write anything before the concert happened, but thinking of it during and particularly after, there is no fundamental reason to treat this one very differently from any of the other modern/pop/rock concerts. There is a context, expectations or absence of, observations on the location, demographics, atmosphere, performer, music itself (though probably less about it than most of my gig reviews from last year, I realised when proofreading the whole thing that I’d thankfully been shorter about earlier gigs, but also that my reviews were getting longer and longer as the year went on). The main fundamental difference is that the performer and music creator are different, but more on that later perhaps.
So let’s crack on. This all came from a nice conversation exactly one year before this concert happened (selecting the date itself came very late, but it felt right to actually start the year with that before all the gigs started happening, and the timing was kind of ideal), when a shared taste for Chopin’s piano works led me to mooting the idea of going to a concert of his. I looked up on the internet, and found these ‘candelight’ series which seemed ideal. Even better, as Rachmaninoff was mentioned to me as another impressive pianist (I had no idea really, only heard of him but not his oeuvre, in fact, in my slightly addled state that day, I weirdly confused him with Rimsky-Korsakov, which might have made me look like an idiot (mentioning Flight of the Bumblebee) if noticed -no idea, mind you, I was suprised when I found out they didn’t know Chopin was Polish, we all make mistakes), I found there were concerts that involved both. This didn’t happen in the end, but towards the end of last year, as I was really feeling better and better and more confident, I thought that I could go to one of these on my own, despite it being indeed not something that would have occurred to me naturally before that encounter. And so I resolved to look into one of these concerts as soon as the new year started. Thankfully, these concerts are still now happening throughout the year, and so I picked a date that suited me, and perhaps fittingly it happened to be exactly one year after that conversation.
One very cold evening after work, I headed towards Le Panthéon (RER working fine). 7.30pm start on the ticket. Me being new to this circuit, I wondered if it was a kind of equivalent to doors opening or when the concert actually started. I played it safe (obviously in hindsight, this being a ‘classical’ music concert, it’s quite normal that there is not much room for misinterpretation of the concept of time), got to the church (on time, Bowie suddenly comes to mind) shortly after 7pm (well I didn’t expect doors shut and a queue anyway, I figured it would make sense for this to be open much earlier than the time on the ticket). It was maybe over a third full when I got in, I picked a seat (no, don’t worry, I didn’t expect this to not be all seated, I’ve been to classical concerts maybe over 30 years earlier last time, but I didn’t think this bit would be different, especially in a church) on the inside edge on the left-hand side of the aisle. The population seemed relatively varied, a fair amount of students (given the area, not a suprise), mostly foreign in fact, a few older people, pretty eclectic really. I reckon the place was fairly full by the time the concert started. One guy went around selling programmes (I’d have liked to buy one, but unfortunately I didn’t have any change, there was something a little quaint about that aspect of things, but I should have thought of that), then, after having placed the last few people, he went to light up the candles next to the piano with the aid of another person (at that stage, electrical lights were still on). Another one came to the front to tell us to turn off the mobile phones (does this need to be said? felt obvious, but then later during the concert there were a few people who still looked at their screen occasionally, and I even heard one phone beep, annoyingly), not to take photos until the concert was over, and that the performance would last about one hour and ten minutes.
Lights went out and the pianist came on. Oh yes, before that, and again put that down to me not having attended such a concert for ages, I was suprised by the incessant chatter of people (in Dutch behind me, English to the right on the other side of the aisle, French to my left). For some reason, I imagined people would be silent even before the concert, perhaps more because this was in a church than anywhere else. Thankfully, not tooo much chat during the concert, even when the artist went out a few times between pieces. Between each clearly marked interruption (the pianist rising and saluting), only polite applause though at least one person made a point of shouting some more emphatic ‘Bravo!’. Unfortunately, the absence of any knowledge of Rachmaninoff and Tchaikosvky (well, I definitely have heard some of T’s oeuvre during my lifetime, and for all I said I might have heard R too, but I wouldn’t have recognised either) means I can’t exactly say which piece was which without the programme. The only impression I got was that the pieces potentially theirs, while technically impressive, maybe didn’t touch me the way the best music touches me. Some of the pieces were actually introduced by the pianist, with or without name (‘You’ll definitely recognise this one’ – by the way, she spoke in French, not English – well I didn’t recognise it, which made me feel like I didn’t quite belong here), one had me think it was Chopin though I wasn’t even sure. Looks like most of the Chopin was kept for the end anyway, as she said the last three pieces would be three waltzes in a row, the only pieces I could totally identify/remember. So the highlight for me, but also the only time perhaps, when I could vaguely compare to other performances of the same pieces. And that’s where I ought to comment on the pianist. Except, I can’t much, as I have no element to compare there. I didn’t re-listen to any Chopin performances recently (last time I had a semi-intensive listen to Chopin was following a work trip to Warsaw in 2016, I bought back a lot of his catalogue for my iPod then), and have not been to another classical music concert in forever. So in general, I’d say the pianist was very impressive, technically brilliant, and looked involved enough in the music she was playing (even when I played the piano, it always felt that the ‘gestuelle’ was an important part of the performance). Totally immersed in it/possessed? Not entirely sure. I can’t really tell. The only small thing perhaps, on these three pieces, I feel I’d heard better versions, and that there was a little thing missing, maybe some soul/emotion, that could have made the performance reach a different level. When she went after that, I wondered if there would be an ‘encore’. She came back to bow three times….before she took her place behind the piano again for another Chopin number, a Polonaise this time. Followed another one (a Mazurka perhaps? Can’t remember). Then she eventually came back for a couple more shorter bows while the light at the back of the church was turned on again (but not the central one) and played a last piece. Then left for good. People knew so quickly stood up and left. So yeah, in the end, it really is much like a rock/pop concert: you cheer and there’s an encore or two. In fact, save for the location and the more civilised behaviours, when you think of it, a concert is just a concert. Of course, when the encore happened, I remembered that I had been to a few classical/contemporary (i.e. more modern composers but essentially using classical instruments) concerts organised by my ex-piano teacher in St Germain back in the day, and it was always thus: the artist bows down and then play more pieces. I’d just forgotten that it would be the same. In a way, while unfortunately the original artists/composers (when it comes to piano, it generally had the advantage that they were both, while they can’t be an orchestra in themselves….) are no longer with us. Which makes any classical music concert a bit like a band only performing covers.
Going out of the church, the snow was falling down nicely, and the good thing due to the location and luck with catching the express RER is I was home before 9.30pm. Did I enjoy this? Yes. Would I do it again? Hmm, you know what, my initial idea? I think it was right, I’d do it again, but simply not on my own. Unless I was directed towards an exceptional performer, I think I could enjoy classical music alone at home just as well. There doesn’t seem to be the same emotional or physical involvement for me on my own in a performance like tonight, compared to my more usual type of concert. Mind you, perhaps like with some concerts I could get convinced after an exceptional performance, and perhaps tonight wasn’t quite it. Still, I enjoyed doing that, having the freedom to do it, and it was nice to hear some wonderful piano music well played.
And after a little search, I can give you an inexact ‘set list’ (it’s missing the mention of the waltzes), and also the name of the pianist : Natalia Kadyrova. (that site linked just before also gets that wrong as it says ‘Natasha’…). See, there’s not much difference between a classical concert review and a rock’n’roll one on this here site!
Sarah Kinsley, Le Hasard Ludique 16/1/2024
(she may be popular, but five days on now, I’ve still not found a setlist or a review for this concert)
After another different experience at the theatre a couple of days earlier (it WAS a musical, so I did consider reviewing that here, but let’s just say that while I’ve never been into musicals, this (The Sound of Music, as performed by International Players, including my friend David, who was the reason for attendance) was very enjoyable, tugged at a few heartstrings and brought a lot of smiles. It was also a chance to see quite a few other friends and greet each other for the New Year, with the added bonus of being in Saint-Germain-en-Laye where I spent a fair amount of my childhood, so I made a little détour past the old school, the conservatoire, and my Gran’s old place), back to normal gigs, starting a little earlier this year, though I have a lighter programme.
I booked this one practically on a whim. If you check the Music 2021 pages, you will have noticed Karma was one of my favourite songs that year. But to be quite honest, Sarak Kinsley seems to only have three EPs to her name (also one in 2022 and another one in 2023), and even on relisten a few days before this, I only found maybe three or four songs I thought were OK, but nothing great, so basically I had booked that concert for just one song. Well, that, and the fact that while badly located, Hasard Ludique is nice, and it was a cheap-ish concert. And yes, on my own, so didn’t even have the motivation of company. Think I went a little mad on booking gigs at some point last year, eh? One song’s not really a good enough reason to book a gig, although obviously, curiosity plays a part too. Anyway, so on a very cold week in Paris, having had a very brief listen to the support Arctic Lake too, I decided I would try to go to this one more or less on time for 8pm.
The RER was working fine for once, but Line 6 wasn’t. Thankfully I got informed early enough so simply used Line 4 from Denfert. It goes to the same stations, but the connection in Montparnasse is a much much longer walk. Still, I was not short on time, so no bother, and I did indeed arrive at the venue just a couple of minutes after 8pm. First suprise there: a queue. Not a huge queue but still: a queue at Hasard Ludique? Sure I’ve only been there maybe three times before, but it was a surprise. And on eventually going in, it was also a little queue-ish to get your tickets checked and go into the concert room. And that was the other shock: nobody seemed to be stopping at the bar, all straight to the room. Mind you, that’s where the shock continued: the crowd seemed to pretty much exclusively be constituted of teenagers. Old teenagers or young twenty-somethings, not sure, they look the same from where I stand. The nobody at the bar could make me think of teenagers. Also there was very likely a decent proportion of Americans and they are not allowed to drink until they are 21, right? I think I’m making a small theory out of nothing, but the reality was that the room was pretty full long before the support started. And these people weren’t there for the support either. I reflected on that a little later but can put it here already: I cannot make any sense of this. Now I’m not sure how music gets known these days by people, old or especially young, but here was a US artist with three EPs filling up a small-ish venue on a cold January in Paris, whereas bands with three albums to their name like Black Honey, Dream Wife or The Big Moon could go nowhere near selling out similarly-sized venues the previous couple of months? And they were bands who were fantastic live and very good on record too. Nope, I don’t get it.
Anyway, the aptly-for-this-week-named Arctic Lake started at 8.30pm on the dot. Just a boy/girl duo. Woman on vocals and sometimes keys, man on keys, guitars and occasionally backing vocals. They were very nice and sweet, seemed happy to be here, the music wasn’t bad at all, and the voice truly superb. Mostly electronic beats (so yes, there was a lot of backing tapes, no drummer), but with guitar bits, I actually enjoyed that. The guy made the same joke twice on introducing songs (‘I don’t know what this is about, I’m not the one writing the lyrics’) when one would have been enough, but I won’t hold that against him, I think he just wanted to communicate and he was very friendly and modest. Bigged up the main act saying that they’d heard the soundcheck and we’d be in for a treat, asked the crowd if they were looking forward to SK and that’s when the hysterical reactions started. He did also mention that for now, they’d have to make do with another singer who hasn’t got too bad a voice either (an understatement, I thought she had an amazing voice as mentioned above). Anyway, the half hour passed very quickly, and why I can’t necessarily say there was any tune that made me go ‘wow!’, I was sufficiently pleased to be moved to buy some of their music. Also, I noticed the guy before and after the gig (when taking the equipment off the stage) was wearing a pink hoodie that seemed to have a stylised small ‘A’ at the front in the style of some Arsenal font. Sure enough, when googling ‘pink Arsenal hoodie’ back home, it was indeed an Arsenal product. I’d say it was one you’d need to be in the know about Arsenal graphics to recognise!
So, yeah. Sarah Kinsley. On at 9.30pm (it’s all clockwork there). Presumably for a maximum of one hour (that’s the added duration of the three EPs). Immediate hysteria in the crowds. Mad, really, and from the first bars, no, it couldn’t be? Yes, she starts with Karma. Great! Except it means that it’s likely that I’ll have practically no tune to look forward to for the rest of the evening. Kind of pressure off, but also meaning it would take new amazing tunes to convince me. And to keep you from the surprise, that didn’t quite work. I’m not sure if I will find a setlist, I can recognise some of the songs backwards, but in short, she ditched the guitar after Karma and there wasn’t much to enjoy for me, until she picked it up again and that was for a decent song I’m not sure what though. I’d probably need to check those EPs again. At some point she got to sit to the keyboards for ‘a quiet one’, so more piano-based, and well, meh, it didn’t particularly touch me, didn’t sound too beautiful, she’s no Birdy. Yet, I’ll give her that, she has a great voice, and she seems to really be in the music she’s playing on the stage, so it doesn’t seem fake at all or anything. Although I’m not that convinced by the next bit. She goes to the side of the stage, mentions they will now do something they’ve only started doing recently and goes to a little sampler/keyboard. She explains that she is producing her own music and is intent on becoming a proper music producer, and that she will do a little creative experiment of which we will be part. She simply asks the crowd to shout a note and samples it. Then she plays a couple of notes finishing with the sample, saying ‘that’s you!’ and everyone hollers. But this just heralds the start of Over+Under, and the sample is quickly forgotten, the song doesn’t necessarily seem different and I’d say it’s also one of the weakest there. Which makes the whole attempt feel like a gimmick rather than a truly creative or immersive experience. But I guess it’s just my critical eye there. At some point she gets into the crowd for only thirty seconds maybe, cue more hysteria from the screeching hordes. I thought the sound was a bit loud, but honestly, my ears are suffering much more from the screaming between songs around me, to the point I practically have to put my fingers in my ears between songs by the end. Anyway, next notable moment is when she says ‘we have one surprise treat left for you’ and, well, that’s a surprise for me for sure, and a very good one: she plays a cover of A-ha’s ‘Take on Me’, so one song more from my generation though it’s famous enough for a vast number of the young people to know it. She then finishes the main set with ‘The King’, which was the other good song from her first EP, though nowhere near as good as Karma. There’s still time for an encore (well as she herself said, they only went off for twenty seconds before coming back as there was just about time for another song), and while I can’t remember the name of the song (was it ‘Hills of Fire’? That one certainly got played, but then I suppose she had to play ALL of her songs), it was also a good one. The end. To delirious screams obviously. So at least, the end of the set was relatively enjoyable. Although I have to be honest, the music was mostly OK, but I’d have appreciated it a lot more if not in the middle of mental teenagers. You could say that was not a gig for me, and I wouldn’t go see her again in a rush, unless she puts out an amazing album, just because of the audience (after all, it’s the same thing that had made me enjoy Aurora a little less in 2021, despite, in that case, the music being much much better and being enough of a reason to book a gig unlike this one). But I could absolutely NOT have predicted that, if you’d asked me beforehand, I would have expected a fairly quiet gig, with a mixed bag of old and young audience, and a half-empty room. So where does it come from? Tik Tok? More American than English in Paris especially post-Brexit? I have strictly no idea. But I’ll be happy if I can keep seeing those bands I saw in November in small crowds of various ages (add Coach Party to the list I mentioned, even without three albums). Anyway, I just bumped into the guy from Arctic Lake on the way out, so thanked him for the gig, something he was grateful to hear, though I did regret feeling in a rush and not asking him about the Arsenal.
Yes, a rather odd start to the gigging year, I expected low-key, I got personal low-key, but it certainly didn’t feel that way to most of the public I’d say. Back hurt a little again at the end, and the journey home was more annoying. Aggro on Line 13, I tried to keep my cool sitting where I was, but when the action was getting a little violent and closer to me, I did the same as most and changed carriage – without hurrying but staying unmoved would have not been reasonable), line 6 was running OK, but long wait for the RER in Denfert. I got home just at midnight, but feeling a strange mix of anger and sadness. Still, there was Slowdive to look forward to the next day, and I thought that would undoubtedly go better!
Slowdive, La Cigale 17/1/2024
The review from SOV is now available. As well as photos. The setlist was already here.
Working from home the next day, miserable weather but I had a tough training session and thankfully avoided most of the rain for it. Nick and Steve were coming to that one, Nick had to work a bit late, so me and Steve just arranged to meet at 7.30pm outside the venue. It was one of those nights where gigs were happening at La Cigale and La Boule Noire at the same time, so that can be confusing. Doors were 7pm, though by the look of things they were 7.30pm at La Boule Noire, so there was a queue for that while I waited for Steve, but none at La Cigale. An amusing thought occurred when a tout went around the place asking ‘anyone got spare tickets?’. He didn’t specify which gig, so I guess he was up for dealing with any kind of tickets.
Anyway, we got inside, ginger beer for both of us (still a temporary arrangement for me, though I’m starting to like it to a large extent in terms of next day feeling), and the room was, once more, surprisingly already very busy. Sure they don’t play often and they’ve had time to accumulate fans, but I’m wondering if it’s just that the cold Paris evening means nobody’s too bothered having drinks on a nearby terrasse before hitting the venues, though I’d say the situation was different from the night before given the demographic here. They’ve really gathered fans of all ages and colours. There’s an universal dreamy nature to their music. Anyway, Pale Blue Eyes were supporting, I’d only had a brief listen earlier in the day, thought they were OK, but as it happened, and someone else (on SOV) said that, they are better live than on record. It’s pretty straightforward guitar music, essentially shoegaze. Maybe Ride-side more than Slowdive overall though. Fairly good, but they really hit the heights on the song before last, where some enjoyable synths enhance their most shoegazy number full of feedback and echoed guitar strumming. Not sure I’ll bother with their stuff in general, but I might want to track that song. Now, we were on the left hand side, but there was no great view from there, and it got a lot worse when a truly tall person sort of got in the way between bands. Nick had joined us after the support band finished, but the look for a better spot was inconclusive. The rather short girl just in front of me (she was with a slightly taller friend though) kindly asked the tall guy if he could move aside a little, but to pretty much no effect. I’m glad she managed to squeeze in a little better kneeling and putting her head just above the railings (and she seemed to enjoy the show a lot), but it wasn’t all ideal, and really a bit shit from the guy, as he somehow and naturally managed to shift a bit towards the end of the gig, giving everyone a slightly better view. So he could have done that earlier. Having said that, I wasn’t completely obstructed, it was just slightly frustrating. Anyway, yeah. Slowdive. 9pm. Very short intro music, then the real stuff started. With shanty, the wonderful opener from the new album. Did I mention shoegaze earlier? This was different, there was a fullness of sound, a quasi-permanent eerie/dreamy quality to the beats, the music and the voice that put them in a different league to the opening band or in fact, to pretty much all of their ‘shoegazing’ counterparts. I don’t even want to go into a blow by blow account of what was played (a lot from the new album, a fair bit from the classic Souvlaki, and a little from each ot the other ones), but there was magic in the sounds and visuals. Yes, projections at the back (generally just grey or coloured patterns), or even projections on the ceiling during a beautiful ‘kisses’, in rhythm to the music, enhanced the experience. There weren’t many words said apart from many thank yous, though Rachel’s voice is lovely even when not singing and a few of the songs were introduced essentially by Neil (‘it’s only the second time we’re playing this one live’ before ‘Chained to a Cloud’ that followed the essential ‘Souvlaki Space Station’). And a bass player holding his instrument in a very Simon Gallup-way (well apparently The Cure are his favourite band, so…), what’s not to love? There were so many highlights, everything just sounded beautiful and dreamy. A particular favourite, perhaps ‘When The Sun Hits’? And even on the few occasions where the giant in my eyesight was feeling like an annoyance, I just shut my eyes and lost myself into the music. It’s the sort of gig where the magic really is in the sounds, and the stage is nearly secondary. Was it short, was it long? We reached the end of the main set, and I felt like they embodied the notion of time being ‘suspended’. This was just outside of the notion of time and place. The encore started with the quiet Dagger, followed beautifully by the closer from the new album, ‘The Slab’. Wonderful, and to finish with? A slightly rockier version of 40 Days that did a perfect job.
The day before, I came for one song, got it at the start and was left perplexed and frustrated. Tonight (yesterday…), a few of my favourites were missing (no ‘Machine Gun’ from Souvlaki, no ‘Alife’ from the new album), and yet NOTHING was missing, those absences were not keenly felt, those tracks not missed. A better view would have made for a perfect concert, and I’ll jump at the chance to see them again), but Slowdive’s music is the type I could listen to endlessly, dream away, feel alive to, elevated and loving. Just beautiful (and the journey back was also perfect).
TORRES, Le Hasard Ludique 2/2/2024
We’ll see if I find a review, but I somehow doubt it, and as the setlist has not surfaced the next day, I don’t think it will. Well amazingly, it did! I thought it might be wrong as I thought she’d played November Baby, but thinking of it, maybe she mentioned an anecdote about her friend and baby name (not november) but that was actually another song she dedicated to her then (I suspect, having actually paid attention to lyrics on a relisten, that was ‘Forever Home’.
So back to Le Hasard Ludique for a very different experience from the last time. This was a bit of a last minute booking, along with Pip Blom later this month, based on Nick being interested in going not on his own, and me liking her previous album very much, and thinking a brief preview of the new one wasn’t too bad. It was released only the previous week, so a listen since meant I felt it was OK but mostly meh and with hardly any memorable songs. I got hold of her first album (so still missing three) as it was the higher rated one, and thought it was quite good. As it is, Nick pulled out as he had the opportunity to get a ticket to a free IDLES gig the same night (what is it with ALL CAPS band names at the moment? See the next couple of gigs too!! – there’s the ALL CAPS gang and the lower case, er, nutcases? these days, nobody knows how to spell). So I thought OK, might not have gone on my own, but I’ll check and take it easy. A cursory listen at opening artist MF Tomlinson incited me not to rush, not that it’s bad, but just low-fi nice acoustic-ish music, not something to get me to check on my own when not in the mood. On my journey to the place, I learnt that Benoît was actually who inherited Nick’s ticket and was already there, so I joined him when I arrived at about 8.40pm. As it is, he said I’d only missed two or three songs from the opening act. I soon learnt why: his songs are generally pretty long.
So I arrived with MF Tomlinson in between songs, tuning his guitar and explaining us why he did it that way clearly and loudly, to make the audience understand the hell he had to go through every time he has to do it. Weirdly, he was playing a Fender Telecaster Acoustasonic. I say weirdly, because I had never seen anyone play one before (or I hadn’t paid attention) and as I was browsing the Fender website just a few weeks ago, I had seen that guitar and was intrigued. So there it was, nice. Anyway, he chatted a little onstage, nicely and well received, before launching into a song called ‘End of the Road’. So yeah, just him and his guitar. A fairly long song, but really quite nice. It’s not revolutionary, but it’s a good listen. And after that and a little more re-tuning he announced he only had one more song, ‘that’s what happens when you’ve got very long songs’, before telling us this one goes on for 20 minutes. Briefly wondering whether he is joking? He specifies ‘no really, this one is 20 minutes on record, but I will play a shorter version because I don’t have the time’. From checking the album, I can infer this was called ‘We Are Still Wild Horses’, as this is timed as a 21’01s song. Anyway, we have a shorter just sub-10min version here, again, it’s quite nice, he manages to conjure up decent sounds from his guitar (I’m always impressed by musicians managing to play just the one guitar but somehow making it sound like they are playing two at once, with different sounds and pitches), before he says goodbye, shortly before 9pm. He seems very pleased with the reaction from the audience, you can tell he’s happy to be here and that’s great to see, just another nice artist that probably won’t make waves, but hopefully can earn a decent living from his art.
Not much equipment to clear from the stage, and so TORRES was ready to start at 9.15pm, letting us hope for a slightly longer set than the usual hour we get at the Hasard Ludique. Oh yes, I mentioned it was a different experience from last time here, well for a start as I arrived later, there was no queue, also the room was busy but not quite full, lots more space, and mostly, it was not full of hysterical teenagers. Crowds reactions in general were quite enthusiastic and with maybe a little more screams than I am used to or was feeling like anyway as I was still struggling to recover from a tough training session the previous day, but after all, she’s still an American artist so drawing a few more Americans in the audience, and the reactions may be slightly different. Although, it may just still be me being old. Anyway, I didn’t particularly have any expectations, her répertoire seemed to include both acoustic, calm moments and more rocking ones, even from not having all the albums, so I was just wondering if this would only be leaning to the quiet side given the support artist and the slightly understated new album (though it’s again a varied one, but maybe less electric than Thirstier), but I needn’t have worried and she comes on with her fellow musicians (one guitarist, one keyboardist and one drummer) strapped with an electric guitar, a Hybrid Telecaster (look it up, it’s got an opening ‘S’ at the top, so a hollow body, but isn’t the Acoustasonic – yeah tonight is a sort of Telecaster advert as the other guitarist just plays a more traditional Tele, so that’s three different types on display). First song is the first from the album, ‘Happy man’s shoes’ without a surprise, probably one of the best from it, and she announces just after that she’s got a new album out and so the set is going to be mostly based on that. No surprise really so no disappointment. It doesn’t mean I know all the songs (when after listening to the album they day before I thought ‘I’m not sure I’d recognise or be able to name most of the songs if they were being played to me again’, you know you’re not going to have the musical experience of your life even live), I only recognise very few in fact, but there’s enough songs she introduces by name or telling us what they are about to keep it interesting (‘I got the fear’ is about anxiety which shouldn’t be a surprise, eh?). But there’s a few older songs. The first I like is ‘Sprinter’ from the album of the same name (I haven’t got it, but I had registered the name…), a bit rockier. She also plays what I think are the two best songs from Thirstier, so these are highlights for me. First ‘Don’t Go Puttin Wishes in My Head’, at the end of which she declares ‘this was my pop song’, and a few songs later, the excellent and powerful ‘Thirstier’, dedicated to her wife, who ‘can’t be here tonight but she would have wanted to’. There’s a fair amount of inter-song talk, at one point she essentially explains how her wife saved her from herself, at another she mentions bumping into Jarvis Cocker while doing some running earlier in the day (‘Does he live here’? – ‘Yeah!’), and that she sent him a message afterwards asking if he was coming to the gig, but he didn’t reply. She mentions she has more fun every time she comes to Paris, there’s another anecdote or two, a song about addiction (the things drugs promise but fail to deliver), and suddenly there are only three songs left, one of which is ‘Collect’ , one of those I like from the new album, but that fails to completely work live for me. She introduces her band members, can’t remember what the last song is (US setlists suggests this may be ‘Helen in the Woods’ from a previous album I don’t have), but it’s quite rocking and she has fun at the front of the stage wielding her guitar around. This finishes just before 10.30pm so perhaps time for a little encore?
Indeed there is, she comes back on her own, still a little out of breath from the main set’s finale, with just a guitar, and plays Gracious Me (from another album I don’t have), again dedicated to her wife, a quite beautiful song to end the night. She just thanks us once more, waves goodbye and says she will come back to Paris.
For most of tonight, I felt a little frustrated, in part because I was still feeling some kind of exhaustion, but also because the music was not completely sucking me in, but somehow the second half of the gig was easier to appreciate and enjoy. It might also have something to do with the tall fella who got himself partly in front of me for the start of the gig moving slightly sideways after a third of the show, allowing me a fuller view of the stage. Whichever way, while this will probably not rank very highly in my list of favourite gigs, and the music is uneven, some great, some not so great (but never quite boring, time actually flew tonight), there is no doubt that Mackenzie Scott (for it is the name behind the alias) is a very engaging artist, with a decent array of theatrical hand gestures (something of the gothic perhaps?) and so the feeling at the end is that I was at a good gig I mostly enjoyed.
In contrast with the last trip there too, the return journey was swift, good connections, no drunks fighting on the metro and I was home just before 11.30pm.
SPRINTS+English Teacher, Point Ephémère 10/2/2024
I’m sure the SOV review will be there within a couple of days (well 15/2 and still no review –though they have some excellent photos— I’m surprised, but I found another one, that’s very much matching my feelings on English Teacher, and a little less maybe on SPRINTS, as I didn’t feel those flaws). Photos from Robert Gil are available. And the setlists. (The SPV reviewed arrived at last more than a week later (why? slacking?), but I can’t be arsed adding a link, you can look it up. It’s OK, perhaps a little too much on the over-enthusiastic side…
At the turn of the year, I was scheduled to go to another gig that evening. Unbeknown to me at the time, the first ‘big’ album of the year got released as early as the first week of 2024 (something unusual), getting great reviews. I found it rather good (though I would say half good, the four tracks in the middle of it brilliant, the rest OK, but they definitely sounded like they would be interesting to see live), and only a few days later, Nick mentioned they were playing live and he could get me a ticket. As the other band (more on that later) I was meant to see were a free gig, and I’d seen them live already opening for BRS, it was an easy choice to make.
And so I caught up with Nick (freshly back from NYC mid-day so still jetlagged), Benoît and Patrice (who managed to wrangle a late ticket) at the venue already, and in a good spot near the merch stall, just before the opening band’s programmed start. Well, it was a co-headline tour as I only learnt earlier in the day, and the timing of the stage times made sense then with SPRINTS not scheduled before 9.50pm.
I had not heard English Teacher before, so a complete discovery for me. They started at about 8.40pm, the guitarist greeting us with a ‘Bon….soir!’ showing he’d realised mid-word that it was indeed the evening and that it would be more appropriate than ‘bonjour’. They all looked rather young, but the singer in particular looked essentially like a slightly mischievous schoolgirl. And in a way, she sounded all along as if she was happy to dream away, while the lyrics seemed to come sort of from another planet, some of the songs started with just like spoken word, and I wasn’t sure if that was an introduction to the song or part of the song. As it is, I think most of the time it WAS part of the song. At some point she looked in the distance (well I think she looked at the mixing desk, it may have had some significance, but she looked like she was trying to decipher some tiny writing at the back of the room) and looked distinctly pained/upset. Real? No. Seems like it was just an expressionist practice or something, I mean, the next song came, there was no difference. In fact, she looked very happy throughout. There wasn’t much talk on stage, but nearly all was in French, trying with ‘mercis’, dreamy pronouncement of ‘Pareeeeee!’ etc. She alternated between a synth/just voice/guitar. The drummer at some point went to play the keyboard instead. So yes, the music? Kind of indie, really hard to pigeonhole. A song was introduced as coming from an ‘unwritten’ song sung by a character in the book version of a Clockwork Orange, ‘You Blister My Paint’, and at the end of it, back to the guitar and drums ‘the next one is rock’n’roll, enough of that sad shit!’. She had a great voice, and seemed a mix of understatement and wilderness, very playful and understated at times, indolent or rocking. Did I mention ‘another planet’ earlier, well one of the songs was called (and these were the first lyrics of it, see above remark): ‘Not Everyone Gets To Go To Space’, very apt. Another title near the end was called ‘Nearly Daffodils’, and again was very interestingly structured, lyrics seemingly odd again (but I don’t really know what they were). We didn’t get bored for one second, yet this lasted a good 50 minutes, more than some bands playing last sometimes do (oh yes, I’ll never stop about that Killers gig at Elysée-Montmartre), and all this despite their first album only getting released in April: officially they have only a few singles/EPs to their name. So, while I’m not sure any track here will join a ‘best of’ the year (but then nothing so far this year has truly blown me over or touched my soul), definitely an interesting band I wouldn’t mind seeing live again. As Lily Fontaine (the singer) made her way to the merch stand at the interval (and to the front of the side of the stage), I got a chance to briefly just say ‘Well played!’ (what? I never say that, I think I was confused by speaking French with the others all evening, but I meant ‘you played a great gig!’ and she just nicely replied ‘merci!’).
A word about the crowds. Had no idea what they would be like, but I was actually expecting a much younger audience. As it is, the audience was fairly old in age overall, very few youngsters, I guess only old people like straight up rock’n’roll these days over here? Or they are the ones who can get tickets. Very impossible to predict nowadays. The crowd reaction to English Teacher was very good, but there was not much moshing action, whether it was the music or people keeping themselves for later. Because SPRINTS’ music was certain to bring a lot more ‘violence’ to the moshpit. And as I commented to Benoît when we agreed that they’d probably play about an hour, I think they will be sweating a lot on that stage. As the room was already pretty hot, you can imagine what it would be like, playing and moving in that temperature, and with the spotlights adding heat. As it is, Karla the singer indeed asked a technician to turn off a particular spotlight after a couple of songs, because it was just far too hot.
SPRINTS came on stage just before 9.55pm, as Pixies ‘Here comes your Man’ was still playing. And in fact, they very formally waited until that song was over before starting their set. Immediately, you knew we would be in for a loud and dynamic performance, a few notches above what English Teacher had just produced. With only an album and a couple of EPs to their name, we were likely to be treated to most of that album if not all plus a few from the EPs. Well, they played the whole of the album (not in order, obviously) and a few tracks from only the second EP, but, tellingly, the three (out of five) that I had earmarked as ‘favourites’ on my playlist. Classically opening with the first track of the new album (followed by the second), it was clear the energy would be there. Moshing was intense already from the start, and while a part of me regretting not being in the middle of it, the non-stop (bar one or two songs) nature of it made me fine with just being on the fringes again. We’ll see if something similar happens when in the summer or back on the drinks. Incidentally, I felt fairly shit earlier in the day after a bad night and tired from a not-so-intense training session, but a nice little kip before going out, while a rare thing for me, proved very restorative and I was feeling mentally pretty fine for this one – a smooth journey also helped, obviously! My favourite ‘Adore Adore Adore’ appeared relatively early in the set, and I still think it’s their best from a musical point of view. But really, if I thought the album was half good, the concert was ALL good. Karla was very chatty, not adverse to swearing or speaking her mind, a bundle of energy as they all were really. A swap from the Telecaster to a blue Gibson ES-335 (or similar, complete with Bigsby vibrato) lead to the announcement of a slow song followed by more fast songs, Karla mentioning she needed a breather sometimes. Well, the slow(er) songs were not that slow, but calm enough in parts so that the moshers could take a breather too before restarting. All in a good spirit, more than once she mentioned not to force people into moshing if they didn’t want to and that the main thing was to have fun. She also did a thing similar to Lily (she had some banter with her from the side of the stage too also at some point saying she could go back to Leeds or something if she didn’t behave – in a very joking manner, don’t worry!) in saying ‘done the sad song, now we’re gonna fuck shit up!’. The only song that is introduced in name or nearly, is the titular song from the album, which is the last one there, but not tonight. The bassist announce they are going to play three more songs, but they’re not going to get off the stage and back, etc. like with a normal encore. To which Karla replies she’s just done the gone off the stage and back anyway, as she had indeed let them play a couple of minutes on their own while she went backstage to fetch a bottle of Jägermeister (well I did see the bottle given to her as she was going off, so she didn’t get it off backstage but she did share it around ostentatiously after). The set finishes with the fantastic Little Fix from that Modern Job EP, and for the end of that, Karla gives her guitar to…..the guitarist from English Teacher, while she, and eventually guitarist Colm get into the moshpit for some furious action as the crowds go from mad to delirious. And after a little over an hour, it’s over, and we know we’ve seen a great gig. That’s the thing, it doesn’t matter than I’m not in such an emotionally heightened stage and sober (but then it’s probably preferrable to the depressive state of the same time last year – reminds me, at TORRES, there were some plants on the side of the stage that reminded me of the PVRIS gig same time last year, and I realised how different everything was emotionally compared to a year ago, in good and bad ways, as there is not much positive hope either), the energy of that performance tonight, I could tell it was a great gig, and so far the one I enjoyed the most easily without pressure. Sure, it’s only the beginning of the year, but it felt like the best. Definitely better than it would have been going to see that other band on my own at Supersonic tonight. Amusingly, as we walked off the room, I saw a guy with a CIEL t-shirt. They were the band at Supersonic, so I found that odd and surprising. I’m assuming the guy would have been at Supersonic otherwise, and either got such an extremely late ticket he was already dressed up to get there, or, more likely, made a show of representing the band he couldn’t see tonight. Nice touch. Anyway, as I had no training or particular heavy plans for the Sunday, bar watching the Arsenal at home (we just won brilliantly 6-0….), I decided I could stay a little later for a drink with the others (nope, still no alcohol!), and so only got home just before 1am, but after such a great and enjoyable evening, even waiting for the RER triggered no negativity. A brilliant gig and a happy evening!
CMAT, Petit Bain 12/2/2024
We’ll see if a review materialises, again I’m quite surprised this isn’t on SOV. The setlisthowever, is available (as well as the whole concert on YouTube in fact). Belatedly, I have spotted that there are photos available on SO…B.
Back to gigging on my own, and one I was looking forward to. I quite liked her first album, and I thought the second was really excellent, with a couple of true highlights and might even have made my top 5 if I’d bothered doing one for last year (2023). 8pm at Petit Bain normally does mean doors, so I thought I didn’t need to go in too early (though it was sold out, so I knew finding a good spot might not be that easy) as the opening act didn’t necessarily appeal. Still I got to the venue at about 8.15pm perhaps and was surprised that there was still a queue, albeit a fairly rapidly moving one. Made it to the room just in time for the start of support act Morgana. And well, hmmm. Not convinced. After a fairly decent opening tune, there’s a little bit of mise-en-scène with a voice off-stage supposed to be her shrink or something and so a little conversation that happens before the next song and on one or two others. It doesn’t really add to the thing. As for the music, with the distance of two days….I can just say I don’t really remember. Despite only five songs on the menu, I actually managed to be fairly bored this time at number four or five. Sure, a fairly intense training session on the day did not have me in the best shape for en evening gig (as in, mentally unfocused), but nope. Not one of those good surprises. Just her and a keyboard player, so a few pre-recorded bits too. Nothing irritating but nothing captivating.
Lots of Irish in the crowds, predictably, but a fairly healthy mix of young and old (er, but generally not as old as for SPRINTS), males and females. All ready to kick off at about 9-ish with CMAT, and I stay in my pretty good spot just behind the mixing desk (it’s not very close to the stage, but you know you’ll have nobody in front of you for about four metres). The music that plays before she comes on stage with her band is actually French. “L’amour, c’est comme une cigarette”. Nope, I didn’t know that one, that’s a number from Sylvie Vartan apparently, but I’m not very familiar with that time in French music. I also have no idea if that was selected just for the show here (I suspect so) or used for the whole tour. Either way, the actual concert starts straight after with, you’ve guessed, the first song from the new album, California. A very good one it is, and she’s playing the guitar for that one (I’m briefly concerned when the bass guitar kicks in that the sound is not that great and a bit too loud/muffled, but in the end that’s quickly forgotten or corrected). CMAT is all smiles and happy, pulling interesting shapes and faces, before greeting us in French. In fact, she does speak a fair amount of French between the first few songs. Sure it takes her a lot of effort, and her French is not perfect, but it’s perfectly understable, and while she switches to English after a while, saying her French is terrible, kudos for making the effort far more than most and doing it well. Well, at some point she mentions her love of Gainsbourg that she was singing when young, but that her ‘amour premier’ (sic) was country music, before launching into 2 Wrecked 2 Care. Now, I was wondering if she would be playing ‘Phone Me’ early in the set as a few times lately, artists have played their faves of mine suprisingly early. She didn’t, but as it was on the new album and by far for me in her best three songs, for once I rather expected it to be played. But anyway, the show was good, at times she got in front of the mirror at the back (in fact she didn’t play the guitar that often), introduced another song with ‘this one is about a man who speaks French, well, he’s Belgian’, before playing ‘Vincent Kompany’ (I still don’t know why she has a song called, that, I should try and look for the reason). ‘Where Are your Kids Tonight?’ is the other fantastic song from the new album, I wasn’t sure if it would be played as there is no John Grant here, but the keyboardist does the vocal and it’s still a wonderful tune. Time flies, and next she announces a song she hadn’t played in ‘nearly a year’ (well checking back, a few months certainly), but decided to put back in the set following ‘death threats’ (obviously in the context, I suppose essentially a joke) and….it is ‘No More Virgos’, the highlight of the first album, and a song that still sounds fabulous live, possibly even better in fact, and seems to have a little more of a disco beat there. So I’m extremely glad she put it back on. And….what? Yes, it’s the end of the main set. I’m surprised as I really didn’t see the time but yes it is past 10.20pm already. If you look at the setlist, you realise that’s not very many songs, so either it’s the intersong stuff that made time go, or the songs were long? Either way, I was surprised as that time had passed quickly. However, it meant Phone Me hadn’t been played so I was left hoping that it would be for the encore as would be appropriate. Alas…
CMAT comes back onstage on her own with her guitar and starts playing Rent (another one of the many good songs on the new album), before being joined by the rest of the band eventually. What follows seems to announce the last song, preparing a sort of ‘choreography’, saying ‘it’s that time again or rather the time before that time’ (does that mean two songs rather than one? Or does that mean ‘that time’ is the end so the time before is before the last song? She introduces her band, pronouncing their name and then nicknaming them in French accents to hilarious effect. Except the drummer (the only woman from the band), who she just pronounces the name of in English……….well, until she and everybody laughs and she relents and also does a French version for her. And then ‘I’ve noticed some people have cowboy hats’, and she invites us to move left/right in rhythm to the music of I Wanna Be a Cowboy, Baby. It’s great, a fantastic atmosphere, and at this stage, you get that impression of feelgood and everyone in the room would be leaving with a smile. Except I’m frustrated at Phone Me, I’m afraid I’m in that state where I can’t get over that, and it annoyingly spoils my experience even though the gig is excellent. Surprisingly, Cowboy is not the last song. She says she really has to stop but there’s time for a last song. Nope, not Phone Me (but I’m resigned, it’s a great song, but somehow it feels not one that would be a set closer, and indeed a look at previous sets from the year before the next day suggests it was more of a mid-set highlight), but ‘Stay For Something’, which, while one of the best songs from the new album, feels just a touch unnecessary after Cowboy. And then yes, it really is the end. The journey home is like the gig, not that bad, but slightly frustrating (the wait for a fairly crowded RER) and I’m home shortly after 11.30pm. So yes, Ciara Mary-Alice Thompson (for it is her full name) has enough good songs, and a good stage presence so that this was never going to be a failure, it was in fact an excellent concert, but somehow unlike a few other times, I felt a little too frustrated by the absence of my favourite tune. And so, I had THAT tune in my head for the next couple of days, even after the next concert. It’s ace. And, yes I would go and see her again live. Something that occurred to me that night and the one before, is, once I’m done with the half-marathon, I might be able to enjoy myself a little more at times. But perhaps I’m just deluding myself and there will always be a little frustration here or there. Yet, I feel I’m improving a lot of things, just need a little more freedom in my mind. Sometimes, it’s just a personal context that causes the wrong feeling, because I KNOW it was a great gig.
Art School Girlfriend, La Boule Noire 13/2/2024
And a hat-trick of ‘surprised at no SOV review’ (yet?). Can’t find a setlist either, though the one I have seen from the next gig seems pretty close. I regret not taking a better photo of the setlist or something, because I certainly had a great view of it where I was, but as ever I didn’t want to see it before songs were being played. Well, a few days later, the SOV review has appeared at last (including setlist identical to the following Belgian gig indeed). With some photos. Can’t say I agree much with the review (apart from the musical comments on the first and last song), so for once I kind of prefer mine: even if it’s badly written, it’s not talking shit.
La Boule Noire. 7.30pm displayed. Hadn’t had a chance to sample the opening act, but I was in very good form (football got me a little tired but I felt very calm and in a good mood, and physically fit, if mentally a touch tired again by sports), got there shortly before 8pm (walking past the queue at Le Trianon, I guess there was a big gig there), room practically empty so I stuck near the front, which is always a good thing at La Boule Noire, as it’s a pretty square and flat room.
8pm, lights go dim and Theodora comes onstage. Just her, with a bass guitar at the start. There’s a computer, a keyboard, and a bank of pads (press one to start the song, each song is assigned to a pad). Intriguing. She starts with an interesting bass line while the more electronic sounds are playing, and she sings in French first. English for the second song, when she ditches the bass to make a few dance moves, and then comes a rather electronic cover of Tanita Tikaram’s Twist In My Sobriety, and it sounds very good and appealing. Unlike the evening before, I feel I can really connect with the music tonight, a hint of disco/80s/dance music, something fairly original for these days but that doesn’t sound dated in fact. The next song really goes full techno and it’s amazingly powerful, it works! Back to the bass and a song in French for the next, a single that will be released this Friday (‘Les Jours Heureux’, I think?), before another song in English, which is more technoid and she says is a rework of one of her songs. This seems to signal the end, but she asks if she has time for another song, if we want one. That was clearly not fully planned, as rather than press on one of the pads, she looks on her computer before telling us, we’ll do some Italo-Disco, it seems apt, and starting the samples. And yes, she sings in Italian there. At some point, I was wondering if she preferred to operate that way, or if she could benefit from having a band around. Maybe at a later stage? Or maybe she likes it that way. Either way, in just over half an hour I’m convinced and so I bought her album today. I would not hesitate to go see her again.
Now, Art School Girlfriend I was very intrigued to hear live. Unlike, say, SPRINTS, who you could easily anticipate the live version of, I didn’t know how music that was essentially more electronic/understated would translate on stage, with a full band as the instruments on the stage would suggest we would get (which partly triggered my reflection about Theodora as mentioned above). Short version: I was not disappointed.
The usual 9pm start, I’m right at the front, in fact I can hold the metal bar that separates the stage from the audience (for the benefit of any photographer in fact, left occupying the space there, but there’s only one or two tonight, and none of the usual ones). The audience is again a mixed bag. While it wasn’t too busy when Theodora started, I think the room was fairly full when Art School Girlfriend did (well, like the previous two gigs, this was a sold out affair). But as they were all behind me, it wasn’t too easy to assess the type of audience, though a quick glance before the gig suggested this was another healthy mix. I very much doubt that there was anyone else but me present at the same three gigs though. Some overlap over two of them, possibly, but the crowd here was probably generally more introverted I’d say (not everyone, but it was definitely always going to be a calmer affair, something I was really looking forward to, more dreaming less shouting perhaps).
Dim light, slow intro, Polly Louise Mackey is on the Jazzmaster to start with (there’s only three or four songs when she plays the guitar actually), and no, the first song is not the first song from the new album. Outside of her, the band consists in one guitarist, one keyboardist, one bassist and one drummer. Fairly classic you could think, but the sounds are not those of rock’n’roll. In fact, I wondered how the drum would play there (there’s a combination of a normal kit with some electronic pads), and I briefly get worried when the drums proper kick in after the pads hitting, that it will take over and mask the rest of the music and her voice in particular. As it is, I would still say that very often the voice was a little too low in the mix, but the (real) drums were not such a problem, and in fact, a couple of the better songs were driven by the pulsating rhythm coming out of that kit to great effect. So The Weeks already beautifully started the show. It’s all very nice. Not much French is spoken (but the usual Merci), this is obviously not a concert for audience interaction and that’s very good for me. The music’s just beautiful, her voice is lovely, and apparently it’s the first time she plays in Paris. There’s a few songs from the first album (‘any first album fans?’ is greeted by a few ‘yeahs’ but not that many before she plays ‘Helm’) and an earlier EP along with most of the new album (Heaven Hanging Low sounds particularly sweet). It’s all dreamy. You wouldn’t necessarily know, but the quite unassuming guitarist produces absolute magic from his instrument, it doesn’t sound that much like a guitar (particularly when he uses an Ebow, I decided I should get that magical device), and the keyboards appear to just blend into that rather than lead the melodies. There’s a little projection in the background, not much, that gives it all a very ethereal/airy feel to it, extremely apt. She plays ‘the first song [she] ever wrote’. There’s another one she says she’s only put back in the set as she saw a guy with the name of the song tattoed at one of the gigs and felt guilty not playing it, adding ‘so, if you have any request…’. And then she mentions ‘Emily in Paris’ because the next song is from that series, very well known, I’ve never watched, suspect I wouldn’t like it, very American stuff, but she says it probably got her many new fans. And well, objectively, I think that’s one of the least good/enjoyable songs of the set, very meh. It’s not bad, but only makes the rest sound better. My favourite song? Oh yes she does play it: Close To The Clouds appears near the end of the set, and sounds even richer/better live, with the drumming. A truly beautiful moment. She does tell us before the last song, that this will be the last and that there will be no encore, but the ‘disappointed’ reaction from the crowd is relatively quiet: boisterousness (boisterousity?)was for the previous evenings. And what is played last is…the first song of the new album. See, that kind of thing is possible. And yet again, this sounds even better than on record, there’s a depth in sound that the proper instrumentation adds, that guitarist really deserves a lot of credit, and the drummer too. All over by about 10pm, just time to congratulate Theodora on the way back (in French for once!) and this time the RER connection is perfect, right on time and an express one, so I’m home at just about 10.45pm! A great evening with wonderful music. Definitely more naturally my musical universe tonight, to conclude a happy day.
23/2/2024 Pip Blom, Point Ephémère (I didn’t go, because an impromptu work trip fucked things up, so gave my ticket to Alessandro)
2/3/2024 Yonaka, Les Etoiles – realised now it’s the day before the Paris Half-Marathon so probably wisely won’t go, which is a shame.
Amaarae, 6/3/2024, Elysée-Montmartre
There’s no report, there’s not even a setlist yet, and this time I’m not convinced I will find one at a later stage.
After a couple of no show (from me) and just a week short of a gig-free month, the restart is a little difficult. Sure, three days have elapsed since the half-marathon, but I slept badly every night after that so far, waking up at stupid hours, and this morning’s 4.30am rise is taking its toll on me. Amaarae’s album from the previous year, Fountain Baby, was probably one of the most interesting I’d heard (unlikely to make my top 5, well if they had been once), hard to pin down, but I liked it very much on first listen, definitely not my natural/usual type of music, but there was something interesting is both her unusual voice and a mix of influences probably reflecting her Ghanaian/American culture mix. Anyway, Dice said 7pm, this being the Elysée Montmartre I wasn’t entirely sure what to expect, but I thought aiming for not before 8pm would be entirely reasonable, especially on seeing the support was ‘DJ Femo’, and the idea of a DJ opening was fairly unappealing. As I see now, the timings on the EM site said 8pm for DJG, 9 for the main act, so I could have delayed further, but then I felt I didn’t have much to do at home, having been working from home for a big part of the afternoon. Anyway, these are pretty standard timings so I wasn’t surprised. The RER was very slow but I felt really no pressure this time. I made it to the venue shortly before 8pm. I was curious to see what the audience would be like. I think it was sold out, so I expected to be busy early, so was actually surprised to see a not even half-full Elysée-Montmartre when I got in. Oh yes, and before I got into the venue, I got asked by the bouncer which concert I was going to. I presume there must have been something on at Le Trianon too, but I’d never been asked this before, and it was probably an early indication that I wasn’t necessarily the target audience. But what was the target audience? I’m not sure. The crowds in actually felt like a healthy mix of ethnicities and genres. I certainly did expect a lot more black people than at most of the gigs I’m usually going to, but I’m not sure there were more than 50% if that, really. Mostly fairly young crowd, probably a majority of girls/women, but I think the bigger difference was probably in social background/tastes. This didn’t feel like the usual indie crowd, but more like a ‘street/hip-hop’ crowd, neither the skateboarding side, nor the rap one. Probably the type of crowd you’d see at a R&B concert? I obviously have no idea, but it would make sense. While impressions evolved during the course of the evening as the screeching got a bit louder at times, it felt like a very peaceful/calm crowd, happy to just move their bodies about rather than mosh through (although at times….). Anyway, it felt good, I didn’t feel under pressure, wasn’t planning to take photos or videos for one, having decided to take it easier on this front this year, especially when not right at the front of this sort of venues. I went to the left side as I often do, I could easily have got a lot nearer the front, but I wasn’t anywhere near big enough a fan to justify taking these sort of spots. So I was just in a comfortable spot.
Right, that’s a long introduction, but the review itself will probably be fairly short. DJ Femo came on at 8pm on the dot, well it was just a DJ set. I knew none of the music, some people clearly seemed to, but while there was some very gentle dancing, it didn’t really seem to set up an atmosphere or ramp up the feeling for the evening. It felt like most of the noise was made by people chatting in the room. The music itself didn’t feel in any way remarkable. It wasn’t offensive, but it might as well not have been there. As far as opening acts go, this was probably the most pointless one I’ve ever witnessed. Also because, you know ‘Superstar DJs’ and stuff, yeah, I don’t quite get it, they might be super good at what they do, but I’m not interested in seeing someone spinning records on a stage? Recognition is fine, but the focus should be on the sounds and the dancefloor. Anyway, that was over at 8.40pm, just after someone behind the curtain made a sign to the DJ.
And so I expected Amaarae to start at 9pm, and probably a fairly early finish as she only has two albums to her name totalling not that much over an hour. Also there was not much on the stage to clear, and the set-up was all behind that big curtain so could be prepared in advance. But as the minutes ticked by and background music was still playing, with the lights on, I got a little irked by the way, as I know exhaustion would make everything worse. The room had filled up to capacity by then, although it never felt very dense where I was. And so I was relieved when the lights went off at about 9.20pm, the curtain opened, the band started playing (probably the instrumental intro to the new album), and hundreds of mobile phonse seemed to go up to film the scene as Amaarae appeared on stage wearing a resplendant red dress. No setlist visible so far, but I suspect the first actual song from the album opened the set. After that, well, I’ll just highlight a couple of things and moment. Obviously, she played nearly everything, with a bigger focus on the second album (much better than the first if you ask me), and so my favourites were never going to not be played (no CMAT flashback). And they were pretty much the highlights. The ‘band’ only consisted of a cool and excellent drummer, and a very competent but not showy (which was great) guitarist. Therefore a fair amount of the sound was tapes, even to the point that some of the vocal parts were on tape, making it all a bit bizarre when her mike was turned to the crowds while she was ‘singing’ but not live singing on some bits of some songs. So yeah, plenty of songs I ‘recognised’ but couldn’t name from both albums, but tha main highlights was probably that surprising rocking bit at the end of an otherwise quiet and unremarkable Sex, Violence, Suicide, reflecting faithfully on the album, maybe followed like on the album by the superb Sociopathic Dance Queen, which led maybe to the first proper audience interaction with people repeating the ‘touch, touch, touch’ line. I’ve written a lot about crowd interactions, etc., and I have to admit tonight, this didn’t feel forced at all, just quite natural, easy and enjoyable, just a few words to sing back to her occasionally and the odd clapping sequence. She didn’t talk too much, and only a word of two of French were uttered during the evening, but her voice is great, she announces (that was a long time before that sequence : ‘tonight, Paris, we’re gonna be sexy, we’re gonne be wild, we’re gonna be free!’ to rapturous cheers! Anyway, so after the musical highlight, it feels all a bit flat and boring for a while (to me at least, maybe because it feels more like quiet/soulful R’n’B or something, which is really not my thing when not spiced up with something else, but also because I’m so tired that my mind absolutely can’t focus on that music, so I just close my eyes, but I can’t get into it). There’s a little acoustic number that feels also very boring but things pick up with the great ‘FANCY’ from the first album, with more natural crowd interaction, it’s a really cool and pleasant song. Reckless & Sweet (apparently a big hit with da youth, but not up with her best for me) is played but I couldn’t remember when, but for me, another highlight that remained in sound in my head for a bit (even though I couldn’t for the life of me tell you if this was play at the start/middle or end) was the splendid ‘Disguise’ from the second album. Did ‘Co-Star’ close the show? Possibly, I certainly seem to remember it was one of the last couple of songs. Oh yeah, I forgot to mention, but there was a change of outfit maybe midway or two-thirds through, to something more akin to street/jungle wear, a beige ensemble, topped by a cap she wears very very deep on her face. So deep that in fact for most of that second part, you can’t even see she’s got eyes, her face stops at the nose. And yeah, during that part too, at some moment she stops for a few seconds, without any sounds playing, just striking a pose, cue people hollering and eventually chanting ‘Amaarae! Amaarae! Amaarae!’ and there it DOES sound like just a crowd of very young girls. In essence, while the backgrounds and culture are very different, there’s maybe not much of a fundamental human difference at this point between this crowd and the crowd at, say, an AURORA gig, or maybe the Sarah Kinsley gig. That sequence is shorter though, and it doesn’t feel as unbearable as for SK, there’s maybe a little different mentality at play there, even if with Amaarae posing like that on stage, it does feel more like hip-hop even rap posing, a litte bit too full of itself. So yeah, at times some songs are more like classic hip-hop, nearly but not quite rap-like, and you could sense it in the crowds reaction. Obviously, it’s just my impression from an outside point as not part of the scene (very INFP there maybe, but I’ll rely on my intuition to think I’m not being too far wrong in that analysis).
As expected, it’s all over in just under an hour (which might also go some way to explaining/excusing the late start), which is handy for me as I am absolutely exhausted, and the possibility of missing the last RER from GdN (works means it was supposed to be 10.45 though recent experiences have suggested it might run a little later) would not have been welcome. As it is, out of the venue at 10.20pm, and I get fairly lucky at GdN with a short-ish wait, and I’m home not long after 11pm.
The gig will not live long in the memory, it wasn’t too different from what I could have expected, an interesting experience, but I probably wouldn’t do it again. I was way too knackered, but it was cool, really probably not far from the right type of gig in that state.
Hannah Jadagu, 8/3/2024, Le Hasard Ludique
There probably won’t be any external review, photos or setlist for this one either.
A long ago-booked gig for an artist with just an album and an EP to her time (and a couple of singles I clearly missed, as they seemed popular and well-known with the crowd, now that I see ‘all my time is wasted’ is not on the albu….). So great idea? Not sure, I think it was just because Nick said he might go if I did, the album was fairly good indie standard (think maybe Soccer Mommy or Indigo de Souza at a push), and I was on a gig-bookkng spree. That was a while ago, I think I’ll be more circumspect in evaluating potential gig enjoyment now.
Still, it could have been a great night if i wasnt completely exhausted or didnt have a bjg day at the Arsenal planned for the next day. Thing is, this week, I have had terrible sleep since the half-marathon, probably overdid sports but I’m really not sure, just have felt unable to settle down, a bit weird when I should have felt completely relaxed and free after achieving more than my aim.
Anyway, still this was slightly easier to motivate myself for than Wednesday as I was meeting up with Nick and Jed, who’d recently joined the Signal Group but I’d already met in fact at the big football reunion in May and had got on well with. I decided to have a beer to start with and see how I felt. RER on the way was a bit dodgy but not that bad and I was under no time pressure.
We finished our beers, I declined the offer of a second, thinking I might have another one later, and we got into the room in time for the support set from Max Baby. Decent band and music really, great lighting, small sound problem (some cracking could be heard at times, correctly identified and complained about by the lead singer/guitarist but nothing vould be done), a very enthusiastic crowd (clearly a lot of local support, well, he was French), and most of all an amazing drummer. Not a randomly selected support, as it turned out he had actually met HJ a couple of years ago and produced her album! Anyway. The half hour slot went past, there were a couple of truly enjoyable songs. Can’t find any of their music output on iTunes, but by the 9pm finish, we were all impressed. The room emptied. We edged a bit forward, amd by the time Hannah Jadagu and her band (again just one drummer and a guitarist/bassist while she was on guitar for most of the songs, save a couple with no instrument (that’s when she could sashay around the stage and the bass player became guitarist)) came on, the room still wasn’t full at all. I can’t possibly comment on any songs or setlist, because, just as on record, it was all pretty good and pleasant (probably slightly better live), but nothing truly stood out. Well, apart from the fact that Hannah seemed very happy to be there, smiling a lot and pulling a few moves, getting a little crowd interaction in a way not too dissimilar to Amaarae on Wendesday but not getting quite as enthusiastic a reaction, due to the different nature of the crowds, I suspect. Weird thing I noticed again, sure some sounds were tapes (same with Max Baby actually when at some point a guitar riff was heard while no guitar was actually being played for a few moments in a song), and like Wednesday it felt bizarre to hear her voice while she was not singing. But yeah, different crowds, different music, clearly two black female artists with completely different backgrounds for me this week, but this was definitely more my ‘usual’ people. Age and genre compositions fairly healthy today too. Jed was overenthusiastically trying to get me to sort of ‘mosh’ (not really though, none of tonight’s music was really moshable), but I was way too sober and tired and feeling heavy.
It was the standard one hour (and a couple of minutes) set without encore and so at 10.30pm time to go home. I had to say no to a drink in a pub around place de Clichy because that would set me back another hour or more. Not long ago I might have gone for it but I was too shattered and thought of the next day. As it is I still didn’t sleep very well and woke up too early but I know it’d have been worse with another pint and an hour later. RER on the way home was slightly troublesome again, but nothing major really. Been really struggling this week, this was probably a pretty good gig though nowhere near the top, but the truth is, irrespective of the music, it would have been a great evening if I’d been on form. No fault of Hannah, Max, Nick or Jed!
DIIV, 10/03/2024, Le Trianon
Not sure if a review, will emerge, but at least there are photos from Robert Gil, and the setlist. Well, a review appeared, that pretty much matches my own impression on the night.
Back from London, an hour and a half’s break and off we go again to Le Trianon. I was pretty much looking forward to that one, even though I was still and again exhausted after a big day at the Arsenal. I had earmarked one of their albums back a long time ago on a ‘need to investigate’ basis based on a review, but hadn’t gone through with it, in that time when I was kind of away from new music for a while. But the old 5albums series brought me back to them, and so I checked one of their albums, liked it, and ended up buying others. Solo gig for me, ‘8pm doors’ said Dice, and in my hectic schedule, I didn’t check for any concurrent information. No support mentioned, so wasn’t sure what the situation to be, but thought arriving sometime around 8.30pm would be fine. As it is, I made it for 8.15pm, and to my surprise, the support was already midset and the venue rather full. Meaning doors must have been 7pm. Oh well, don’t feel I missed much. Only found the name of the support via the photos site linked to above, so Noa Lee was their name, from Belgium. Pretty standard indie music, enjoyable but nothing really extraordinary. I only got to hear three songs, the last one was actually rather good, and on the previous one I was rather impressed by the guitarist’s wrist movement at some point. I didn’t know it was physically possible to strum up and down that forcefully and quickly for that long. Weirdest thing is the singer sounded vaguely French, but on introducing her band and technicians at the end, with one of them called ‘Gauthier’ (which she pronounced perfectly and without a hint of non- French English, she apologised for not speaking French well). Bit bizarre, not sure if it was true or if it was just the old Flemish-belgium obstination to not speak French despite being bilingual. But here would make no sense, so I’ll just accept her accent was just Belgian when singing. Not that I feel drawn to check their discography, so I’ll probably never know. Belgians, eh? Anyway, all over by 8.30pm, and tonight everything is pretty much clockwork.
And so, just before 9pm, the lights go down and….no, the band don’t appear onstage. A short film is projected instead, kind of ‘mock new-age’ introduction video telling us tonight is not just a concert but a life-changing experience. Now, I don’t think they take themselves seriously, it’s just a pisstake, but it’s a bit of a weird intro though it does elicit a few laughs. Diiv (pronounce ‘Dive’, apparently it was also the original name, but particularly in those days of search engines, I can understand why they’d have to change the spelling) appear just a couple of minutes after. Now, there’s only a small number of songs I could identify, and as their new album is not out before May, I expected a lot of unknown tracks. As it is, they didn’t start with the first song of the new album, but with a pretty good song from Deceiver (their third and to date more recent albums – also I have no excuse as I have all three, so it’s just that these days I only identify true highlights rather than just very good songs). The excellent ‘Under The Sun’ from their second (and probably best) album is next, and I’m starting to feel this is going to be a very good gig. A new song follows, that doesn’t sound that great, I briefly wonder if it’s just because I’ve not heard it before, but what follows suggests maybe not. Just after that though, there’s a true highlight with one of their best songs, ‘Take Your Time’, and this leads me to think, wow, this is good and could be one of my favourite gigs of the year so far along with Slowdive, in a year that’s not brought much amazement musically yet. However, that’s when everything starts to unravel a bit. The next song, while not new, is a fair bit slower and doesn’t keep the attention levels high. Another new weird ‘new-age’ video appears, even managing to advertise their merchandise, before they play two more new songs. And again, while maybe one of them is a touch better, they don’t really get the pulse racing or the enjoyment grow. As with every new song played tonight, the screen at the back displays animations (all songs actually for that bit), on a red background and with the lyrics. Not really to invite us to sing along (that’s really not that type of gig), but maybe to discover them. And well, it’s a bit of a jumble of words. Yeah, you can sort of get it’s a criticism of modern society and its failings and trappings, but somehow, it’s not written in a way that feels easy to relate to, more like the words of an incoherent drugged person. Guess theirs is stoner rock rather than shoegaze then? It doesn’t make you enjoy the songs more, and as I often say I connect with the music more than the lyrics generally, it’s probably unnecessary distracting. I think my exhaustion is also starting to tell and my mind completely wanders away more than once. In fact, there’s a point in the gig when I ask myself ‘did I just miss a song?’ Felt pretty much like I was falling asleep while standing, not a good sign on my state, but also I’m afraid a clear sign that I find the music uninteresting. Then they play ‘one of our earliest songs’, from Oshin, but unfortunately, it’s not really one that grabs the attention either. What else? Oh yes, I forgot to mention two things: a) the crowds, very different from the previous two gigs, tonight it’s predominantly a white middle age (or sometimes older) male crowd, with relatively few exceptions. b) one usual thing rarely seen these days, the guy at the centre of the stage only plays the guitar, while the main man (guitarist/singer/composer) is to his left, with a bassist/backing vocalist to his right, drummer behind. Once more also, you notice the use of tapes so not all the music is live. Is that the theme of 2024 just like going into crowds and acoustic interludes seem to be the theme of 2023? Time will tell. Three tracks from Deceiver finish the show, with the only one getting me back into the room being the excellent Blankenship: the closing Acheron, while a good song, is slower and doesn’t get me going tonight, definitely put that one down to being tired. It’s only just past 10pm though, and you know there will be an encore. And so they come back after yet another silly video (there was still another one in the main set I didn’t mention), and the singer announce ‘we’ll play a couple more’, cue my usual wondering about UK/American couple. This time the American band went for the American couple, which felt pretty obvious when the second song was another from the new album that was a little meh (after another so-so older song from the previous one). No I’m not sure I’ll get that new album, consider me rather underwhelmed, it may be a political statement, but the music doesn’t truly ever get going there. Thankfully, what I was hoping without knowing and for no good reason, actually happened. Something that hadn’t happened in a long time for me at a gig: not only did the band play my favourite song, but they played it last! And just like that, fatigue was forgotten, and the evening practically redeemed when they launched into Doused (from their first album). Another video closes the show, but nobody is listening or can hear anything through the noise. Still, out of the venue before 10.30pm and home just after 11pm as I got an express (proper) RER just waiting for me on the platform at Gare du Nord (note that I also had an express when I got back from London earlier in the day). Have to admit I felt a bit spooked doing that journey home exhausted a second time the same day, I practically felt like I had two days in one (especiall as I woke up unseasonably early again in the morning and had walked all the way from Manor House to St Pancras in the rain midday). One more gig to go before a little pause, and with friends it should be a fine one. Tonight was just a combination of fatigue and a gig that promised to deliver a lot early one but flattered to deceive most of the time, despite the triumphant finale. Mixed bag. Also I have to admit that this type of music is probably a little too much on the ‘chin-stroking’, not emotional enough side for me. So the faster songs work better, while the shoegaze-ish rest is a lot of crap when you can’t pull it off beautifully like Slowdive.
IST IST, 12/3/2024, Point Ephémère
There are photos on the SOV site, I would expect a review at some point. The setlist is available anyway. And so the SOV review arrived over a week later. Can’t see I’m impressed either. A few decent points, but the guy just deputised, still took that long to write something not that good and that seems to not have been through any edition or proof-reading as it looks poorly written, not much better than my own reviews in style.
Just under 10 months after the first time (they did, during the gig, mention their first ever gig in Paris being 8 months ago, but it was a couple of months more), the same trio of Alessandro, Walter and I is back for an IST IST gig. This was initially scheduled to take place at L’International (new venue for me!), but due to structural issues with the place, everything there had been cancelled or moved, and so this particular one got transferred to Point Ephémère. Whether that’s another reason for another DICE/doors confusion (this time, unlike on Sunday, it was a case of getting there too early: doors were said to be at 7pm, but when I joined Ale in the queue at about 7.45pm, they were not open yet) is open for debate.
I was feeling absolutely dreadful following many bad nights and a very intensive match of football midday. Not sure what’s what (a visit to the doctor this morning two days later didn’t yield any explanation, mind you, that was after, at last, one good night), but I’ll come back to that, as it affected the evening even if it didn’t spoil my enjoyment of the music in the end. Thankfully, because it’s odd how I’m unwell a second time for an IST IST gig, though completely different reasons tonight (not that last time was clear, because I was fine the next day then….unlike after this one), completely random.
The advantage of the wrong timing was that we were among the first people in the room, so picked a decent spot. The ‘up a few steps on the T-shirt stand’ option was practically not available this time, so after ordering a beer (but me and Ale had both planned not to have more than one), we settled on that side, not too far from the stage. Walter joined us shortly after, having ordered his beer from the bar bit on the other side of the wall.
I’d not heard the support before (October Drift), but Ale had had a listen and said they sounded good. As we were chatting before they came on, I felt myself feeling worse and worse, and basically having to stop speaking as it was making everything uncomfortable in my chest/head. Hard to describe and explain, but the only solution was to stop. As a consequence, while I held onto my glass until the end of the support, I stopped drinking halfway through my pint and didn’t have anything else.
But back to the stage and music, October Drift came on at 8.30pm sharp, and sounded good and energetic straight away. Hell, the singer (looking like a bit of a cross between Perry Bamonte and Jon Bon Jovi) went into the pit already at the second song for a little guitar playing in the middle of the crowd. All very rock’n’roll, bass player looking mean, the other guitarist and drummer giving their all. So yeah, good old indie rock’n’roll, melodies and sound maybe not quite unique, but pretty efficient and enjoyable. Or would have been very enjoyable if I’d felt fit (I mean, I felt super fit earlier during football, but you know what I mean)
As it is, good thing I’ve stopped (for good?) taking photos or vids because there would have been a lot of material but I didn’t feel in a state to do that. I spent all their performance basically clutching my glass to my chest, trying to gently clap, but unable to yell my approval between songs despite thinking they were very good. Having done one visit to the pit, the singer at some point went back in, but this time with microphone, not guitar. Aaaaand, he went our side because he was aiming high. And I mean that literally: he climbed over the merch stand and onto the balcony (microphone in his back pocket to do the stunt – note that just with the guitar in his earlier foray, it’s all non-wired today, transmitters only, so one less problem to handle- and sang a good part of the song just hanging to the railings there. Ale took some great photos, and there are some on the SOV site. So yeah, couple more songs after that, not entirely sure I’d buy their recorded output as I may have too many similar things in my collection already(I’ll try and give it a go though), but definitely an excellent live band. Still felt unable to speak or shout at the end, but having saved that energy, I felt a little better and eventually managed to articulate a few words to my friends (Ale was regularly and kindly checking how I was feeling), even though I had to stop again. But I definitely felt slightly re-energised after this set, and the fact that it was a good one might have helped somehow.
Standard timings for support and then main band tonight, and so IST IST come onstage at 9.30pm. I don’t know if it’s a new thing (or just because it’s kind of logical to have Paris as a first stop when crossing the Channel), but once more, the Paris gig is the first of a (continental) European tour. I was momentarily confused not recognising the bass player as he had his hair cut and was not wearing shades unlike at Supersonic, but when he spoke later, there was no doubt it was the same man. In fact, I mentioned to Ale that I thought the bass player spoke French, but I wasn’t quite right, sure his first two words were in French, but that was about it. No, it’s true there was something about him speaking, and that’s the essence of what I remembered: the singer didn’t talk much (he managed to a couple of times…), and the bass player was doing all the inbetween songs chat, thanking us/the support (‘they’re fucking amazing’) and explaining this and that. Anyway, yeah, not important, but again a slightly unusual thing. Also, just as later I was thinking his microphone was just for the intersong talk, he did contribute backing vocals, on a couple of songs, but to be frank, his voice is really not great. Singing’s not truly his thing. As for the crowd, yeah, not entirely dissimilar to the ones at DIIV in a way. But what mattered tonight was really the music. And the music was excellent. Sure it’s all not entirely new, as a Manchester band they were clearly influenced by Joy Division/New Order, some similarity in sound, a singer with a very deep voice, propulsive bass rhythms (Hooky may be a twat, but he sure can drive a song, and this bass player must have been influenced by him), in fact it’s the first time in a while that I notice how much the bass is leading most songs at a concert and I really like that. I’d heard only a snippet of their new single (‘Lost My Shadow’) released just a few days prior, and I very much liked it, and so when they played it near the start, I recognised it, and it sounded just as good or even better as I’d felt it would. Perhaps a little more danceable/disco-ish than most of their other stuff, truly excellent. It was not introduced, but mentioned after they played it, along with the announcement of a forthcoming new album (no hint of that elsewhere so far), before they (the bass player still and always) introduced a second new song. And that one was excellent too. The other guitarist (the singer was playing the guitar most of the time too) was pretty good and managed to make his guitar sound like a keyboard on a song or two, but mind you, at times he was also playing said keyboards/synths (once more, not every sound was live though) to great effect. They played a lot of their most classic songs, superb stuff ranging from Something Has To Give, to the fantastic Heads On Spikes, via the pulsating Watching You Watching Me and the majestic main set closer Trapdoors, which all felt even richer in sound live than on the albums. And they also played a couple of other new songs, and again, I was rather impressed with them. Unlike with the DIIV gig when the new songs did not make me look forward to the new album, all four new songs here sounded brilliant to me. And that was a me that was both sober and not feeling great (although the music by then DEFINITELY helped). The sounds are good, the pace and the groove very attractive, yeah, no pressure lads, but I’m already expecting this to be one of my favourites this year. No release dates, but in a year that has not felt exciting musicwise yet, I’m getting my hopes up again. A three-song encore was played, starting with classic Emily and a couple of songs from Architecture (which I now realise I don’t have, but sounded great too), the first one pretty dynaminc, and the second with a very calm start followed by a rocking second part. Finishing at an unseasonably late 10.55pm or so, I didn’t see time pass. I had maybe one or two moments of attention drifting away for a few seconds during the show, but considering my state and everything, that’s pretty remarkable. So yeah, longest show of the year so far, I believe, and undoubtedly one of the best, possibly the best. Fourth gig in a week, and by far the best of that bunch certainly, only Slowdive and possibly English Teacher+Sprints could vaguely compete this year as far as I’m concerned.
Did I mention that I was missing Arsenal’s second leg against Porto for that? I’d been a ‘jinx’ when not watching, but having checked the score at the end of the show, all square after 180 minutes so we were heading for extra time, I decided not to rush home anyway (wise decision), let Walter finish his beer at his own pace, before we all went to the metro together. Arriving at Gare du Nord, I had to remember that, as I mentioned on a previous review when it did not affect me, RER B was not running from there Mondays to Fridays after 10.45pm. And while maybe there’s a chance at 11pm still, there clearly was none at 11.10. Weirdly though, they haven’t bothered putting any notice at the station so lots of people went down the to the platform. So I had to trek to the other end of the station (those who know GdN will tell you that Line 2 to Line 4 is a pretty long walk there) and managed to just about catch a train rather than have to wait for 6 more minutes. I didn’t want to run at all in my state, but I did for the last 10 metres when I saw the train on the platform and heard the doors signal ringing. Amusing though how I can now do that run, enter without panic even as the doors shut and stop without disturbing anyone or bumping into them. Half-marathon training really helped with agility too! Mind you, I think walking fast among people and on trains has also helped me run in the middle of so many people on race day, so it works both ways. Anyway, yeah, RER at Châtelet wasn’t too much wait, but that put to bed any notion that I could catch even the end of the penalty shootout if there was one. Didn’t want to stress about that, so I only checked scores once or twice, and not anymore once I knew there’d be penalties. I got home just on the stroke of midnight, checked the final result eventually once settled home and Arsenal were through! So an evening that threatened to be a nightmare on a physical/mental point of view, ended up with me having been able to enjoy an excellent gig, and breaking a jinx while Arsenal qualified without me having to stress about it. Not bad. Sure I will still feeling unwell the next day, but two days on, I feel I’m getting back to normal. I think. I still went for a 12km run after GP visit as she couldn’t find anything wrong and I was feeling better, but I ran comfortably without ever forcing or doing cardio. So yeah, hopefully the only way is up now, and without a gig or even an Arsenal match to watch for about three weeks, I might be able to relax while still doing sports. But for now, considering it’s one I might not have attended if it weren’t for Ale and Walter enjoying them first time around, I’m so so so glad I went to this particular gig!
Talk Show, 30/3/2024, Le Hasard Ludique
There will definitely be a SOV review, and photos, as I met the people from the site (more on that in the review). And indeed, the photos were there shortly after, and the review nearly a week later, by the people I thought they would come from. :-). The setlist mentioned in the review misses the song from the encore (so I don’t know what it is), possibly because Franck only took it from the actual written list where it was absent. Oddly, while there is a list on the usual setlist site, it is even more wrong so the person might have left much before the end….
Sooo, Easter Weekend, a good time to come back to live music after a nearly-three-week hiatus. I nearly didn’t go to this gig, as I will explain shortly, and boy am I glad I went!
A long time ago, I had booked a ticket for New Model Army at Le Trabendo. But in my forever confusion, I thought it was on 31/3, so when Talk Show went on sale for the 30th, I thought I’d have that. Until I realised I had double-booked myself. Until a week or two before the gig, I was pretty much undecided about what to do. Yet, another listen to the Talk Show album and previous EP (from 2022) and a quick re-listen to the new NMA album (pretty good, but not out of this world, I’d go there more for classic tracks, but that means their previous appearance in an anniversary tour would have been the ticket a lot more), made me think Talk Show was the one I really wanted to go do. One deciding factor though could have been that NMA was with friends, Talk Show on my own. But as Nick told me Ornella might be looking for a spare (for her husband) and I had a feeling Talk Show would be great live (‘Gold’ told me as much, as well as a few other tracks), I thought that it would be ideal and make the choice for me: this way everyone’s happy and can go to a concert, whereas I was not sure I’d have been able to dispose of the Talk Show ticket. I allowed myself a look at NMA’s setlists after having transmitted my ticket, and felt vindicated by the fact that they don’t seem to play Vagabonds in this tour.
Anyway, so given the transport (there is a direct Tram line between Porte de Pantin and Porte de St Ouen and that takes only roughly half an hour) and timing, I thought it would make sense to join everyone for a pre-gig drink (or two) near Le Trabendo before going my own way. I’ve been so used to taking Line 2 from GdN to various venues recently I got to the front of the RER, only realising on arrival that I had to take Line 5 so go to the other end of the station. Ironically, I had made the right choice initially, but little did I know: on reaching the platform for Line 5, I saw the signs about works on the line this weekend, meaning trains terminated at Jaurès, where a Bus Replacement Service (feels like London) is avaiable. And yes, Jaurès is ALSO on Line 2, hence the complete waste. But hey, I wasn’t late or too tired after the morning’s reasonable run, so no problem. Nick said he’d be in that kebab/bar place at 7.05pm and that’s precisely the time I arrived (he’d arrive a few minutes earlier), with the added bonus that the bus actually dropped me right in front of the place. I’ve had worse bus rides, this was OK. Still though, another reason for me to be happy to go to Hasard Ludique. I always say it’s the arse end of the world, but at least I wouldn’t have to face an overcrowded bus service on the way back. Everything really pointed to me making the right choice this time! Anyway, so we were soon joined by Alessandro and Walter (I only got reminded they were coming after I’d given my ticket out, and again, I’m glad, because it might have swayed me further to go to NMA), and then Ornella and Stéphane. A couple of beers and then we all went our way. A fairly smooth tram journey, I didn’t even have to wait long for it, and so I made it to Le Hasard Ludique shortly after 8.45pm. I expected the support to start at 8.30pm and so there was music coming from the room, but I decided I should still order a beer first before I got in, despite already liking what I was hearing from outside. So once in, in a busy but not crowded room, I discovered the Gluteens. A trio with a chanteuse/keyboardist, a guy on the guitar, and another on drums/beats. Very much French electro though mostly sung in English. I liked the sounds, I liked the energy, very much up my street. And lucky for me, they didn’t just stop at 9pm (whatever time they started), so I actually got at least 4 songs. Including their top hit (the excellent Shake Milk), their Christmas Song, and the last one, that was actually sung in French. I thought it was a very good warm-up and the style was also great for the night. So yeah, I’m getting their Cheese Naan LP today. Oh yeah, they’re called The Gluteens and they’re French.
I stayed in the room between the acts rather than go for another beer (at 3 pints, without practice and without food since lunch, I was in the perfect state), so made my way to the very front. Sufficiently imbibed and in a great mood to be more sociable and not in full introvert mode. So catching a conversation nearby between someone from Sound of Brit and someone from Sound of Violence (you can’t make this shit up), I decided to say hello the the SOV man (Franck, him of the many interesting reviews), and we had a good chat, mentioning his ‘boss” Fab and a couple of things (I explained that I basically came back into the site’s forum only recently after many many years away). The stage was being prepared by the band themselves (it’s always half a surprise when I have no prior idea of what a band look like and I see them preparing their instruments and only when they come to play am I certain it’s them), I had no idea what time it would start after the ‘later’ finish of The Gluteens. But in fact, it was all very sudden, the lights went off and they started playing only a minute or so after 9.30. So just the usual timing after all. I thought they might just start with their brilliant opener from the album, Gold, but as it is, they kept it for later. Actually, I thought that before, but as the setlist had practically been chucked under my eyes when they were preparing, I caught only the last couple of tunes from it (and Oil in the middle), so I know they’d finish with Gold and Leather (so I was already looking forward to a massive finish). I have to say keeping it for later was the right move anyway. The crowds took a little time to really get going (whereas it didn’t even take one song for the singer to take his T-shirt off, and boy you can understand, given the energy he deploys!), but once it got going, it was fucking mental. Nearly non-stop pogo, and so all over the place sometimes nearly crashing into the stage, sometimes a good few metres behind. Franck was particularly eager to get me involved, but I didn’t need much pushing today. I was slightly apprehensive with my right toe, but somehow I managed to keep it out of harm’s way, I thing it got trodden on only once, and thankfully that didn’t even feel painful. It was all very very good-natured anyway, all smiles, movement and fun. I could point at the highlights, quite naturally Oil at The Bottom of a Drum, Cold House, Catalonia and obviously the monumental Gold and Leather that finished the main set, but really it was a riot all along. The singer even took a little crowd bath (was it during Leather? I think so) not to sing, but really just to mosh in the crowd, not just once but twice. The first time it was like out of the blue, suddenly finding myself in contact with that sweaty mass and in a flash he was back on the stage (did he just jump back up? Either way that was impressively quick). The second time he stayed a little longer and it was great fun, he was just basically like all of us pogoing to the music. As it was the final show of their European tour (amusingly, as I remarked in the previous review that bands often started in Paris, but looking back, and it works with the same Eurostar logic, it’s often the first OR last show), they came back for an encore, which they apparently never do, and played an older song, similarly rapturously received. All over by 10.35pm or so and….no. Not straight back home. I was feeling so great about this and the company so decided buying Franck a beer (that turned out to be cider, also for me in fact as they’d run out of IPA) and so we continued chatting a while, mostly by the merch stand where the band was. We also chatted with a couple of fellows (who I’d seen at a previous gig at HL) about the gig, this or that band and concert (Spearmint!), and were also joined by she-who-shall-not-be-named from SOV(I’m joking, she only mentioned her ‘working’ name on SOV and her forum name were deliberately unrelated) who is a big DM fan, but quite incredibly doesn’t own a single Cure album. Anyway, before leaving, I got the chance to thank and congratulate the singer for a great gig (other members where not in the immediate vicinity at that stage, unfortunately, but they were all good too, mention for yet another excellent female drummer) and chat a bit with him. He loved the concert, was afraid at the start when it took a little time to get going. Shame he’s a Man U supporter but hey, at least he’s not one from Surrey. :-p. He’s also hoping they can do bigger venues soon (which makes sense for a performer!). Before and after, I also got the opportunity to congratulate the singer and the guitarist from The Gluteens, so really I did all I wanted to do tonight. Home later than usual, but I pretty much had great connections, no delays, no long waits so I was still home before half past midnight. Drinks with friends, the most fun gig I’ve had in ages (since DreamWife? but with added drinks tonight, it was just even better), meeting new people and safely home. I’ll call that a fantastic evening. Now a win for Arsenal over Man City tonight would make it very close to a perfect weekend. Is that too much to ask? -edit: it ended up in a draw, not too bad.
Yard Act, 5/4/2004, Cabaret Sauvage
The review will no doubt materialise, maybe in a week’s time if Franck is on duty again. There are photos from Robert Gil (now I remember I spotted him, but I was failry quickly drunk), but also some on SOV. The setlist is already there, and I believe correct this time. Well, Franck wasn’t doing it so I didn’t even have to wait until Monday, it’s already there from our favourite photographeuse.
The good thing about a concert on a Friday or Saturday night, especially now the half-marathon is out of the way, is you don’t have to worry about keeping fresh for the next day. I left work a little later than I’d wished, but timing wasn’t a big issue in itself. What probably didn’t ‘help’ was not having the time to get some food before going out. I only had a small sandwich and an apple after indoor footie, I was feeling good, so I suspected I might get drunk on both alcohol and feeling well pretty quickly that evening. Jed was going so we arranged to meet at the Local Rock café near Porte de Pantin. About 7.30pm. A slow-ish RER at the start but that got better once inside Paris, and weirdly on taking line 5 (fully open this time unlike last weekend), I suddenly realised that I should also probably take Line 5 rather than 2 when going to Point Ephémère. I know, I should have realised that last week when going to Porte de Pantin, but hey ho. It’s the same two stops from GdN but the connection is easier. The psychological difference is only that it stays underground wereas Line 2 is overground. So why did I never work that out? No idea, I don’t think I even checked the app, and this dates back from the gigs nearly 20 years before, I’m sure I took line 2 and there were no apps then. Weird. Anyway, so while initially there was no table available when I, er, rocked up, by the time Jed and his mate Kyle arrived, after ordering takeaway beer, we were actually able to sit at a table outside as the rain stopped. Kyle didn’t have a ticket but was hoping he might get one off a tout. He went off to get cash and a bottle of beer before we headed off towards le Cabaret Sauvage. New venue for me, exciting! So that one’s just beyond Le Zénith, you have to cross a canal behind (taking the bridge above) to get there. Somehow, despite not particularly walking fast, me and Jed managed to lose Kyle. I was truly in a good mood and not pissed yet, but I suspect Jed and Kyle were well ahead of me on that score. Anyway, we never found him again, whether he changed plans or ended up buying a ticket for whatever band was playing in Le Zénith that night. I got a message from Alexis in the meantime saying he was going to the gig too. So Jed and I made our way in. The place looks great, it’s round, with a bar near the entrance (a circular one too), seemingly a great view from everywhere. Already packed by the time we arrived (8.30pm?) but Jed was making the plans, couple of beers then fancy going to the front? Yeah, I was up for that. Wouldn’t have done on my own, but I was just up for a good night of music and fun, motivated, feeling light and getting a little light-headed too. I bumped into the two guys Franck and I were talking to at the end of Talk Show the previous week, which was nice, so greeted them. The loo in this place is a little oddly located, or rather, it’s the cloakroom that is? It feels like you’re about go go out of the venue, but you’re not. There’s also a terrasse for smoking the other way. Anyway, while Jed went to order a second round of beer at the bar, I went to locate Alexis and his girlfriend following his directions, great to see them! Oh yeah, I didn’t mention the support, that was still playing while we were having our first beer in the venue. Murkage Dave. Not heard of him before, and I can’t quite remember what he sounded like, but I’d say that he was fine. And so, before the start, we said goodbye to our friends (hoping to see them after, but unfortunately, while by luck I had Jed’s number on my work phone as Dom had used that for the football team group he was on too), Alexis and I only had my personal number to communicate with, and my battery was very low and I knew it would die before the end of the gig) and proceeded to edge towards the front. Now, I normally wouldn’t do that on my own, but alcohol and Jed helping, it felt quite natural in fact, I didn’t feel sorry, I didn’t even feel I was particularly being rude as we progressed through little gaps – no need to push anyone out of the way, that’s the key – and in fact, I took the initiative myself on a couple of gaps. We stopped not far from the stage for the start.
‘Classic’ start with the opener from the new album, gentle start too, but that didn’t last long. As soon as the second song they played my favourite ‘Dead Horse’. Not really faithful to the album so a different vibe from what I thought. A rather sped-up version full of energy rather than a gentle groove. And it worked perfectly and everything went a bit mental from there. Jed suggested we go even closer to the stage, but as we were bang in the middle where it was rather dense, I suggested we got slightly to the side, and I found a decent gap on the left from which we ended up pretty much right by the stage, just to the right of James Smith (the singer). And after? I don’t know, I had what, only just four pints before the gig yet, it was easy to lose yourself in the atmosphere and the music. Pandemonium, a lot of fun, moshing most of the time. Random strangers. The famous indiegilles was just there stuck to the stage but behind him, ended up a little further from the stage at times, but that was mostly for the encore when I thought I could just let go, no need to be near the stage. I didn’t bump into Franck in the moshpit this time, or even after, but I’ll be curious to read his report, assuming he will be the one writing it. Crowds? No idea, so probably a good mix where nothing mattered. A sort of ‘wheel of fortune’ made an appearance at some point to decide the next song, spun by one of the two mad-ish chorists I think. Thoughts that occurred? Is it just the glasses or is there definitely something of Jarvis Cocker in James Smith? The way he moves? The way he speaks and quips? Maybe. As they only have two albums, the setlist was a good mix of both (plus a couple of other tracks). The obvious and great ‘We Make Hits’ from the new album is a particular highlight and makes an appearance midway through (even though I already feel it’s much later in the set). It’s probably when it gets really mad with Dark Days and Witness to follow, before Down By The Stream from the new album, which sounds practically like Sleaford Mods. So a possibly calmer couple of songs before Payday and then The Overload makes everyone go mad again. A very classical move makes the closer from the new album also be the closer from the main set. It makes sense to have easy markers sometimes. And that’s a good one (makes me think, weirdly of a slower Klaxons…). An encore? Of course there’s an encore. Two songs. First a relatively calm (I think…) 100% Endurance from teh first album, before James introduces all his musicians and also….Murkage Dave who comes on stage and takes a big part in the finale of Trench Coat Museum (how did I miss the release of that single???). Proper fireworks in fact. It’s mental, sure I’m totally confused, but it’s great fun. If the gig was great, the finale was absolutely monumental. And then this is it, the place slowly empties, I can’t spot Franck, weirdly, but I’ve also lost Jed in the chaos at the end. Thankfully, my work phone is still fairly full, so I can still get in touch with him and so we gather before exiting and make our way back to Local Rock. I’m in a good mood, not in a rush to go home so it sounds like a good idea, it’s not that late (don’t ask me what time it was, but I was keeping an eye just to not miss the last RER at the end), so we stay for a couple of beers talking about this and that. We end up at a table with some young people, can’t remember what shit we talk about really, I remember one’s from Savoie or even Switzerland I can’t quite recall, but that area and so I mention my silly work trip to CERN. Why? Anyway, Time to go at some point, I reached Gare du Nord and the….oh yes the RER is not working. I totally forgot that the Monday to Friday 22.45 thing was still going on for nearly another month. At least this time they have shut down the platforms and have people helping find alternate routes. So yeah, line 4 again, I’m in autopilot so don’t quite remember taking it, but I do remember that I get the last but one RER home from Châtelet. So not much margin, but enough. The sober period before the half-marathon helpfully reminded me that I don’t necessarily need alcohol to have fun or to be a slightly more extroverted me, but it probably helps! I just need to handle things right in the dosage etc, not that it was a problem there, just great fun and while my Saturday was not super productive, today I went for a run etc, so back to normal I think. Anyway yeah, great gig, great fun, even the bother of going home felt minor, so that’s two fantastic evenings in two weeks. Oh yes, and Arsenal even had a comfortable win on the Saturday.
Francis of Delirium, 11/4/2024, POPUP!
I don’t expect any review for that one. Or photos. Or setlists from the usual site (well there is one for Bruges, which showed me the one track that…more later). But Benoît took a photo of the setlist, so I have it. Not that there is much more than my memory to get from it in terms of the actual experience.
I think this might be a fairly short review, and that’s absolutely not linked with the quality of the gig. Back to the popup after a long time away from it (weirdly I am back there soon again). This was not sold out, not that I was suprised, but clearly there is not enough noise around that wonderful band. I’ve said it in several places to several people before and after, but the Francis of Delirium album released a few weeks earlier is probably my favourite of this year so far. Not that it’s got the most extroardinary and original music on it, but the quality is constant throughout and there’s not a weak track on it, so it’s possibly the first album in a long time that I have enjoyed from start to finish. It might be lacking an outstanding tune, but there’s a couple that come close.
Anyway, so Benoît was in for this one too, with some of his mates in fact. Doors were announced at 7.30pm, but as usual in le Popup that doesn’t mean much and also I had other noises reminding me that they never start before 8.30pm there. Benoît had already warned he couldn’t be in early, so I aimed for that 8.30pm time more or less, got straight downstairs, the room was far from full so I went to the back to order a beer and got myself a decent spot near the front. As good as you can get in that place without being right in the first row. Support started a few minutes before Benoît got in with Xavier. They were meeting another mate at the back (Cyril, who I’d also seen, maybe at the Rural Alberta Advantage too?), so I watched the support there on my own. Just the girl I’d seen entering the venue ushered in my the bouncer (so I suspected she was not just a punter), on a guitar and with a guy sitting there twisting a lot of knobs on effect racks. After a song or two she eventually introduced herself as ‘La Frange’ (heh, interesting to name yourself after your haircut), and well, I enjoyed her music. All sung in English (she was French), nice little acoustic-ish sad (so it says in her bio) song, pretty neat and sweet really. She was wearing a Francis of Delirium T-shirt, so she bigged them up too, she couldn’t conceal her joy and excitement at playing here, and it was all a very easy half hour. She said she was ‘La Frange Insoumise’ on instagram, a funny pun on a French political party. So yeah, another one to keep an eye on.
I went back a few steps after that as Benoît and Xavier were just there, and so we had a little chat about this band or that, this gig and that (Benoît had been to the suprise Porridge Radio show and was suitably impressed, I wonder what their new album will be like, after the relative disappointment, for me, of the previous one), and he told me he’d asked and FoD would be on at 9.20pm and had a 50 min slot. A bit surprisingly short in my opinion, but maybe it’s always like that here in fact, I can’t quite remember. Sure they have only one album and 3 EPs, but that’s more than enough for an hour, and as you will see, that probably cost me a favourite song or two. Anyway, so being just two or three metres back from the stage could be costly at the Popup but thankfully, that proved to not be the case. As the gig was still not sold out on the day, there was ample room, less density than usual, and we still had a pretty good view from where we were. In fact, while there was one fairly tall (but not gigantic) guy in front of me (a decider for me not taking photos or videos, which I sort of regret for once), we probably had a better view overall of the performers than the one I had for La Frange.
The gig in itself was essenatially tracks from the album (8 out of 11), with the other three being one from each of the EPs (Let It All Go was a particular highlight). But littered with speaking and anecdotes between songs. The extra tall bass player Jeff was introduced straight after the first song, while we had to wait for a later anecdote to be introduced to Denis the drummer (as in French, ‘s’ not pronounced). And so we were treated to anecdotes about the Formula ONE hôtel in Porte de Montreuil, and the smashing a VW Passat estate back window while trying to shut the door on a new bass case. I learnt that not only did they support Soccer Mommy in Paris (how I discovered them in Le Petit Bain, a gig on the back of which I had bought those first three EPs), but they’d also already played le Popup supporting horsegirl (missed on that one, shame), and another band, can’t recall which, in Hasard Ludique. So definitely not Paris newbies, though I’m guessing it was their first headline performance here. Incidentally, on the back of a joke (‘we’re Francis of Delirium, all the way from little old Luxemburg’, to which the bassist said to the singer ‘no, from Bruges’), we learnt that this was the second night of the tour, after Bruges. Because yes, while I’ve mentioned a few times lately Paris being the first or last port of call especially for English bands on a European Tour, it makes more sense for a band from Luxembourg to be in Belgium first.
I haven’t even yet commented on the performance. Well, very much like on the album, it’s all ranging from good to excellent. Jana’s voice is actually quite impressive and strong, their are quiet moments, less quiet moments, but not one single poor track. A solid performance, a great atmosphere on stage. Again, maybe, just maybe missing a true highlight, but I’m really being harsh, because in fact there are plenty of highlights, from Blue Tuesday to Real Love. We get asked to contribute before the closer (of the set and of the album) Give It Back to Me, by singing along to the last ‘ah ah ah ah’ and lyrics, with a little practive pre-song, but in fact, the melody works so well that I start to hum the ‘ah ahs’ along to the matching guitar line even when it’s only part of the melody while she’s singing the lyrics. Makes me think there’s an even better arrangement to make to the song. So yes, that’s the final song of the main set, we don’t know if there will be an encore as they just get off the stage, but they fairly quickly came back (you can’t get far in this place, you enter and exit the stage from the front, so they only got as far as the merch stand I suppose). And so what’s the final treat? Jana asks if we want to hear ‘I think I’m Losing’ or ‘Quit Fucking Around’, and it’s pretty much a split vote by acclamation. And so….. ‘we’re gonna play both’. Great stuff. So one track each from the first two EPs to triumphantly conclude the gig (QFA is played last and nearly leads to moshing, certainly more jumping up and down there!), and we’re all out of here very happy. One regret? Yeah, back to bands not playing my favourite. Something’s Changed didn’t get played (it’s not a habit, I see it in the Bruges setlist), which stopped the gig going from great to perfect but I guess they weren’t given enough time (and so to be fair, not easy to see which of the quiet-ish tracks it could have replaced, maybe Circles?), and, quite frankly, they are so good I couldn’t even feel disappointed by that. I’m just surprised that given the gig room is Downstairs and even the terrasse outside the PopUp stays open later, the gigs finish so early. All over by 10.15pm.
Benoît wanted to buy the vinyle as usual, so we queued a little bit at the merch stand, which gave me the opportunity to thank and congratulate Jana for both the album and the gig (though I felt a little awkward this time). The bass player was drinking beer outside while we exited so I expressed my thanks too while just passing but he didn’t hear me. Anyway, swift journey home, a more civilised concert than the last two, but musically truly excellent!
Alain Johannes+Patron, Petit Bain 30/4/2024
I doubt I’ll find a setlist for either set, but perhaps the site that had a live report for the Patron gig at Supersonic (as well as a more recent interview with Patron) will have one for this one too. Yep, they took nearly two weeks, but the report is here.
So, this was supposed to be a ‘free hit’ for me as far as reviewing goes. No expectations, I booked this one because Walter and Ale suggested it, they’d seen Patron (with the accent on the o like the Tequila brand) at Supersonic in February, and I’d read a good review of that concert. A very very superficial listen at some of AJ’s music before booking also suggested I could enjoy the headline too.
I’ve had a tough week for a lot of reasons, but the pertinent one ahead of this one was a bad cold/flu caught in Athens, that seemed to just be starting to heal a day or two before this gig. Three bands on the menu, and a slightly panicked Ale suggested we should meet at 7.15pm at Petit Bain. A more laid back Walter had suggested to meet inside then, but I aimed for that time. Unfortunately, an unwell passenger on Line 2 meant Ale had to walk to Nation before catching Line 6, so I called him on arrival and decided, on seeing doors still not open, but barely any queue, to go for a short walk to the next bridge (Tolbiac) and back. Only to find…Walter in the still fairly small queue when I got back. Doors opened pretty much at the planned 7.30pm so we were quickly in, joined not long after by Alessandro after we’d just ordered our beers. Not such an early start for the first band after all. Lots of friends and other people from Life for Paris (including JC), some I knew, some I’d never met, joined for this gig, and the opening band, Tarah Who? started at 8pm sharp. A very rock’n’roll woman guitarist, along with another woman guitarist, a male bass player, drummer, and another guy on knobs and extra drums (keyboard? It looked like it but I never heard any keyboard). They are an American band, apparently, from LA. But the singer speaks perfect French and is at least half-French in fact, guitarist is French, bass player, Irish, etc. Anyway, the music is very much straightforward Rock’n’Roll. As Ale put it, sometimes a little too much like pure metal stuff, not much on the melodic side. Their album had been pronounced by Alain Johannes (a theme tonight, this evening’s event might as well have been named Alain Johannes and friends), a guest chanteuse is on for two or three songs (Laura, ‘tout le monde connaît Laura?’ er, no), adding even more sass. It’s good rock’n’roll, lets itself be danced to, though there isn’t quite enough moshing to the band’s taste and in fact, compared to what the music would suggest, the crowds are relatively sedate, but it’s not the band’s fault. So yeah, I’d never buy their music, I’d never go out of my way to see them again, but it’s not bad at all. Surprisingly, the set lasts a whole 45min, which alreadly lets me think this one is not going to end early tonight. Unfortunately, it’s evident early enough that I haven’t recovered well yet, and I decide on no further beer, while my attention even for the rest of the evening fluctuates. The pace means there is not very much time to chat between bands, just about a 15 min break and Patron are on already, starting their set at 9.05pm.
Now, I think most people here came for Patron, and immediately it sounds different, quite next level. I mentioned the Tequila brand, and the singer indeed (fully French this time, but having lived abroad a lot, I saw these ALSO categorised as an American band…) looks like some sort of Mexican general. While the music is a little more varied, and the musicians quite tight, it is probably the singer’s voice that makes a difference. A deep but fairly clean voice (think Mark Lanegan register, but without the smoke-induced croak), the tones and sometimes attitude of a crooner. It’s four tet, all male these times, all impeccably dressed in black, though with various hair dispositions. The bass player wears a hat and a clearly Nick-Oliveri-inspired beard, the guitarist is more like Kevin Smith, while the drummer, slightly bearded, has his hair in a bun, mostly. Very very impressive drummer by the way. They only have one album, released all of four years ago (COVID got in the way….), but there’s some good songs there (Who Do You Dance For? Leave It All Behind), before one of them, the singer reminds us that Joey Castillo and indeed Nick Oliveri played on the studio version, also an excuse to introduce his live musicians, and also the guitarist Aurélien (‘but he played on that song on the record anyway already’, yeah they all have French names, guess it’s because they are all French), before launching into a song that actually sounds even more like QoTSA than their other ones. They finish by a new one (unreleased yet but they hope to release it soon, and obviously, like the album, for Alain Johannes to produce it), that is pretty good too, and the set ends a bit abruptly like that after, once more, just over 45 minutes. But the singer does say they were looking forward to playing with AJ later.
Another fairly short break and Alain Johannes (who was on stage at the and of the TW set when they invited him to take a group picture) comes on to start his set at about ten past ten or something. Just him, sitting dow, with a strange instrument I can’t quite see, which turns out to be some kind of strange custom 8-string guitar made out of a cigar box. And so he plays a few songs on that, just a very acoustic set, quite nice and interesting. Unfortunately, where we are (just behind the mixing desk, but to the right when looking at the stage), or rather to our left and just behind, there is a constant chatter. People don’t even stop while he’s playing and this is quite irritating. Having thought of it, I suspect they also don’t stop when the music is loud, but then you can’t hear them so it’s less of a problem when you are not just next to them. Don’t think it’s a sold out show by the way, the room is quite full, but the density of people doesn’t seem too big. Age average is possibly er, older than me, it’s a fairly old crowd (though at some point during the TW set, a child – wearing serious headgear protection for his ears – was invited onto the stage, something both Walter and I feel very uncertain about). Sometimes there’s some shouts of this or that in a very French way that annoys me too ‘oh yeaaaaah’ (it’s not a Johnny gig, is it?). Anyway, there’s a change of guitar but still a few acoustic and nice songs being played (including something not from his forthcoming EP or his Spark album – that seems to be where most of the early tunes come from – a song from the late Chris Cornell (I don’t know Soundgarden enough to know if it is just from CC or as the leader of the band, I have the references but not the knowledge), before he invites on stage the Patron band (and that is Patron minus the singer/guitarist, who was seen behind the stage all along, I expect he might have come on a few tunes later) for a more electric set, while he still sits playing his guitar parts. As the clock is ticking and with no Line 6 after 10pm anyway, I decided that unless he announces that there is one or two songs left at some point, or unless the music really gets me, I’d leave in maybe four songs or 11pm, whatever came first. So I only witnessed about three of these electric songs in the end. They’re not bad really, but it’s not completely my genre, and unlike the acoustic set that preceded it, I find the whole thing extremely uninteresting. Yeah, stoner rock, if you like Queens Of The Stone Age, etc, you will probably like it, but I can easily live without. I mean, I know, AJ is entirely from this environment like the whole of the bands tonight, and has collaborated with QoTSA, Mark Lanegan, been part of the Desert Sessions, etc. (and also Eagles of Death Metal, which I’m guessing where the whole musical connection with the people who were at the Bataclan and are part of LfP comes from), but while it can be enjoyable to witness if you know the songs, here, for me, and particularly in my state, it adds nothing to my live experience, brings no particular enjoyment, and I’m way too shattered to even vaguely appreciate it, while I can recognise the music being good. So I say goodbye to Ale and Walter and make a swift exit, just seeing ‘Laura’ and friends on the stairs while leave, but way too down to congratulate or greet anyone for a gig I wasn’t that overly enthusiastic about anyway. Walk to Bercy in the rain to catch Line 14, not too long a wait, and then not too bad a connection at Châtelet too. I mean, sure, the RER was supposed to be there in one minute and that next became five minutes, but it was still a true St-Rémy one (on the display were only Robinson and St-R, so I suspect some of the St Rs were omnibus), and I got home at about 23.40, not tooo bad given the circumstances. If I’d had the choice again, I might have opted out of that one, but then I didn’t know Athens would turn out to be a disaster in more ways than one, and still it was good to see Ale and Walter for the first time in a while, and the Patron set was fairly good all told.
High School, 3/5/2024, PopUp!
Doubt I’ll find a review for this, or the setlist on the setlist site, but fear not, as I took a photo of the setlist anyway.
One I was looking forward to, kind of band/music I can fully get onboard with, sort of retro New Order-ish/Cure-ish, slightly Smiths-ish even on one song, but more engaging than the far too cold Nation of Language. Sort of awkwardly placed before an early Arsenal kick-off the next day, so I’d resolved not to drink. Got into the Pop-Up slightly later than planned (stuff to finish and unlucky train/connections timings), so at about 10 to 9, but the support, Sunken, were still playing. And played for another twenty or so minutes, so I can’t have missed much. Decent rock’n’roll, singer/bassist possibly slightly inspired by Alison Shaw (funny as Cranes is my next gig), couple of guitarists (one who looks like a cross between James Skelly and….Sebastien Loeb), not bad at all, though there’s at least one song that’s a bit too atunal and really aimlessly meanders. Wouldn’t go see them back in a rush or check their recorded output, but as a warm-up they will do nicely. Bit surprised to see some random guys (population young-ish today, but that’s the Popup anyway) saying they wondered why it wasn’t HighSchool supporting Sunken, and really, I couldn’t see it, especially not at the end. Anyway, yeah, so when I got in, got a pretty crap view obviously, and wondered if I’d get a better spot in the interval as the support weren’t French, but in fact I did. Just a couple of oldies to my left not really blocking my view. A short girl sneaked in front, which was fine, but then she signified to her not very short boyfriend to come over and join her and it wasn’t so fine. Seemed like a bit of a wanker too, but then later I figured they were both twats anyway. At some point they gestured to a third person to come over too, but whoever she or he was, and whatever height, I’ll never know as that person had the decency to not bother others. Anyway, in the end, despite pissing me off initially, it didn’t really hamper my enjoyment, and when the guy gradually moved a little sideways, it didn’t too much affect my view (I dit take a couple of vids and photos this time, still had to avoid him and couldn’t film the guitarist on the right, or the bass player much, but it wasn’t a bit deal).
To the gig. Starting at about 9.35pm. No drummer (all drum parts were pre-recorded), one gigantic bass player who looked a bit like Jens Lehmann, a girl on keyboards, a guitarist with a cap, and the main singer/guitarist right in front of me. They start with one of their single Only a Dream, followed by the leading track from their new Accelerator EP : 19 August, and I’m enjoying this a lot, really great hypnotic music. Not an evening for epileptics, smoke machines and strobe lights are much in use tonight. In fact, they play all but one of the tracks from that EP in order, but that means a couple of inferior (in my opinion) tracks, as Doesn’t Matter and Heaven’s Gate are played, and they are more like random OK rock’n’roll, without the pulse and driving bass of most of their other tunes. It’s kind of worrying for what comes next in their discography, but as far as tonight’s gig is concerned, it’s only a short side-step, as the rather excellent Mondo Cane that concluded the EP is being played, followed by the very New-Orderish Forever At Last from their debut EP of the same name. The rest of the set is taken mostly from that EP, which means more excellent tunes like Frosting and the superb De Facto (Jerry’s maybe more to file next to the two inferior ones from earlier, but somehow it goes easier). Seems like I might have been missing a tune or two from their small discography (not sure where I can get them), but the rest of the set is very much hypnotic. One noticeable and weird thing is practically before every song, the singer asks for ‘more drums/less drums’, ‘more reverb/less reverb’ in his monitor. Mostly less reverb though, not sure if it’s because the instructions are not going through or if he’s just being annoying, he does keep apologising but it feels weird. Only before the last song of the main set (My Pal, a GOD (me neither) cover, coming just after the Smiths-sounding New York, Paris and London) doesn’t he ask. As ever with the Pop-up, it’s difficult to get off the stage and come back, especially when there’s four people on stage, so they just stay on to deliberate what or if to play an encore. Given the demand, it was never in doubt, the singer explain ‘we won’t play Talk [another I don’t know anyway, so maybe I heard that wrong], it’s too hard’, he asks once more for less reverb and does a little microphone test to check it, and they play another tune, the first and only when the lead singer does not wear his guitar, the very nice Sirens from their first EP. So yeah, they played pretty much all the songs apart from Colt unfortunately, and a couple I didn’t know. Mind you, one was a cover, and the other is unreleased.
I took a photo of the Setlist off a nice old guy with a Cure shirt, though I had no idea whether I should ask him in French or English, so safely opted for the latter), All over by 10.30pm, a quick bow and thanks to them while walking quickly past the merch stand, decent connections on the way back and I was home at about 11.15pm with enough time to sleep before a great day at the Arsenal on the Saturday. A good gig, and I hope to see them soon again, if they stay this side of the world or come back to it soon. It’s one that works well on record and brings some magic live too.
Cranes, 11/5/2024, Islington Assembly Hall, London
Not sure I’ll find an external review, but at least the setlist is available.
On an unusually warm weekend (first of the year, and a few days later, weather is back to crap) on both sides of the Channel, a leisurely afternoon Eurostar took me to London. I had booked this a long time ago, a rare opprortunity to see one of my favourite bands, and with an odd timing, that meant another weekend partly spent in London in the middle of two others. Everything kind of easy and convenient, a Saturday (though I was on holidays anyway) meant expensive hotels even looking far in advance (as I only found out much after booking, that was because it was a long Bank Holiday weekend in France –Paid for that in the return ticket price too, so despite early organisation, this turned out to be an expensive trip!), and in Islington, so I just stayed in my usual Arsenal hotel, it’s only about 3km to walk from there. In fact, I did pop into the Arsenal shop after checking in, as I had to buy a spare pair of running shorts, and a new keyring to replace the one lost in Athens.
Anyway, warm but maybe not so much at night, so just a jumper on top of the light T-shirt was my attire for the night. Had no idea about how the support sounded, but I didn’t have much to do anyway, so got into the venue before 7.30pm (doors were at 7pm, support was meant to come on at 7.50pm according to the venue’s site, but the reality was more conventional), while it was still fairly empty. A few Cure T-shirts were naturally spotted (I decided not to wear one, as while there is no doubt that The Cure got me into Cranes, I felt that would be a little reductive). Decided to have a quick pint and settled down pretty near the front. There were rotating red spots being projected in the background and on the floor, and for some reason, when watching them down, it made me feel a bit queasy, so I tried to look up. I did consider a second as support timing was easy and I’d not even lost my spot, but decided to be reasonable in view of the return journey and the Man U vs Arsenal match the next day. When I booked my Eurostar, I didn’t know what time that would kick-off, but I’d anticipated it would probably the usual late afternoon slot and as I had a gig in Paris in the evening, I booked an early Eurostar to allow me to watch the match in Paris. Without a gig, I’d probably have tried to watch it in London, but that was not possible. So couldn’t have a lie-in, and in the end, the match was scheduled as I expected it to be anyway. But I digress.
So, the support started at 8pm. Deary. Very young bass player taking centre-stage (again one of these odd things, as without a microphone and no big presence even this time), older guitarist on the left (with a mike), usual drummer at the back, and the chanteuse/guitar player on the right. The music was pleasant enough, I thought the singer sounded a lot like the one from Melys (though the music was maybe more on the atmosperic side, I’d seen them described at shoegaze, there’s definitely a lot of that), although when she spoke between songs, she had such a light voice, it was more Alison Shaw-like than Alison’s herself. And barely audible. The second song was probably their best, with the bass player on the keyboard (which felt slightly odd as there was a clicking tracks on many songs with keyboard parts anyway), and sounding very very much like Slowdive. Their half-hour slot went by nicely, though didn’t really include many remarkable moments. The guitarist at some point said ‘are you looking forward to Cranes?’ which only got a muted reaction, and so looked really puzzled with a ‘wtf?’ look on his face and repeated the question to an only slightly more enthusiastic reaction. Bizarre? Maybe. Or just an age thing, of course the audience was not on the young side (though there were a few younger people who wouldn’t have been around when Cranes supported The Cure, at least the first time), and also that Cranes are a band that probably call from introverted devotion rather than hysterical fanaticism. And as Deary themselves were on the mellow side, you know… anyway, not much talk between the songs, only the announcement of a new song, and saying they had a few things on their merch stand. One thing I had noticed but didn’t overly worry about at the time as it’s not uncommon to have a big difference between support and main act, was that the sound quality was rather poor. More on that later, sadly.
So we had had half an hour of anticipation waiting for Cranes to come on, with musicians from the first band clearing their gear, while Cranes set up theirs, with the help of one roady, and of the guy who was manning the mixing desk on his own and seemed a bit confused when trying to plug in one cable in an amp (he did get it wrong, as a guitarist pointed out when checking the set-up). Jim (with flat cap), Mark (still recognisable despite shorter hair and glasses) and Paul (didn’t realise who he was, I guess he must have only been touring member at the time of Loved and a bit after, because I never saw him in the credits – but that explains why I couldn’t recognise Matt Cope as he had not indeed ever rejoined after he left before Population 4, whatever happened to him) set-up their own gears, while Alison stayed backstage.
At about 9pm, the light was dimmed and the musicians came back on stage to the backing soundtrack of Cloudless from Forever. A delicate start, with Alison joining the stage a few moments later. Good quiet start, I didn’t feel the sound was great, but at this stage, it didn’t seem catastrophical. The beautiful Rêverie from Loved followed, before we hit a couple of less melodic tracks (Pale Blue Sky and Loved from the same album, that sounded less instantly recognisable with maybe a little different guitar riff or mixing). And then, the horror hit where a highlight should have been with the fantastic Everywhere. Whether it was the set-up, the mixing or the equipment in the venue itself, the low frequencies were absolutely intolerable. They were not a live bass sound there, coming from Mark’s laptop (a certain amount of the music did) and it killed every other sound, while being unpleasant in itself. I sampled a video from another punter since on YouTube, from the balcony, and I think it didn’t sound as bad as I’m saying, but whether things sounded different up there, or it’s just a trick from the phone/camera or poster, I’ll never know, but there was definitely something wrong, and Alison seemed to have a small word with the mixing guy at the end of Everywhere, and things looked to improve a bit after, at least for a while. The haunting Golden went by without a glitch before Clear and Lilies (very wonderfully sung/spoken) upped the ante. Bit of larsen here and there suggested the sound issues were not completely resolved, but while not completely clear, some of the low frequencies seem to go through a little better, maybe lower in volume. The ever popular Jewel got a great reception, and when the normally beautiful Far Away started with its characteristic keyboard line, it felt like a treat. Except, as for Everywhere (same instrumental configuration with computer-generated extremely low frequency ‘bass’ sounds), the low end of the spectrum destroyed everything again, only slightly less that for Everywhere. The natural follow-up of Adrift sounded perfect though, being more heavily guitar-based. A great track, and…that was the end of the main set. It’s a good set-closer, but I was a bit shocked that it was all over after about 50 minutes. Sure I’d have known if I’d checked previous setlists (but I never want to) rather than thinking the ’11pm music curfew’ indication on the Islington Assembly Hall website meant anything, bit given their repertoire it felt a bit short. I mean, I get that they only recently reformed and that this set consisted of tracks only from Forever and Loved (I guess Jim being only behind the drums could have been an indication that there would be nothing from Population 4, and the lesser albums made without Mark where all a lot more quiet and it was unlikely they’d play anything from them), but somehow, there maybe could have been more older track.
Anyway, yes, of course there was going to be an encore, and somehow it turned out to be probably the best part of the show. Whether more knobs and buttons were tweaked during the break, I don’t know, but the sound felt perfect then for older tunes only. Starting with an excellent rendition of Fuse (the version from Self Non-Self, not from the Fuse cassette), followed by an equally impressive Dada 331 (from the Inescapable EP), complete with lyrics in the screen projections at the back, and finally the powerful Sixth Of May from Wings of Joy (at last!). Just a few days after the actual date, reminding me that once that song popped randomly into my head before I checked that were were actually the sixth of May a few years ago. Weird.
Pleasantly, there was a second encore, another electric moment with Starblood, with Mark giving it is all. Great way to conclude, even if I would maybe have loved something dreamier to finish, like Adoration. Mind you, with what happened earlier, it probably would have been destroyed by low frequencies again, so perhaps it was for the best. All over by ten past 10pm. Early enough for me to walk back rather than consider a bus, and be in bed early enough to not be too tired the next day even when waking up early and not sleeping so well.
All in all, this was a gig that I had really been looking forward to but that left be a little frustrated while wanting for more. Despite a performance dogged by sound problems, I was hoping for a longer gig and perhaps a few more personal favourites (even from Loved or Wings of Joy), but it was great to see them live again, and the encore completely rescued the overall impression.
Still Corners, 12/5/2024, Café de la Danse
I was hoping for SOV to have a review, but it might not happen. We”ll see, but at least they’ve got photos now. SOV review has arrived, eventually. No setlist available (well there is now from that review), however, the setlist from the gig just before and just after (oddly the Paris gig was sandwiched between two gigs in The Neterlands) were identical, and combined with my own recollections, I’d say we were probably also treated to the exact same.
Two gigs in two days in two different countries. Could have been more, though I wisely refrained from booking PVRIS on the Friday at Trabendo (on account of having seen them at a smaller venue, a gig I liked and was in a difficult month, but not being utterly convinced by the following album), or Miranda Sex Garden on the Monday (would have been a new venue for me, L’International now reopened). Still, early (ish, 10.30am) Eurostar back from London, Business Class due to the smaller difference in price, meaning Champagne and Wine, so I got back home already slightly tipsy but happy before heading to the pub for the Man U v Arsenal match with Alessandro and Ben. A reasonably paced session in a bar near the venue, so I was well set but not over the top for Still Corners. Arsenal won a relatively tense match, so the mood was good. Benoît was going to this one, so I joined him just before 8pm at the venue, the timing with the match was just perfect. No extra drink needed and perfect timing. It was the end of a relatively hot weekend (but a very heavily rainy afternoon), so wisely chose to wear just a T-shirt and a very light rain jacket. Support came in at 8pm. Neither of us had any idea what it would be. The name ‘Portland’ didn’t indicate much, so it was a bit of a suprise when a bloke in a red T-shirt and a (sort of perm) with just a guitar turned up and straight away announced he was from Belgium and couldn’t speak very good French and so apologised. As it is, like a lot of flemish Belgians, he spoke very good French. Sure occasionally he was missing the words, and his accent wasn’t perfect, but definitely not something to apologise about, and so he spoke French for the whole of his show (but sang in English). He was playing one of the most beautiful Stratocasters too, sort of Jackson Pollock-style painting on the top (you could see it WAS painted with the perspective), red pick-ups and knobs. Anyway, the music? Mostly acousticy (yes it was an electric guitar) folk-ish balladry, very pleasant and he had a great voice. He mentioned his love of Dylan before putting on a harmonica-on- braces (no idea what the correct term is, but you know what I mean) and playing a cover of the master. There was another song he said he had played on Belgium telly and he was relatively famous for (though he also mentions he normally played with a band, I’m guessing today was a kind of low-budget addition to the schedule, perhaps explaining the weird Netherlands-sandwich, though Portland wasn’t part of the other show though). So yeah, a fairly lovely half-hour of music, though not quite the sort that makes you want for more. Benoît interestingly commented about not knowing what to make of it, as he wasn’t sure what was the difference between that and a bloke doing a set in a pub or something (taking his experience in Ireland as an example). I suggested maybe the voice and also contacts, because yes, he definitely made a good point there.
This solo show meant preparing the stage for Still Corners wouldn’t be too much work. Also the room was in an unusual configuration, with the merch stand upstairs rather than at the entrance, and the sitting stand being pushed back a bit, with some of the stair access from the standing area not enabled. It didn’t make the pit look much bigger though. Place was sold out, but the density of people wasn’t too high. Various ages, sexes and colours, a very healthy mix of people. While the music only lends itself to gentle swaying mostly, there were still a bloke or two seemingly and weirdly intent on moving a lot (nearly wondered if they would start moshing at some point), which made Benoît want to punch them at some point. Luckily and without even trying , I was dragged slightly more to the centre, which made me avoid that sort of annoyance. There was some mini aggro near the end of the set my way too, when an older bloke with his lady in tow pushed his way to the front, barely apologising and triggering an angry reaction from another guy. If I’m pushing the characterisation to the extreme, it felt a bit like dickhead vs psycho, but thankfully, and probably helped by the nature of the music, things calmed down quickly and they all settled down (probably a good thing ‘psycho’ had his girlfriend with him and wasn’t a real psycho :-)). Anyway, those were asides from different moments of the gigs, so let’s talk a little more about the stage now.
Usual start at about 9pm, eerie music, Greg and Tessa take to the stage with a drummer (who’d been seen setting up his kit just before, without the hat he was now wearing), and Strange Pleasures (so not a track from the new alb um!) started proceedings. The music is lovely, dreamy and clean, and Tessa fends herself with a little ‘Merci’ at the end of that before a song from the new album is played, the beautiful Secret World. Now what follows really is all about the atmosphere. You could easily argue that every song sounds a bit the same and there is not enough variety, but we all float along with time suspended and you can still recognise some of the songs very well. It’s all illustrated with visuals in the background, some of it from Provence, as Tessa at some point mentions (in English, she does say she’d have to speak English so that she can make sense) they had recorder the new album partly near Marseille and how it was magical to just have these views of Provence while recording Today is the Day), and that they were sorry to only be playing one date in France, having not played here for two years (missed their show in, I think, La Maroquinerie, last time, possibly as I wasn’t sure then and it may have sold out quickly). So yes, we were privileged there. She was all smiles, had to ditch her jacket at some point while Greg soldiered on suited and booted (with tie) during the whole show. How he managed to perform and stay composed in this heat (it was hot in the pit despite not much movement, so I can only being to imagine how hot it must have been under the spotlights on stage), thanked Portland at some point, remarking they were meant to play together a long time ago so it was good they could today. There is not so much to say about the music, as I said, it can sound a little samey and they could have played a whole hour with each song segueing into another and improvised bits, yet there were some highlights (The Dream from the new album is one), culminating possibly in the superb White Sands from Last Exit followed by the wonderful Midnight Drive off Strange pleasures, followed by something I briefly thought was Mystery Road until I realised it wasn’t (Static off the same album instead). At various points, I thought to myself how perfectly they would have fitted peforming a number at The Roadhouse in Twin Peaks season 3, but I guess it might have been difficult to accomodate both them and Chromatics, but they are that sort of Dream Pop music. In an odd way too, I felt (and in fact this goes with the same line of thought) that I wasn’t sure about a concert in a normal venue from them, that I’d rather have them play at my house, or in a place where the focus would not have been permanently on the stage, so more a place like, yes, the Roadhouse indeed. It felt like they didn’t need a vocal crowd. But what can you say, the music is truly beautiful, and while some of it, again, is ‘on tape’ (rhythmic guitar, bass parts), there is no doubt that the ‘live’ experience (again as in ‘what we hear from the stage’ rather than ‘being in a venue in a crowded room’ which I think is a sort of hindrance there) enhances their music further. Greg only plays one instrument, a sober and perfect Ivory Strat, and it fits perfectly. The sound is crisp and clear, whether he soloes, arpeggiates delicately or play isolated notes. It is absolutely perfect, and while he seems so serious he doesn’t crack a single smile until just before the last song of the main set (when Tessa said ‘you’re such a wonderful audience, you’re engaged but in a very polite way, which as a Brit I love!’ which was such a lovely thing to say), you can’t fault his performance. And he looks a bit like Chris Isaak. Well he probably doesn’t, I don’t really know/remember what CI looks like, but that’s the way I imagine him, same kind of haircut, and a very cool on-stage demeanour. Tessa’s yet another slightly shy unassuming voice when speaking between songs (with a lovely English accent) and her singing is just perfect and beautiful. The Trip concludes the main set (with a twist as there is a small break in the middle of the song when we’re all enjoined to put our hands in the air before the final part of the song), and there is time for a vigorously demanded encore. Greg takes photos of the audience (same thing Cranes had done last night actually, but it’s not so rare anyway) and Tessa asks us to all do this ‘woohohoho-ho’ which I normally don’t like but doesn’t irritate me there actually, while Greg takes a sweeping video from the stage. Tessa then announces they’re going to play her favourite from the new album (it’s not my favourite but it’s still lovely), and The Ship closes proceedings. And so it finishes, sweet and lovely juste before 10.30pm and I hadn’t seen time go. A nice conclusion to a very pleasant weekend.
Mitski, 18/5/2024, Le Grand Rex
We’ll see if photos or reviews emerge (I wrote this in the morning in the Eurostar lounge then train), I see the setlist from the night before is available, guessing yesterday’s will appear soon, though I don’t expect it to be much different, doesn’t feel like a show that has any scope for improvisation or variation. And indeed.
Kind of a no pressure gig, the only pressure being having to wake up early-ish (for a Sunday) to go to London the next day, so hoping for not a late finish and smooth transport.
Booked that early, not sure why, a leftover from 2022, an opportunity as her show the previous day was quickly sold out, I think this one too, I can’t remember but I think I got that very early in the waiting list. And sitting, which turned out to be the best option in fact.
Support were Iceage which I’d heard good things about, and had had a cursory listen at ages ago when their last album was released. Not sufficiently impressed to buy it at the time, mind. So I decided to get in at about 7.30pm for an 8.05pm scheduled start. Obviously no point in arriving early for a sitting ticket. So no queue, got in and stepped up to the first floor where an ‘ouvreuse’ placed me in my seat, in the last row of the mezzanine. Decent view still. I don’t quite get though how, in 2024, post-pandemic and when hardly anyone has cash on them, they earn their corn only on tips. I had no change (bit of an oversight, I should have remembered from the Mogwai gig at Pleyel, I have some at home) and wasn’t the only one, and really it’s silly and I’m not sure how it works: are they hired as volunteers?
Anyway, the bell rang and Iceage started at 8pm sharp in fact. At this point, the stage was totally split in two so they took place on the left side (as viewed from my seat) and started their half-hour set, that included a couple of new songs. One singer, one drummer, two guitarists and one bass player. The sound was very good, I was particularly impressed by the bass sound this time (pleasant contrast with a week ago), clear and precise. The music in itself? Ok, rather rocking, but sounding not much different from so many bands from the first decade of this century or beyond, a touch of Libs/Paddingtons/Primal Scream (something of Bobby G in the singer’s ways?). Pretty good live but not enough to get me really interested. Still, they got a pretty good reception, which surprised me as they were really a world apart from Mitski I’d say. I wondered if there was some moshing in the pit for the most obvious bits, but I suspect not, and I couldn’t see any of the pit from my seat at the back. But, as I figured, maybe there was an element of familiarity in the audience, with them having supported the night before already, and presumably the rest of the tour too. Not much intersong speak either, the singer has some moves, but they’re hardly a live revelation either.
Stage being rearranged after, still with the two parts and the big draped cylinder in the middle, a few instruments being tested, and, semi-worryingly, some jazz music being played in the interlude. Which did turn out to be a bit of a portent for the music that was to come, unfortunately, but not outrageously so.
The good thing about being not that familiar with the music (I only have her last two albums and one big favourite song, with another I like, all from the penultimate album, but while the last one was OK and nice, it didn’t move me – so maybe that was the last gig I booked based on pretty much a single song…and reputation) is I didn’t have high or low expectations and was zen about it all.
The seven musicians took place on stage shortly after 9.05pm, four on the left, three on the right, started playing before Mitski arrived under a bright spotlight to raucous semi-hysterical but pleasantly not irritating acclaim.
After that, well I don’t have that much to say really. I recognised a few of the songs from the new album certainly, without being able to name most of them, and the music in itself was a bit one-paced, with only perhaps a couple of slightly more upbeat tunes. Most was kind of country/slightly jazz-y, not that much to my taste though never unpleasant. But it’s not what this was about. I quickly got round to the idea that this was actually a great show, not my usual gig. First, after appearing on the stage she quickly went behind the red curtain, with a different lighting, which made the whole thing appear white with just her as a shadow singing behind the curtain for the first song, with some effects when climbing up/down a step, until the curtain was suddenly raised to reveal her bathed in extremely bright white light at the end of that first song. And that’s the sort of things this was all about. All very cabaret (well I’ve never been to a cabaret though I have seen the film), the band playing and her mostly on that podium (a stage within the stage, round-shaped and prominent), dancing and singing. And she was doing both well and impressively. Aftet the first song or two, she spoke to the ‘Millenials’ in the crowd (had to look up the exact definition after, and that meant she was talking to, er, most of the older part of her audience (but not as old as me), because I think a very significant and bigger part the people in here were of a later generation) and launched into a Britney Spears lyrics related anecdote (f.u.c.k.ing not seeking), and I wondered if we’d be treated to a lot of interaction. As it is, this turned out to be the last one for a while. Not even a thanks between songs (that were perfectly tied together or any reaction to the regular silly ‘we love you/je t’aime Mitski’). It was all extremely professional and, one suspects, not at all improvised, so lacking spontaneity. The props man coming in and put with mic stand and chairs was always perfectly organised. But it was a great show. Highlights included a well-choreographed dance with a cone of light, and some kind of bright Calder’s mobile coming down from the ceiling, that she sent back up piece by piece graciously during the next song.
She allowed herself a break at some point for a thanks and mentioned she recognised some of the faces from other shows in the past and also from yesterday (could she really see them? not even sure, but it was a factual certainty anyway, so not much risk of lying). She introduced all her musicians (and herself) before the last few songs of the main set. I figured my favourite would not be played and felt it was Ok, as it wouldn’t fit the musical vibe of the evening, maybe it would come in the encore? There starts another country-like number and….when she starts singing, yes it IS Love Me More. Just in a different vibe, that doesn’t suit it. It brings to mind Mike Flower Pops. Not that horrible or exactly in that style (for all I remember their sound), but in the way to massacre a classic by giving it a lounge flavour. It just sounds like a country/jazz/swing ballad and completely lacks the urgency of the original that drew me to it. Sure, it’s completely in keeping with tonights mood, but I’d rather it had not been played at all…No Only Heartbreaker was mutilated though, so small mercies. Oh well. One more song and it’s the end of the main set a little before 10.30pm.
There IS an encore, a goodbye (‘I love you all, I relly mean it’), two songs. Older songs I think, as a lot of the audience seems to be singing along (during the main show, I think older songs got the better reception, well I don’t know any of them, but just judging from audience reactions), and they sound a lot better musically, freed from the shackles of the lounge vibe of earlier, more enjoyable and unaldurated pop, enjoyable music.
Swift exit, decent/lucky connections and I was home by 11.20pm.
Would I go again? Probably not. Do I regret going? Absolutely not, it WAS a great show, just not a music gig. Also, I reckong I was lucky with my seat: not too much screaming around me, and nobody behind to murder my ears. I suspect I’d have hated this evening if I’d been in the moshpit, but as it is, I very much enjoyed the show from my comfy seat.
Belle and Sebastian, 28/5/2024, Salle Pleyel
I suspect there might be a SOV or other review available at some point, but in the meantime, Robert Gil has the photos, and the setlist is here. Suspicions were of course well-founded, the review is here.
Now this was always going to be an interesting one, and I had a good feeling about this. You could argue that I came ‘unprepared’, but it was just right. While many people were seasoned B&S listeners or gig goers, I’d come to B&S relatively late. I was always kind of aware of them, but for a reason or another, I had never truly got into them or listened to them much. I got reacquainted to them a bit with the 5 albums series, and the release of the latest two albums over the last couple of years, which I found pretty good and with a couple of true highlights/gems.
In the morning, I woke up feeling not too great and thinking this might not be the ideal day for a gig. Back from work reasonably early though, I tried to find about the support band but they seemed to have only one single directly available, it sounded a little too much….like B&S to be truly interesting, I thought. So I figured maybe going for 8.30 or thereabout and missing most of that support would not be an issue. Just before leaving, I wisely decided to shed the contact lenses and put my glasses on, as I was struggling with allergy and itchy eyes, and had thankfully more or less fixed my spectacles the day before. With no risk of moshing, I thought I’d be safe from the lens dropping. Very good choice it turned out to be, allowing me to not stress about my eyes. As it is, as I had nothing better to do, and with transport running fine, I found myself in the pit at Salle Pleyel just after 8 o’clock, so only during the support’s first song. Decent spot as well. They sing all in English, but I’d read they were French. Alva Starr. Odd name. And well, they sounded pretty good to my ears, very much like Scottish pop, but probably more Teenage Fanclub than Belle and Sebastian really. They had singer (Lonnie? come and duet with one of the guys – Olivier, main keyboardist) on their ‘penultimate’ song, lots of nice guitars, a little bass, keyboard, steady drumming and plenty of harmonies, they all had a mic and could sing, not just the lead singer with the Indian look and name. The last but one song was that single I’d briefly heard, it was OK, but not their best song in my opinion. But then when they launched into their last song, it sounded very good. A relatively long song with a good progression, that was actually superb from start to finish. I may have misheard but I think ‘Tigermilk’ was even mentioned in the lyrics, aptly. The end of the song was equally enthralling, shame I have no idea of the name of that song and may never know, because I’d definitely get it. Just the standard half an hour set, maybe they didn’t invent anything, but it finished so well I was very very pleased not to have missed this. Quite a few people left or moved after this, meaning I was better positioned (could have gone even closer to the stage, but about 4 metres from it sounded good enough), before the stage was rearranged to welcome the main act.
And so at 9pm sharp, the lights dimmed, and the band came on stage, all 7 or 8 of them, I think. Just for a nice transition, they started with something from Tigermilk in fact, but while I will mostly refer to the setlist thanks to its availability, don’t ask me to be too specific about that just from memory. Because there were a lot of songs I didn’t know, some I knew but didn’t recognise as they were just good or very good but not the kind that marks me in isolation, and it didn’t matter at all. I had actually heard from someone who was in Bordeaux the night before that they played a rather balanced set, with not many songs from the two new albums (and so, it wasn’t particularly a tour to promote these in fact), and also the most represented album was The Life Pursuit, which is one, I probably knew the least about/had heard least from I’d say. But straight away the atmosphere was great, and while personally I felt I was still struggling a bit (mentally a little drained as mentioned earlier, but possibly physically too after an intense match of football midday), I could appreciate the quality of the music and mood on stage, and see the smiles around me. Stuart Murdoch gave us the welcome of the Scottish people, managed to speak a little clumsy French that was perfectly understandable, narrate an anecdote about Maupassant eating at the Eiffel Tower every day (because this way he couldn’t see the building he hated) but mentioning he was a horrible person after all, something he’d only learnt on the day. At some point he just went to sit on the edge of the stage, right in front of where I was, made a little joke about it being nice with no barrier between band and crowd, cracking a joke about it being like without a condom and picking on a girl’s reaction at the front before introducing a more quiet song written about his wife (preceded by another anecdote about him leaving her a present hidden in Montmartre). So yeah, the thing that was present all along was a lot of joy. Reclaim The Night, my favourite song from the last but one album, A bit of Previous, so it was a personal highlight, with Stuart on the piano, and Sarah only singing for this one. It probably felt a little different from the rest of the songs so far, a little more electronic, but while maybe there was a little less enthusiasm in the crowd initially, the post-song applause suggests it was still a tremendous success (I was fearful it wouldn’t be). I mean, it’s just great. What else can I say, the music was varied enough, a lot of harmonies again, Stevie Jackson inciting the crowds to clap a few times, and having his own lead singing on some, there was just a perfect harmony and balance between all the performers. The trumpetist, while a discreet stage presence, was an essential cog in some of the songs. Stevie announced a song from their ‘metal’ period (aka The Life Pursuit, of course it’s not metal, but yeah maybe more electric), their ‘Johnny Hallyday’ song ‘To Be Myself Completely’. That was followed by another one from the same album, before Stuart mentioned they wanted to do a Eurovision song but of course couldn’t because Scotland is not a country (of course the UK entry could be Scottish, but that’s not the point he was making). At this stage, my earlier slightly difficult mood was pretty much cleared, and I thought, only a few seconds before that speech, that if they’d play ‘Do You Follow’ from Late Developers, the surprise release from January last year (I’d initially written ‘this year’ but realised it couldn’t be, though it just confirmed how weird and empty this year has been so far), I’d be very happy, but that if they didn’t, then it was still a tremendous mood-turning gig that was going a long way to bringing happiness around. But I think I had that feeling, though the Eurovision was just a joke I think, not them actually submitting the song, and I had no actual idea what song they were referring to. But yes, as it is, it WAS Do You Follow, so that feeling was maybe a weird intuition (no I’m not sure I believe in that, but it’s a nice thought), and I was ecstatic. After that, I thought any pressure was off on the setlist (not that there was any to start with). It wasn’t long before Stuart invited people to get on stage to dance (no I would never have done it sober and on my own), and so a stream of people (maybe about 30 in total?) made their way to the stage as the band played The Boy With The Arab Strap, great and joyous. He went around asking a few people their name before settling for a group of girl and asking them if they would mime the actions for the next song, and so Judy (and the Dream of Horses) was performed with all these ‘guests’ (a couple of people from the support band were in that) still on stage dancing. They all went back in the room before a superb and again joyous Sleep Around The Clock was played to finish the main set. In the absence of big goodbyes, despite the clock nearing 10.30pm, I thought there would be an encore and indeed there was. Good spotters/people more aware of the name of songs, would have guessed from the picture projected at the back that the first song of that would be Fox in The Snow, and then they played ‘Lord Anthony’, which apparently they also played for the first time in Paris more than 25 years ago or something. It was a good encore, though it didn’t seem to reach all the heights of the main set, but there was time for one last song no doubt, Stuart announced they’d finish with a ‘party’ song, and they played ‘The Blues Are Still Blue’, which is kind of more direct/immediate rock’n’roll, pretty anthemic with an easy chorus to sing, a good way to finish, if not quite as perfect as the end of the main set. Being ultra fussy you could argue that the encore in Bordeaux was a little more appealing (especially as it featured Dylan In The Movies), but really it didn’t make a difference, this was very close to a perfect concert. In fact, one of the great things about them, is that there is enough variety in the setlists, and even a fair amount of improvisation and last minute choices, not only in selecting songs for the encore, but also changing during the main set, as the little nots on the setlist site, even just for Paris and Bordeaux, show. And that’s extremely rare, be it for new or experienced bands. In the main set, practically unheard of in fact.
In about 1h40min of concert, there was not one bad song, not one boring moment, just a glorious and happy performance, happiness on stage, happiness in the room. I had a good feeling about the gig, without truly knowing that many songs, and if I had had expectations, this probably exceeded them. I struggled at the start, just because of my own state (and sometimes I am reminded that enjoying gigs on my own is not always THAT easy), but they are one of those bands who totally turned me over. I had got a ticket relatively late, so glad it had not sold out quickly. Their previous gig the year before had been cancelled, even as I had dithered too long to get a ticket, and I’m so so glad I had got one for tonight. Even the transport back ended up being pretty easy with a perfect connection between RER A and B, and I was home just after 11.30pm. A good way to finish the merry month of May.
Baba Ali, Whitelands, TTSSFU, Library Card, Test Plan, Supersonic Club/Records/La Seine Café, 1/6/2024
There will definitely be photos and reviews from SOV as the ‘dream team’ I met at Talk Show was covering the event. Setlists? Not sure, maybe some, and there could be a few on the setlist site, but not sure I will check. Edit: TTSSFU and Baba Ali setlists are available. Nothing from the other bands. Photos galore now available (they even included Library Card on this, though not on their individual gigs photo sessions, despite not fulfilling the ‘British’ criterion). The SOV review is available at last, though not by the initially intended reporter. Indirect confirmation that I messed up the end and should have done Bad Bad Hats before Whitelands indeed.
This won’t be the usual gig review for this mini-festival, where I knew only a few of the bands, not that much of their oeuvre anyway. The Champions League final was the competition tonight, but since Arsenal went out, I wasn’t bothered about it. I’d have been in London otherwise. So from the initial bands I knew, I was going mostly for Baba Ali, though I do like the Whitelands album so that was a bonus, and TTSSFU sounded interesting to me, even if I only checked most of their tunes recently. Having plenty of time and feeling good, I thought I’d be bit organised, checked what the other bands sounded like on record before deciding on my precise attendance plan. A cursory listen in the morning told me that Library Card were likely to be good, and since they were the first band on the schedule, I set off to be at Supersonic at 5.50pm. Small RER issues meant I was about five minutes late, despite walking fast on the sections I could walk, so after collecting my wristband at La Seine Café, I went straight to the Supersonic (club), and the band had already started. I ordered a pint (knowing it was likely to be a long long day and I had to pace myself….which I didn’t entirely succeed in doing). Library Card are from Rotterdam, and what do they sound like? Hard to describe. A bit of Dry Cleaning, a bit of Francis of Delirium perhaps with a hint of English Teacher? Either way, the music was varied enough, and importantly, great, quiet moments and spoken bits alternating with furious riffs. I can’t tell the name of songs yet (I still have to buy their music, and definitely will – one issue with the festival like that is unless you are really minded to, you don’t really have time to stop at the merch stands), but there were one or two that particularly impressed me. All in all, a stellar performance, ones to watch and to see live again should the opportunity arise. Great start to the party!
While Laëtitia was having to move between venues to snap most bands, and so probably didn’t catch many full sets, Franck had arrived during the performance (a little gutted that he missed his favourite that was played first), so stayed for another beer while I made my way to Supersonic Records next door to check the end of Pale Puma. I’d marked them as possibly interesting. Two blokes on stage, one extremely tall one with a wonderful Rickenbacker cum vibrato, and the other one with a bass. Or possibly another guitar, I didn’t pay enough attention. There was a drum kit with no drummer. Obviously the stage there is very small (though more on that later), they didn’t bring a full band, and so there were many pre-recorded bits including the drums. But after Library Card, it felt a little too flat. The music is nice and decent, but it wasn’t easy to get into at this stage, and the frontman was hardly engaging. So despite having another IPA in me (but determined that I wouldn’t get another one for the next gig), I left just as they were playing their last song. I actually bumped into Baba Ali (both of them) who were entering the venue then so told the singer I was really looking forward to their set later. Oh yes, every band was scheduled to play 40 minutes, and that’s pretty much what they all did, though the timings were not all completely accurate as some sets started a few minutes late.
Next stop? La Seine Café. I’d never been there and made may way downstairs to a venue that is not completely unlike the popup in some ways. Very small, and the stage was basically just a big hole in the wall, but deep enough. A guy (who turned out to be the bass player) was just chatting to a woman there asking how the festival had been so far, lights went out and bathed in a deep red hue (well that’s the way all the photos and videos came out anyway), the band started playing. Now, I’d heard of them not long ago, heard they were good live, but I’d not got round to listening before that Saturday morning, and the first impression was that it was somehow akin to Talk Show and would probably be great live. While there was no moshing (due to the novelty? location? crowds?), this was an incredibly powerful and brutal set. Bar a small ‘break’ (actually not even a break as the rest of the musicians carried on unperturbed) to fix something when the bass just went silent, this was non-stop racket. A guitarist in transe, a demented drummer/lead singer who seemed to be the main man (and regularly asked ‘how are you doing, Supersonic?’, and a bassist possessed (and with a huge array of effect pedals) swinging his instrument in all sort of ways while pummelling the strings (and at some point he even made a little tour in the pit that felt completely bizarre rather than a mosh as per Talk Show earlier that year). Again, I can’t talk about this or that song, but wow! As we say in French: ‘la claque!’. As I was, once more, right in front of the stage at the end (a couple of people, not just photographers, had left before the end…why? how?), I could thank and congratulate the band before they/I left and told them how impressed I was. My ears were suffering after that though, still not fully recovered today.
Right, back to Supersonic records with a few minutes to spare to catch TTSSFU. On the way I bumped into most of the Library Card band members (but not the singer) so had a chance to thank and congratulate them too. They looked pretty chuffed! Time to spare (especially as they started five minutes late) meant I could order another pint before the band came on stage. Turns out a blonde girl I’d spotted hanging around in front of the venue was actually the singer this time. Dressed to please in a nice ‘France’ T-shirt. I caught up with Franck who had been at Test Plan but further back, so we could both agree how amazing they had been. TTSFU after that was always going to be a little bit of a come down, but as comedowns go, it was a very nice one, a lot more engaging than Pale Puma. Also the proof that you can fit four people with instruments on that tiny stage. Drummer at the back, one guitarist on the left, one bass player on the right (both wearing ties, and both somehow even managing to move with their instruments), and a singer, also with a guitar, a lovely heart-shaped red one. The music itself? Not sure how to describe it. Sometimes a little shoegazy, sometimes a little more rocking, the singer often seeming to dream away while singing, and she also made a little foray in the crowds, flirting with Franck along the way. All in all, a pretty enjoyable performance.
What next? Well the next couple of bands on the menu did not appeal to me so much, so I decided that I’d stick to my plan which was a short hop to the Black Sheep five minutes away by foot to have a pint with friends who were going to watch the Champions League final there. Tony and Walter were in situ, and Alessandro who was coming straight from the airport joined a few minutes later. So we got chatting while the match started, but at the end of my pint, I decided it was time to move on rather than risk another one, even if I had a few spare minutes.
So back to Supersonic Records I go, again time for another pint (by that time, any idea of being reasonable fell by the wayside). I think. I do not particularly remember that one pint I have to say. The weird thing with Baba Ali is they were probably the only band where I would have expected to recognise quite a few of the songs, and in the end, well, I’m not sure I did. But again, it didn’t matter at all. Another set with a small technical glitch quickly fixed after one or two songs, but a great and groovy performance. Just the one man with shades and a few electronic buttons to tweak, singing along and making cool moves while the other one (again with a tie) plays all the guitar bits and adds his own moves. Really cool stuff to dance and move to, possibly the only band today where I truly had expectations, and I was not let down. Another very enjoyable 40 minutes!
And then I didn’t stick to the plan. My initial plan was to catch the end of Bad Bad Hats at Guru (which is where Café de la Presse where I saw benefits last year used to be), as I thought they sounded nice and would keep the alternating of punchy/softer music going, and importantly would allow me to be back at Supersonic (Club) for the start of Whitelands. But as I was just drinking and chatting with Franck, I just went with him back to La Seine Café to see Texoprint instead. I don’t even remember checking their sound in the morning, and as it is, whether it was the alcohol or the unpreparedness, I don’t really remember much of that show. Think it sounded perfectly good and OK, but it didn’t quite move me (neither emotionally, not physically as most of the bands earlier), listening a bit of their music now, yeah, I can see why Franck would go there rather than Bad Bad Hats (who sound more like Soccer Mommy or something, and are also probably the ‘oldest’ band here, having been active for over ten years in America). I’d lost track of time as they weren’t part of my plan, so completely forgot that we could miss the start of Whitelands. I so much forgot that I offered Franck a drink, though I think we may have been drinking it en route or even at the Supersonic rather than stay down La Seine.
And so to Whitelands, the final gig, at the Supersonic Club. Late arrival meant staying mostly at the back, or rather, not at the front anyway. So I didn’t really get to enjoy the gig as much as I’d have liked perhaps. But all I can say is that they sounded big. It was probably the fuller-sounding band of the day. No rawness there, very much atmospheric shoegaze, grand really. I kind of wished I’d managed to completely stick to my plan rather than be led astray for Texoprint, to make everything perfect, but that didn’t make a big difference. Franck left before the end (to go home this time, presumably), there was no way I was going to stay for the 80s music club until 6am on my own anyway. So the music was concluded for the evening, not with a bang, but with some nice sounds that I wish I could have immersed myself more in, as it was music to lose yourself into. I might go see them again given another chance, because my impression was of a great sound (whether that makes a great live band is another question, but they sounded a little more powerful than on record).
The evening however was not yet completely finished, as I called Alessandro who told me he was still in the Black Sheep, and so I joined him, Steve and Walter for a nightcap. Or two. Real Madrid had unfortunately won, but hey-ho, it’s difficult to have perfect evenings. So one nice last pint (of Guinness) and with the clock ticking, when the offer of another one came, I had to decline, or rather, in the end, settle for a half. Wise choice, because in my drunken state, I’m not sure I’d have fancied a busy 2am night bus or a walk home. I caught the last but one RER home and went straight to bed.
That truly was a great evening, and I’m glad I went from start to finish this time: this Block Party event, only the second of the name, was thoroughly enjoyable. Even if I only did the last day when there were three, but one’s enough and I suspect it was the best one. Until next time. May finished well, June started well, and I have a mad week of gigs next week. But I shall stay sober for most of them.
Mannequin Pussy, 4/6/2024, Petit Bain
Photos or external review, we shall see if some materialise, but the setlist is here.
Do we consider that the mad week started last Saturday or was it only this Tuesday? Either way, big gathering tonight thanks to Nick. Decent weather for once (I mean, compared to what we’ve been served lately), arrangements were made to meet on the rooftop at Petit Bain for a drink before the gig. I joined Nick and Patrice who were already there. Alessandro turned out shortly after, and as we had only a small table we decided it would be better to go on the terrasse downstairs opposite to have room for everyone. Mauro and Ornella arrived just after, Walter too, but Ale and Walter decided they’d rather queue and have a drink downstairs in the concert room. So the rest of us sat at a table, shortly joined by Patrice’s wife, Estelle, and we all had a merry drink (or two, but I stopped at one, what with being exhausted, planning to run the next day, and an impending ophtalmologist visit; I have to admit, especially after, that I really had to rein in my good feeling and social cravings, because I’d have enjoyed more drinks or staying out, but anyway…). We had a good chat, doors opened during that time, the queue subsided, and by the time we got in just after 8.30pm, downstairs was pretty full and the support band had already started (though they can’t have been on long) as we settled for an average spot a little behind the mixing desk. With the support (the name had changed during the day on DICE, but seeing as they were presumably from the US, I think that was not actually a last-minute change), I had no idea what to expect. I’d read earlier in the day that TTSSFU were going to be the support in the UK, which seemed like a strange pairing (though MP have a few softer songs on record at least….), but tonight’s opening band, ‘Clt Drp’ (me neither, but you can work out possibilities for the missing vowels…) were more in tune with what I’d have expected. There was a little variety in a song or two, but essentially they sounded to me (especially on a few of the songs) like a female-fronted Rage Against The Machine. Not bad at all, truth be told, and both Ornella and Mauro marvelled at the singer’s voice. Which was quite powerful and unwavering. The sound, it has to be said (but isn’t that always the case in Petit Bain?) was particularly good, perhaps not being completely at the front or on the side helped in that respect. I wouldn’t go out of my way to see them again or buy their music, but it was a good set. The singer mentioned a couple of times the apathy in the crowd. Well, not quite, just ‘you lot are so polite’, but I guess that was kind of the impression, something not uncommon in Paris when faced with support bands, however energetic. There was no moshing action, despite the music very much inviting it. But then, that was the case also for Test Plan on Saturday for instance. However, later….but we’ll come to that in due time.
I think they finished not long after 9pm, Alessandro and Walter found us then, and so we all stayed more or less in the same spot after that, though a couple of people leaving meant I had a better view after a couple of songs of the main event. I wasn’t entirely sure what to expect, some of Mannequin Pussy’s song are certainly quite made for pogo and intense moshpit action, but they also have a number of more quiet numbers. I had a couple of their albums (the last two) out of three and an EP, so there were bound to be a few songs I wouldn’t know. As you can see from the setlist, the onus was quite naturally on the new album, but with the rest of the songs a quite balanced mix from the other three releases.
They opened with a song from the new album, but not the opener, something rather quiet: ‘I Don’t Know You’. Nothing to get the pulse racing really. The next couple of songs, also from that album, were among the best from the great opening salvo of that one (but not THE best, more on that later), so a bit of a crescendo there. However, a horrified Mauro turned towards us suddenly to say ‘the voice, it’s horrible’ (he later said, after the gig, that the same music, with the singer from the first band would have been perfect). To me, it just sounded that, when not singing too loud, the singer’s voice was OK but that when she had to push a bit and sing louder, then yeah, it wasn’t good. But there wasn’t that much of it, and it felt perfectly bearable to me. Anyway, these were still kind of mid-paced songs, so the action in the moshpit, while slightly increasing, still seemed relatively reasonable. At least, that’s what it felt like: a few bursts of energy rather than a constant assault. The couple of opening songs from the previous album followed, very good too, some of my favourites (though again I have to be honest and would not necessarily have recognised them, just that I liked them and that it confirms my own ‘likes’ on the iPad…). So it carried on for a bit, all kind of not completely full-on, but without truly quiet songs either. And then, there was a silence before a kind of sequence when the singer invited the crowd to just sing back ‘bite’ (I guess), there was a bit of chat with some kind of ambient music in the background, before what is possibly my favourite song was played, ‘Loud Bark’ (“I’ve got a Loud Bark, Deep Bite”, so that’s the word we were supposed to sing back, though it didn’t quite work like that). It is probably the only song I could instantly recognise and identify, not sure why, I think it’s probably their most interesting if nothing else (on a previous listen, I thought they were like a maybe more varied SPRINTS). The song in itself is not necessarily one that lends itself to moshing, but at least for me, something happened from there. It was nearly halfway through the set (only saying that on checking the setlist, for me it felt it was before that), but after that, when they straight away launched into a furious version of I Got Heaven (the opening track from the new album), everything seemed to be more full-on. Even listening on record now it doesn’t feel as violent, but live there, every single song after seemed to be at maximum volume with non-stop and physical moshing all over the pit (kind of glad I wasn’t in there this time though). And the songs themselves didn’t matter anymore. In fact everything after, even from the new album, consisted indeed of songs that I hadn’t even marked as good, because liking a song as a listening experience or live experience can be very different: take ‘Of Her’ or ‘Aching’, it’s the kind of racket I wouldn’t subject my ears to if I wanted to listen to music, even when feeling energetic, but live, yeah, they work. You know, I’m not really a punk rocker, but I can get it. There was again the odd monologue about rebellion, one invitation for everyone to emit a primal scream at the top of their lungs, and at some point an invitation for all the men in the rooom to shout ‘Pussy!’ which was funny yet a little gimmicky, but pretty much no time to breathe otherwise. The end nears as we are being told there are only three songs left and the pace does not yet relent. The bass player, an imposing black man who had been mostly a discreet presence so far (but had joined more and more with backing vocals as the set intensified) takes centre stage for another speech and sang the lead on one of the songs, which was just as good and intensely energetic as the rest. Oh yeah, I didn’t mention, but you know, the ‘voice’ question, I felt that while it sounded pretty bad when singing loud over quiet-ish music, it was not an issue at all when shouting over loud, frenzied, music. Melodies and pitch were less important, and it fitted the energy perfectly. Finally, for the last two songs, the pace drops down just a little, yet people in the moshpit are now so used to moving and jumping they barely slow down. But musically, you can tell it’s a little less violent. We get our goodbyes, and the lights stay off for a bit, making us hope for an encore. But after a couple of minutes, I see the man near the backstage entrance crossing his arms in the air in a signal to the mixing desk, so I know there won’t be an encore and the light come on shortly after. Very understandable after nearly 70 mins of a very intense set. I turn down the offer to stay for one last drink, despite the reasonable-ish time and decent weather, but I’m still trying to find the balance between reasonable and sociable, and with more gigs and work and sports this week, I think that was probably the sensible choice. Home by 11.30pm, and ready-ish for another gig the next day with just Nick, which should be a lot more sedate.
Slow Pulp, 5/6/2024, Le Point Ephémère
I can see no setlist, not convinced I’ll find a review or photo either (despite the place being packed and them having quite a few enthusiastic fans).
A strange-ish one, and probably this time truly a pretty short review. I only have their latest album (mind you, they’ve only got two), it has a few good songs, but nothing really identifiable for me. So, truly, this time, without a setlist, I have absolutely no idea what they played or in what order. Some songs were good, some songs were meh, nothing was truly exciting. But I’m going ahead of myself.
This was one where Nick one day a few months ago went ‘there’s a new band for you, do you know Slow Pulp? Their new album is pretty good, and they’ve got a gig’. I might have been in a good mood, I had a quick listen and liked the album so I said yeah OK. It’s pretty much one of these gigs where neither of us would have gone if the other wasn’t going. It was a pretty day, decent weather at last, we agreed to meet shortly before 8pm, I was a few minutes after Nick, and before I declined the offer of a beer by message, he had already bought me one. So I joined him by the canal, was very tempted by the beer, but remembered the early morning ophtalmologist appointment and decided that I’d stay completely sober this time. As it is, he had not intended to be drinking either, but having just been twatted by a cyclist when crossing the road, he decided he could do with a beer, just drank two then. Anyway yeah, in this sort of weather, Le Point Ephémère is probably the best place to be in with a drink, so there definitely was some regret in me there.
We got in and stayed on the steps by the merch stand, the greatest view if it weren’t for the big pillar meaning you miss mostly on the bass player (both bands’s bassist were in the same spot today). The support was No Windows from Edinburgh (though as mentioned by Nick, the singer sounded far more English than Scottish, so maybe she was studying there, while the others were more original Scots). Essentially a duo apparently, with a support drummer and bass player on tour here. They looked very young, and also, to re-use the phrase from yesterday’s support, they looked ‘very polite’. But while it might sound like ‘subdued’ when addressed to a crowd, here it is very much a compliment from me. The music was mostly unremarkable, but they had a couple of very good tunes, making it not the greatest support act, but a decent band. With added niceness. The guitarist broke a string at some point so apologised profusedly before using another guitar, he mentioned it was his first time out of the UK, which was very cool. The drummer, who was doing backing vocals, looked a bit like Jed as Nick remarked, and seemed very keen on talking, at some point had a little speech mentioning that every time he came to France he went straight to the shops to get that green stuff. I had no idea what he was on about, he asked the crowd if they knew what he meant, but I’m not sure anyone at all did. I checked with Nick who couldn’t figure it out, but after a couple of minutes, trying to go with sound and the green hint, I worked it out: ‘Get 27’, pronounced the French way but with a strong British accent. so ‘jet vintset’ or something. Anyway, yeah, the usual half an hour set, and the ‘are you looking forward to Slow Pulp?’ weirdly drew a far more enthusiastic response to the ‘are you looking forward to Mannequin Pussy?’ the previous day (I don’t think I mentioned, but the singer that day had to repeat the question to draw a bigger response, and given what happened after, it’s really impossible to explain as people TRULY were up for it).
The support made their way near us to the merch stand, but that was not much of an opportunity to talk, and I wasn’t feeling enthusiastic enough. Before Slow Pulp went on, Nick mentioned that having re-listened to the album, there were a few songs that were good, but he wasn’t quite sure he’d normally have gone to that gig, so it was a bit off. But wait and see. It was one of these gigs, for me, were expectations were not very high rather than non-existent, but there’s always hope of a good surprise in that case. Usual 9.30pm sharp start, the band got on stage, and started with… I have no idea what. The first track from the new album? I wouldn’t really know. The crowds were quite enthusiastic throughout, but it wasn’t the kind of rocking performance from the night before. I mean, it was always going to be a lot more ‘civilised’, but as it is, perhaps it was not as quiet as I’d have expected. So no moshing, but a lot of head nodding and small movements in the pit. The singer looked very nice and she grinned throughout, but the music was, as Nick put it, ‘one-dimensional’. I said ‘boring’ myself, and genuinely, sure I was tired, but there were a couple of points during the gig when I was slightly worried I’d actually fall asleep. There was one guest guitarist (I say ‘guest’ because when the singer presented her band-mates before the last song, she did mention that if not in such terms) who was doing the occasional guitar hero solo, drawing ‘wowwwws’ from the crowd the first couple of times, but even after that the solos didn’t elicit the same response. The music wasn’t bad as such, but it suffered from the contrast with Mannequin Pussy the night before. Essentially, they sounded like a million other indie bands you’ve heard before. I guess it’s where being old doesn’t help! But not doubt the crowds enjoyed it and were enthusiastic so they must have their dedicated audience. And importantly, the singer looked very happy (I couldn’t tell very much about the rest of the band) and smiling all the time and thanking the crowds very often. The main set finished with them walking off without a word so you knew there’d be an encore and so there was indeed. Just one song, over by 10.30pm, and Nick and I were left with very much the same verdict on a gig we would not normally have gone to. Nick apologised but he really didn’t have to. I mean, it wasn’t bad, it was just unnecessary and rather boring. I tried to go via Line 5 for the return as we were still chatting about gig plans and past gigs etc. , which was not the good choice for delays and also made me realise (I mentioned the conundrum in a previous gig review) why the RATP app still made me go via Line 2 rather than Line 5: the connection may be shorter at GdN, but it is longer between entrance/exit and platform at Jaurès. Lesson learnt. Anyway, yeah, so not much to write about this gig. On the other hand, while my fuck up makes me go to Belgium tomorrow rather than wait for the next Friday in Paris, I’m really looking forward to Cherry Glazerr tonight.
Cherry Glazerr, 7/6/2024, Witloof Bar, Brussels
Not sure I’ll find photos (apart from my own, I did take some this time), the setlist is here. Or rather it isn’t. And by that I mean this is the setlist that was on paper. I know because I took a photo of it (could have got one of them as this is not Paris and people were not arseholes here), and I can confirm that Stupid Fish was not played. And so, in fact, the setlist was exactly the same as the previous few gigs the setlists are available for on that site. Whether these also had SF and not played, I have no idea. Time constraints? Time didn’t seem to be a problem, so not sure really. Anyway, not sure I will find another review either. But, as a little cheat/treat, I found a review for the gig I was initially intended to go to, at Maroquinerie. Sounds like the setlist was once more similar if not identical (can’t find it on setlist to confirm) and apart from the fluffy toys things, the impression seems very similar, including the amusing mention of the high-pitched ‘thank you’s between the songs. All in all, for the environment and the trip, I’m very very glad I went to the smaller and amazing Witloof Bar even if I generally like La Maroquinerie.
But back where it started. Having been drawn into them by the excellent Stuffed& Ready around COVID time, I was desperate for Cherry Glazerr to come and play in Paris. But despite the equally excellent new album from last year, no sign of them….until suddenly there was. The date seemed to be a phantom for a while, appearing only on SongKick but seeming to screw the software up and the link to tickets leading nowhere. Until it was truly confirmed. Wahey, so as soon as available, I got my ticket for La Maroquinerie on 14/6. So what am I doing here? Well, I had forgotten to update this site with this particular gig in the dates, and so when one of my sisters I had been meaning to visit for a long time asked me if that weekend would suit, I just looked at this here page, saw nothing and so confirmed I was. I booked a train, and only afterwards did I realise my mistake: I HAD something on. As I really really wanted to see that band, I was very much, ‘fuck fuck fuck’. But I looked at the tour dates, noticed they were playing in Brussels just the Friday before and that there were still tickets available (something I am amazed about, especially now that I know the venue, not for the first time, it’s not the best bands that are the most in demand – see the next review, yet to be written), I had a quick look at trains and hotels and thought : ‘yeah, I’ll do that, and allow a bit of time on the Saturday for tourism, I might as well discover Brussels’.
So here am I, having taken the Friday off (due to train timings), on a Thalys, sorry, Eurostar, to Brussels. Little bonus with access to the dedicated lounge as my regular-Eurostar Carte Blanche now comes with the added benefit for that journey. I’ll keep most of the touristy reports for an actual post in the photographs section, this here is just the gig report. Or the first evening’s report maybe.
Short-ish (3km?) walk to check into the hotel, very tiny room with no view, but that will do, and I set off for Botanique. Not without stopping for a proper Belgian beer on the way though (Maredsous if you ask). I’ve got plenty of time to spare, initially not planning to drink more than one pint or two due to the next day’s gig with Jed, but the good beer, sunshine and a very positive mood…. With time not at a premium, I’m firmly intent on getting some food to be reasonable. After another enjoyable walk, I reached Botanique, which is the little building off the actual Gardens. Have a quick walk around, I knew the bar was open from 6.30pm, doors at 7.30pm, but I don’t know much more. I buy a few tokens (beer and food is paid in tokens, 3€ for a token), wondering if I’d bought too many, and make my way to the bar, to order a pint (or rather 40cl, 2 tokens), and a beefburger (simple patty with salad and sauce in a bap) for 3 tokens (the guy serving is unaware of the prices displayed and thought it was 4 tokens, but whoever makes the decisions has chosen that veggie and beefburger would be the same price after all). I eat and start drinking inside (and spot the band exit the bar even though I didn’t notice them get in in the first place, but maybe they were on the staff side and eating when I arrived), looked at the screen, that said the band were due on at 8.30pm until 9.45pm. I thought there was meant to be a support but clearly not. Incidentally, Botanique itself has two venues, and so there were a couple of bands playing in the Orangerie, different timings, finishing later, and explaining why on entering I saw T-shirts with an unknown band name (Ferdi, if you ask). I went outside to finish my beer. Splendid location, a little terrasse overlooking that part of the Gardens. It’s still early, so I decide to go and order another beer. At this point, between the excitement and the beer, I feel/fear I am getting drunk too quickly, so try and slow down. I spot part of the band enjoying the sunshine a little further out and I’m just enjoying being here. As I finish my beer and doors time has already been though not by much, I decide to make my way to the actual concert room, that happens to be downstairs near the entrance of the building. I ask the guy who scans the ticket and stamps your wrist (third stamp in four days, one to go…) if there is a bar in the room (yeah, Witloof BAR, I shouldn’t have asked), he says there normally is but he’s not worked there before and he’s not sure it’s open. Anyway, I enter a rather deserted room, and there, it’s kind of the equivalent of being at Highbury the first time: love at first sight. What an amazing room. Very small, but with the stage just there (I’ll post photos and video in the tourism report) in the middle, open to all four sides (with only the pillars from the arches making it not a complete 360°). And cosy as you like. The bar is just outside to the left and sod it, it’s not like I have a place to hold as there’s literally just two or three people around, so I go and order a beer. I have a look at the merch stand, kind of tempted, but while the designs are good, they are not quite outstanding, and it’s all a bit pricey (€35 for a T-shirt, 50 for a hoodie). People slowly arrive, but the place doesn’t quite fill up quickly. All the gear is setup, the setlists are taped to the floor (but I refuse to look, obviously), and I have time to order a small beer as I only have one token left. All ready, slightly sozzled for the 8.30pm start, and the band start on time. It’s busier, though I’m not sure the place is truly full (in fact, it clearly isn’t as on the other side there is barely anyone, and given the structure, if it were full, there should be? Thought this was meant to be sold out though, but I’m not quite sure, guess you’ve got to have some space for the band to come from too, as I’m not sure where backstage is, but they clearly didn’t materialise from the ceiling). Anyway, Clem Creevy and co come onto the stage, and start with Touched You from My Chaos from the new album (not the opening track ;-)), which sets the tone for the first half of the set pretty well: a lot of excellent tunes, but keeping the best for the end mostly. I notice Clementine’s Black and White Strat has no switch selector and only one knob…but then it makes sense as the two pickups nearer the neck are taped out and there is just a humbucker bridge-side. Anyway, while the sound overall in this venue is not exactly the best, it’s good enough, and the first three songs spanning the last three albums already is a good sign of variety. As it is, we’ll get more songs from the last but one album than the last one, which may feel a bit unusual, but I wonder if this is partly due to them not having toured Stuffed & Ready in this part of the world as far as I know. The only downside (fairly big for me, but not critical due to the overall quality of their output and tonight’s song selections) is I don’t get to hear what are actually my two big favourites from the more recent I Don’t Want You Anymore. Though we also get a couple of singles I was unaware of, that pre-date Stuffed &Ready. A rather civilised start with good but not exceptional tunes, the atmosphere is happy though it can’t be riotous here, it’s very understated, though I do feel a little guilty taking the occasional snap or short video clip even if keeping reasonable. Juicy Socks followed by Wasted Nun provide the first highlight, followed a few songs later (those two unknown-to-me singles are played in the meantime) by the probably third best song from the new album Eat You Like a Pill and the nice closer from that album, followed by another good song from the same album, before we move up a gear with another superb trio of songs from Stuffed & Ready this time, including all-time classic Daddi and the wonderful closer Distressor. Another seminal CG song, Nurse Ratched, from their superb second, Apocalipstick, gets probably the most raucous reception and it’s a triumph (how else could it be, it’s a fantastic song). I fear the end must be approaching, so I sneak a look down at the setlist to try and get an idea, and I think I spot three lines after a two-word song, which is just the kind of stuff I was looking for, not song titles. And so we travel back in time with a song from their first album, from 10 years ago, that I only got earlier this week on realising I probably should. And then it seems to be the end of the set with a few thank yous and gestures. Clementine hardly ever spoke during songs, just a lot of thank yous and she seems very happy (or out of this world, just bending down for a sip from her glass of wine from time to time). There’s nowhere to go, so they just confer for a little onstage chat as the crowds chant ‘we want more! we want more!’, and without further ado, we get treated to a riotous cover of Nirvana’s Territorial Pissings. Superb energy. And that’s it, we ask for more again (it is just 9.40pm, so surely there is time for another one?), but it’s not forthcoming, the band leave and the lights come on again. The girl just in front of me delicately takes the setlist (nobody else does, so the other setlists remain untouched on the floor, here’s Belgium, not France, or is it just band-fans related?) so I take a photo of it. And when I look at it later, I can see that I had counted well, and that, as mentioned in the preamble, it’s just that Stupid Fish wasn’t played. The venue slowly empties, with just people queuing at the merch stand (the band do not take care of that, they have a friend doing it), and I decide that yeah, fuck it, I’m liking this venue and it’s still relatively early for an evening out, so if the bar doesn’t close straight away….yes I can buy just two tokens from the machine and have another beer. I chat for a bit with a guy with a Blood Red Shoes T-shirt (but who hasn’t seen them live). Nice guy, who came all the way from Italy (Rimini) to see the band, and is unhappy that there are so few bands coming down his way. We talk a bit about music and this gig and that, and then he makes his way to the merch stand. I get the feeling though, that he is very much on the introverted side, whereas tonight, especially in my mood and after a couple of drinks, the ‘extroverted’ side of me is a little more on display which might make him slightly uncomfortable, what with me initiating a conversation out of the blue just because he was wearing a T-shirt from a band I like. So no goodbyes, the bass player and drummer pop by so I thank them for the gig briefly, but the singer is nowhere to be seen. Rather than wait on for conversations I might not have, I decide it’s time to leave, it’s still barely after 10pm, and so I walk straight back to my hotel (about 20 minutes away), feeling actually pretty pissed so straight to bed. A big day ahead the next day, but that’s one part for the tourism/photo blog, and the next one….for the next gig review. The main take tonight was that I got to see a band I really wanted to see, in probably a better venue than would have been the case in Paris. Great work!
Dream Wife, 8/6/2024, Petit Bain
External review perhaps unlikely, same with photos. Setlist even less likely, I suspect. We’ll see.
This was very much a late addition, a couple of weeks earlier. I’d seen Dream Wife last year in November, sober, and it had been one of my favourite concerts of the year. But I had elected not to give it a go this time, as it was a different context of gig (more on that later), and I didn’t fancy it on my own. However, when Jed mentioned he was going, I said I’d be tempted but going back from Brussels wouldn’t be easy. He’d seen that the band wouldn’t be on before 10.35pm though, so I thought cool, that leaves me time to pop home before going out, OK let’s do it.
My train from Brussels was only slightly delayed (15 minutes), there was a little chaos on RER B (it seems it had been a lot worse a couple of hours earlier however), but that only added another 10 or 15 minutes delay, so in the end, I still had time to grab some quick food and maybe 20 minutes of rest at home. Jed was playing football late so said he couldn’t be around before 9.30pm anyway, and I’d settled for being there around 9ish. It was a gorgeous evening (not very hot, but relative to all the crap we’d had lately, perfectly enjoyable), so I arrived not long after 9pm, tried to get in touch with Jed and decided I’d have a drink outside by the river before going in anyway. Thinking I’d had too much beer the night before, I initially thought I’d go for wine, but having seen a photo of a mojito or similar from arseblog earlier in the day I thought: ‘sod it, I’m going to go for that mojito’. People were leaving the concert room when I’d arrived, so I’d assumed one band had just finished. I finally managed to get hold of Jed who said he was about 25 minutes away (meaning he’d only be there shortly before 10pm) and would quite fancy a drink outside before sunset if possible. I managed to catch a poster which confirmed the start time (not bothered about support – it wouldn’t be support in the classical sense anyway, but so yeah there was another band in the meantime) for Dream Wife. Also the finish time meaning it wouldn’t be a long set. The event tonight was called ‘More Women On Stage’, there were a few round tables, seminars, several bands, and even a DJ/club night after, but since Jed was working at Roland-Garros the next day and I’d been out the night before, it was pretty clear clubbing was not part of the plan. Anyway, Jed’s football match had been delayed which is why he was late, but we still got time for that drink (I had another mojito) outside and a good catch-up before entering the venue. I thought that with the timing, it might be hard to get to the front, but as we entered and ordered a couple of beers (yes back to beer for me) and seeing people exiting, I was quite shocked that the pit was nearly empty and so we basically made our way straight to the front, without having to even get near anyone’s shoulder. The drummer and guitarist started to play right on time before the singer got on (same introduction as last November), and the first shock came when seeing the bass player come on. She wasn’t the same as last year, before she could even start there were technical problems and she couldn’t play, she had to go off and back on while they sorted the thing. She also looked very panicked, stressed and uncertain. Bella’s were big boots to fill. I downed my pint very quickly to make sure it wouldn’t spill all over when the riot started, but as Rakel got on stage to a big clamour and Social Lubrication started….well nothing much happened in the moshpit and it turns out I could have finished sipping my beer calmly. Hell, I didn’t realise but Jed was actually still wearing his backpack, though he had to leave it by the stage after a few songs, sensibly. The good thing though is I didn’t feel pissed at all, probably thanks to the previous evening’s drinking. Just well and happy. The onstage activity while not quite as frantic as during last year’s set (losing the bass player was a huge factor in that I suspect) was good and energetic, Rakel making the same moves and pulling the same poses, drawing the crowds in, and just like last year ‘So When you Gonna…’ made things kick off properly. ‘Petit Bain….Are you ready to tear up the dancefloor?’ and a mini-pogo ensued. But really, mini and it was the only thing approaching moshing all night. The set was obviously shorter than last yeat, but they played most of the highlights/best tracks, quieter moments like Hasta La Vista Baby, not-so-new now single Love You More. The fantastic Hot! (Don’t date a musician) which should have been a riot, sort of was, but not on the dancefloor. Whether the event was sold out or not, Petit Bain itself definitely wasn’t full capacity, because there was a lot of room and still no density, meaning no extra people came in to join the fun. I can’t remember during which song, but it was quite a dynamic one and I looked right behind Jed and there was a guy with his arms crossed and a stern look. Yeah, right there, two metres from the stage at a Dream Wife concert. Nope, I don’t get that or why he really was there then. But each to their own. We got treated to the usual ‘Bad Bitches’ routine and a similar call to arms that at Trabendo, but shorter version and without the invitation for some to come forward, maybe partly because there was so much space that anyone wanting to go to the front only had to do so and didn’t need to be invited or given special treatment if they were too shy or late to do so. The amazing though not rare Orbit made an appearance to my personal delight, and when Leech was played, you suspected we were nearing the end with a similar routine to Le Trabendo. No time for the All the Things She said cover, but the guitarist went into the crowd while Rakel went off for a bit, and that was just the same as last year, but again in a limited version as Rakel had to actually go backstage rather than just sit hidden by a speaker but still onstage. So yes, F.U.U. concluded the proceedings….but still no riot in the moshpit, absurdly. A quick break in the song to introduce the band members (that’s where we learnt Bella had an operation and it was the reason they had to ask their friend to step up for her tonight-poor girl looked truly unsure all night, though there was one song when she managed to duet and smile with the guitarist, but you can tell this was just a little too much for her – and you know what, with the technical issues on top, that resurfaced a couple of times, full credit to her for soldiering on and playing without any bum note at all), and the song restarted, though I think the conclusion was a little different from last year, the coda just being about the Bad Bitches mantra repeated. Unlike the previous night that was five minutes shorter than planned, tonight was five or ten minutes longer, so all good! I decided that I wouldn’t care for the last RER tonight, feeling good and all, and that I would actually try to take Line 4 to its new(-ish) end and walk from there rather than stress about time, and so another pint was in order. Outside seemed the best choice in the still decent though decidedly nippy by then weather. Jed ordered this round, and yeah, plenty of loungers available, so why not try them rather than the metal chairs. And in a weird move, as I’d never tried these loungers before, I got taken completely by surprise by how low they got you and the non-rigid metal structure and I promptly kicked both pints in the air while keeping my balance, and somehow manage to fully empty the glasses. Not one drop left in either. I couldn’t have done it even if I’d wanted to. So back to the bar I go to order a round, and careful this time, we settle down for a great chat about football, concerts (plans being made), the gig just gone, while great music plays in the background (Throwing Muses, Sorry, Siouxsie….and Dream Wife). And yeah, let’s have another round now that timing is not an issue. And you know what, just two mojitos and three pints in, I still feel very lucid and sober, it’s nearly bizarre. Two of the band members walk by the quayside as they are about to leave and I did a little heckle of ‘DON’T DATE A MUSICIAN!’ that makes them turn around and smile. The rest soon follow and they are on their merry way. When not one, but two of the bar staff walk around to warn us that last order is now or never, we both agree to decline and remain sensible. We eventually leave and via Line 6 and 4, I finally make my way home, it’s just a perfectly easy 30 minutes walk from that Bagneux metro station, perfect in this weather, I feel still full of energy and happy and I get home maybe at around 2am or something. So yeah, definitely the right option from now on at weekends if not too drunk or pressed by time: no RER stress. OK, that was not much of a gig report, so back to that: a great gig though probably not as good at Trabendo last year, but with the disappointment of a crowd that was not quite there or not quite ‘good’ enough in the main. I was quite keen on this one after all, and to do it with a few drinks. I felt light in my mind for once, light on my feet too, so jumped around easily during the gig, home with no stress, and here I am the next day, gorgeous weather again, not feeling hungover, it’s been quite a fantastic weekend, best in ages and I’m certainly not looking forward to tomorrow at work! The weirdest thing is I slept better somehow, or rather, Garmin tells me I had no stress, which is practically unheard of after drinking. I mean I noticed even on the way back while waiting for line 4, I was back in the low 50s bpm. Odd, but so pleasant. I hope I can have a few more of these great weekends!
Bar Italia, 20/6/2024, La Cigale
Franck was there, so I expect a SOV review, but he’s often late, and since there’s already a review on Benzine, that will be the one I will link to. Photos from RG as usual, only spotted him exiting the venue while chatting with mates this time.
Last concert for this half of the year as far as I am concerned, I was neither particularly looking forward to it, nor being down about it, just curious really. Nick was meant to go but found himself a little under the weather, Mauro and Patrick were going, but I couldn’t seem to get in touch with either. So on my own I went. Had checked the first band quickly (triage, all lower case, there’s another band called TRIAGE, upper case which was confusing when searching for music, very different, but I figured the one that sounded a bit like bar italia would be it :-)), and decided I didn’t need to rush. As it is, I expected the usual timings despite the 7pm mention, just doors 7pm, support 8pm, main band 9pm.
Just as I reached La Cigale at about 8pm, I spotted Franck so we quickly greeted and he told me as he got an invite that he had a spare (turns out it was also Dice so just a copy of the screen if that works, and I suspect it might), but unfortunately, just as Patrice (not Patrick) had mentioned a few minutes earlier in the group being gutted on missing out, I tried to get in touch with him but couldn’t until too late once I was in despite trying to wait a little more outside. So yeah, not being able to get in touch with people a theme for the day? Maybe, but at the same time, bumping into people unexpectedly was another one so not bad. The rain rushed me to go in anyway, and I decided on a single beer on arrival, to just take it easy as I was not getting at the front anyway. The room was fairly busy though not absurdly so, apparently the gig was not sold out; mixed crowd, though not particularly young overall one would say.
I missed the start of triage, maybe half their set, and they sounded possibly a little different from what I’d expected from that briefest of listens. Fairly good to be honest, and not as similar to bar italia as I thought perhaps? Either way, still nothing spectacular or great, another fairly decent band. I took the too usual yet not ideal spot on the left when watching the stage, but wasn’t quite at the banister so no perfect view. I could have done better perhaps for Bar Italia, but as Franck was just around at the end of the support set, I took a step back, had a little chat with him before he went to the loo and down in the moshpit. I thought I didn’t particularly fancy the moshpit and would have a better view where I was overall rather than having to stand on tiptoes all the time. He’d warned me (and that just reflected the review I’d read from the gig last year at Café de la Danse) that their live act was a bit particular, a little static and that they didn’t say a word between songs. He’d seen them also at la Boule Noire on a previous occasion, so one can assume it had not just been a one-off gig observation, and I’d know what to expect on that score unless they’d changed. A few minutes later, someone called my name and who was there? Mike (from Stolly’s etc.) who I hadn’t seen since maybe last time I went to Stolly’s rather than at a gig, but that was a fairly long time ago. He said he didn’t know them but was there with a mate (more on that later), and that he just hoped they were less angry than the support band as the singer from triage looked angry to him and we need less angry people. So I reassured him on that score. They were on the other side, but I decided to stick to my spot, to just focus on the gig rather than company for this one. As it is, I spotted Mike and his friends opposite me, practically in the symetrical position to mine from the stage.
Mostly Beatles songs were being played between bands, then a little Scissor Sisters, and the lights went off at 9pm roughly. Though it was a few more minutes before the band got onstage to the theme tune of Beverly Hills Cop. Possibly an updated more techno-ish version. Not sure if that’s always the case, I didn’t really expect that, but it felt like a bit of a party mood with it, so quite good. They finished tuning their instruments before launching into the first song of the day. The band essentially is three people: Nina Cristante on voice and occasionally tambourine, and two guitarists/vocalists (one either side of her today, Sam Fenton on her left and Jezmi Tarik Fehmi on her right). You can’t really say who is the lead singer or band leader, I mean she’s centre stage, but there’s plenty of songs when she doesn’t sing or doesn’t have the lead. And since no-one speaks to the audience…She looks quite tall, wearing a short tartan skirt tonight, Sam looks like your standard indie guitarist, while Jezmi, with a red shirt and tie, glasses and the hair the way he has them, looks like a younger Laurent Voulzy. Tonight they are backed with a bass player who looks like Audrey Fleurot from where I stand (though I doubt AF plays the bass anyway), playing rather well but soberly, and a mad drummer who looks probably a bit like….Boris Johnson? Either way, he looks the most fun person on the stage and his drumming is very dynamic. So yeah, the songs. Pretty much a mix of their two albums released last year, with a small smattering of other songs (singles?) I didn’t know. The first song played is from The Twits (so the second album by a few months), but not the opener, good but not particularly remarkable. A slow start, sounding like they do on record, a bit understated and aloof. The opener comes next, only a little more dynamic. The first song that is played from Tracey Denim eventually (My Kiss Era) is not the best either. I’m not really underwhelmed, but I’m not won over yet. I mentioned NC on voice and tambourine, but you could add ‘dancing’, as she never stops moving her body from start to finish, a few times even jumping up and down a little to get the crowds going. It’s a strange performance. You could say she is non-stop energy, and she is, but not exactly a ball of it either. She hardly moves from her nominal spot, not using the width of the stage; I mentioned her jumping up and down a little a couple of times, but that’s exactly that, she doesn’t do high kicks or jump around the stage. It’s constant, but it’s slow-burning energy. The rest of them are relatively static (the bassist is on a kind of extra stage with the drummer, that was the set-up for the opening band too), apart from the drummer who is REALLY energetic, but obviously he can’t move around. Some of the songs are short and finish rather abruptly, but there is indeed not a single word towards the audience between songs, not even a simple thank you. I guess it’s part of the show, a deliberate act rather than shyness or whatever, it’s a choice, it doesn’t particularly grate, especially when you’ve been warned before, but perhaps one day they will grow out of it. One part of the problem as far as I can see, is that this sort of act/attitude is likely to endear them mostly to wanky hipsters. There is one, not far in front of me, old beau with trendy no doubt super expensive glasses, who moves around like he thinks he’s the coolest dude in the room (he’s not), and sometimes does the loud whistling with his fingers in his mouth. No, I don’t know him, maybe he’s ok, it takes all sort, but from where I’m standing, his whole demeanour and look screams ‘Twat’. Or is it ‘Twit’? After all, that would be in tune with the latest EP’s name (The Tw*ts) released just a week or two ago (that has three unreleased songs, all rather average but none of these is played tonight).
Back to the gig, Real house wibes (still from the newer album) was the first highlight for me, but the main change of atmosphere happens maybe two thirds into the main set, when we finally get back to Tracey Denim (a relisten had told me it was still after all by far the better of the two albums) with the fabulous Nurse!, followed by the expected (by me) highlight that is Punkt, still my favourite of theirs, confirmed live. And there I finally get a glimpse of the moshpit proper and it’s in full action, people actually moshing, and it looks quite dynamic even after that. Changer concludes this trilogy of bangers from Tracey Denim, before another song that I find quite good but don’t know (Polly Armour apparently). Two of the better songs from The Twits conclude the main set (we get gratified with a simple ‘Thank You’ from Sam at last) and it’s just 10pm, so plenty of time for them to come back. Which they do for an actually excellent encore consisting of three songs, two corkers from Tracey Denim (including the superb Miss Mortality) and another unknown to me song with extended finish (or stop/start finish, nobody seems quite sure twice if the song is over judging by the applause, eventually the third time is it) to end the gig. And no they didn’t speak more during the encore, no relaxed ‘now we can take it easy’ with them, I think we might get a final ‘thank you’ and/or even a ‘merci’ but that’s not even clearly heard, though Nina Cristante blows kisses to the crowd in lieu of goodbye as she departs the stage. When you think of it, it’s a really unusual attitude, especially as it’s not as if the intensity of their music or the occasion demanded focus and silence between the songs. They’re not benefits or test plan or what have you (who do speak between songs anyway), and you know even a simple thank you ( à la Clementine Creevy) between songs wouldn’t cost them cool points. All over by quarter past ten too, so it’s not like not speaking between songs is to cram in more music in the show and save time either. It’s not that they’re miserable, it’s just…odd. Maybe they’ll move away from that sort of (aesth)ethics at some point, but I guess it’s part of who they are, and as they seem happy and smiling, that’s the main thing. And we all enjoyed the music. I heard people talk when exiting the venue, and a lot were saying ‘they’re not really a stage band’ (not sure ‘bêtes de scène’ translates that well into English, maybe ‘not a live band’?), but I don’t agree, it’s just something else. They’re not completely static, as Nina is constantly moving a way or another if not with a lot of amplitude, and the music is great. I still think Tracey Denim is much better than The Twits, live too, but most of the songs sound much better and more energetic live than on record, ergo they ARE a live band, and a very good one at that.
Back outside, I wait for a few minutes to see if any of the people I know who were there turn up, and Mike and his mates quickly appear. I have unfortunately forgotten the name of his mate and his girlfriend (well the first time I met them was when pretty drunk at the Sorry gig at the Pop-Up I believe), but it was good to see them again and we have a little chat before all heading our separate ways (I might have gone to Stolly’s with Mike for one another evening as it’s not late, but with indoor footie the next day, being reasonable is in order). Lucky to catch an express RER straight away at Gare du Nord (though it didn’t actually go fast in the end) and I was home happily not long after 11pm, having witnessed an interesting gig with an unusual band. It might not be in my top gigs of the year in the end, but it was still a pretty good one after all.
P.S: it looks like some of the tracks I didn’t know where not necessarily singles, but from their early albums, available on Apple Music it seems, but weirdly not on iTunes.
And that concludes the first half of the year, I will sensibly split this page in two. Though perhaps it should be four, but never mind.