The Great Escape 2012 - Saturday Review

I wake up to find myself faced with the last day of The Great Escape 2012, it has flown by. My day plan for Saturday had been arranged for weeks, it involved a trip to The Hydrant and then staying there, after a late breakfast I walk up London Road to find the venue, it's fair to say it's in a more 'undesirable' location to the rest of the festival. About three quarters of a mile from anywhere else and away from the seafront on a sunny day, it's not much of a surprise to find there aren't too many people there at half past twelve.

Added to the fact that the venue is, to put it succinctly, a shit hole. The Hydrant as a venue that might be okay to watch rock music by night but doesn't immediately appeal for a full afternoon's worth of folk. The mood is hardly helped by there being an abysmal selection of beers and the room being almost pitch black (hence a lack of photos). Still, I carry on regardless...

First up is Redwood Red, backed by Emma Gatrill on clarinet (who probably thinks I'm her stalker by now), her guitar plucks are delicate and fragile and her voice is rich and beautiful, the vocal harmonies extraordinary. It's a fine start to the day. We're even treated to a bit of tap-dancing / unorthodox beats at one point, if only there were some seats or light.

Like Spinning is next, I've waxed lyrical about Kari's music on numerous occasions, so unless you are new here you've probably got the picture by now but her vocals are so gorgeous and soothing that I forget about the environment for a while. Backed by Anna's equally beguiling voice there's even a recent cover in the set, a wonderful version of Hannah Cohen's "Child Bride". Like Spinning deserve all the praise that comes their way.

After whichever random drink I decide is best of a bad bunch Laish take to the tall stage and I'm re-encountered with Emma and Martha Rose who plays violin in the folk-rock posse, their sweeping tracks are harmonious and dripped in luscious instrumentation, I find myself wishing their were some candles in the room, anything to bring some light or feeling to the venue. Did I mention there was one toilet. A venue that can hold about 200/250 people has one gentlemen's room. Good luck with that...

I quickly disappear for a coffee which turns out to be an ale because there wasn't any coffee and see some of Karima Francis, the venue gets suddenly busy. I think it's because Karima was the only act on the bill who made it on the iPhone. Although it seems Karima didn't look at that as she mentions not knowing about the show until half an hour before playing, you wouldn't have guessed as she bellows out her soul-pop tracks that will no doubt be troubling the charts before summer is over.

Slightly delayed it's Emily and the Woods up next, the sound where I was sitting (my legs had given up by this point and I made do with the hard, dirty floor) means I hear probably slightly more guitar than I should and not enough of Emily's soft, sweet vocals. There is a lot of new material and it's safe to say I'm excited to hear it properly. Emily is another well documented love of mine and her way with the crowd will no doubt have found her more friends.

My eyes decide they want some sunlight after over four hours in predominately the same rectangle shaped room so I decide to get some food and drop off my bag before heading out for the evening shift. I see Stealing Sheep as I exit and have a tangle of guilt but I saw them a few weeks ago and think I've made the right decision. A little rest later and expecting Audio to be busy I head there just as the doors open, the good news is they are handing out drink tokens for free Red Stripe - free and alcohol when used together are two words never to be sniffed at.

After I take my place at the front (stalker fan) it's not too long before Novella come on stage and they are as good as ever, sugary vocals buried in a see of hazy, grunge guitars and battering drums equally powerful and beautiful, not ones for audience interaction, Novella are still one of the best 90's influenced band in London today. My pre-gig expectations for the next band Fanzine are pretty low, it turns out of I've got them confused with another band and I quite enjoy them, their dreamy, slacker-pop sounds more American than London, their set soon flies by.

The venue is heaving by the point HAIM take to the stage, there is a notable air of expectancy, I'm not sure what to expect, it doesn't take very long into their set for me to soon decide they are amazing. Actually amazing. They swear too much in-between songs but musically they are brilliant, three sisters aged between 19 and 24 with a drummer who seems the butt of their jokes.

They are not a thing like their pre-show billing of R&B meets folk, Haim are 70's rock meets Fleetwood Mac. The harmonies are to-die-for, the guitars loud and the drumming intense. I said in my preview this could be a moment like Warpaint's show a couple of years ago and it turns out that I was right. Haim will be back in the UK soon and before the year is out they'll be on the lips of thousands of cooler people than I.

Lucy Rose is next at Blind Tiger, I'm soon beyond infuriated. I know it's quite late (about half ten) but if you come to watch a gig by a singer-songwriter surely etiquette dictates that you shut the fuck up. Perhaps not at a new music festival when there is every chance most of the crowd has been out enjoying the springs' sun for the best part of the day, after five or six songs I've had enough and decide to save Lucy's beautiful voice for a time when I can enjoy it without thoughts of cutting off a lot of people's tongues!

Instead I head to the sanctuary of the Pav Tav, I'm going to guess that is the only time this place has ever been called a sanctuary, it's a typical student filled hole, but at least you know what you are getting beforehand and I sample a few poor quality EPA's, though priced at £2.50 I can't complain.

It does leave a sour end to the weekend but one that looking back was filled with a lot of quality acts and a lot of value of the £40 ticket (super early bird and fees). I've talked about a couple of niggling points throughout my rambling reviews, still The Great Escape is still one of my favourite festivals of the year and I'm already looking forward to 2013's.

The Great Escape 2012 - Friday Review

Friday, the second day of The Great Escape and I awake with a pretty clear head. After nearly thirty years of existence and almost half of them drinking more than I should I've finally learned that ale is the drink that thanks you the next day. My first act of the day is an early one at midday, Martha Paton at Komedia. I arrive and she's just started, she looks younger than I had in my head and her band look even younger. Don't let that detract you though, she's got a lovely voice which shines in the dark basement room, quite a large audience have turned up for a pretty much unknown singer-songwriter, perhaps they're aware of the word potential too.

Afterwards I quickly head to the seafront to catch Cut Ribbons again, this time it's a stripped back acoustic set with only three of the band members, it doesn't quite hit the highs of yesterday but the gentle melodies allow me more space to fall for Anna's voice all over again. The weather gods agree too as despite a little wind, the sun comes out for the first time all weekend. Afterwards there is a little break in my schedule so I grab some food and check out a few shops in the lanes.

The Latest Music Bar is my next stop, the first time I've seen an act upstairs and it's a good one too. Abi Wade treats a pretty large crowed to an extended soundcheck which acts to whet the appetite for the real deal, it's quite fabulous too, Abi creates a compelling sound with her cello, a beat box and her voice. Her cello is plucked more like a guitar and bashed in equal measure and it makes the most organic and percussive sounds imaginable. Afterwards I head downstairs and catch a song or two from a band that don't really do anything for me before heading to The Fishbowl.

Rozi Plain is the first act I am there to see, her set draws you in instantly, her gorgeous voice repeats around your brain, her evocative melodies enchant overwhelming you with delicacy and warmth. It's heavenly. The crowd seem like a who's who of musicians from the local scene and acts soon to play, there equally unanimous in applause of Rozi's talents. I decide to make (what turns out to be my last visit) to the seafront and have a quick beer in the sun before heading back inside to watch FOE at Life, three songs later I decide I'd rather be back at The Fishbowl and scoot out as quickly as possible.

I catch a band I'd never heard of previously and they are a revelation. The 'Stroud and proud' Hot Feet playing as a duo come trio, their songs are delicate and beautiful, the soft female vocals (I later learn are from a lovely lady named Marianne Parrish) are haunting and the guitar patterns intricate, I instantly fall in love and Hot Feet are without doubt the new band discovery of the weekend for me, an act that will most definitely be featured here again in more detail soon enough. A tip first, don't get stuck behind guitarist Jack at a gig, he's 'quite' tall!

Another pint of Laines later and I'm ready for the next act. If I thought it impossible for the music to get better I was wrong because Emma Gatrill raises the bar again, I'd seen a picture of her London show the night before and it looked magical. Magical is an equally apt word to describe her, a collection of beautiful harp-based songs that bring a warm intimacy to the small venue, as I look on spellbound as Emma's gentle plucks and soaring voice makes the small venue seem even smaller, it becomes like a living room gig. Later Emma is joined by a guitarist and drummer who add wonderful atmospheric noises to her songs, her album came out last week and if you have any sense you'll be buying it soon.

Next up is a solo show by Mariner's Children well not quite solo as Emma provides backing vocals to the striking acoustic songs, the lyrics and guitar provide a rich tapestry and thought provoking music with powerful harmonies and as a self-confessed nay-sayer of male sung folk rock (I blame Mumfords) I find myself blown away by his/their sound, maybe there's a conversion on the horizon...

After three hours of sweet, soothing folk sounds I have an unadvisable encouter with chinese take-away before heading to The Queen's Hotel to watch the culmination of Amazing Radio's day there. Hype it seems is a fickle thing. It's probably easier to write down new blogs that haven't covered Shines than those who have but there is only a small-ish crowd (clashes against Grimes and Alt-J probably don't help their cause, alongside being on the alternative escape which for some reason isn't listed in the festivals iPhone app) to watch the Manchester four-piece, but nevertheless they perform a pleasing set bookended by their best (and most well known) tracks "Spent Youth" and "Shola".

Fear of Men take the stage next to a larger crowd and are joined by a fifth member on backing vocals (who I find the next day is Laish's Martha Rose, a band whom also have Emma Gatrill in their ranks - Brighton suddenly seems a lot smaller!), their show is excellent, one of the bands who I feel deserve the 'buzz' they've received since formation. Which in case we dare forget in the excessive internet hyperbole is only 12 months ago. They shuffle through a twenty five minute set of jangly indie and dreamy vocals quickly, barely stopping for breathe (and certainly not a chat). It's hazy, gorgeous and just what the evening needed.

The venue got suddenly busier around ten pm with the blue neck band identifying 'delegate' seemingly more in force than at any other point of my festival. 'Delegate' at TGE could mean anything, if could mean a guy who write a more popular blog than this one whose got a press pass, it could mean a an A&R guy for a label or it could simply mean a person with deeper pockets who didn't fancy a queue. The balance of delegate / normal tickets is one that I still think the organiser's need to address...

The reason for the influx was for one of the 'bands of the minute' (well according to my twitter feed and hype machine), PINS, four perfectly kitted out (too perfectly perhaps), good looking girls who can play a bit too. An A&R managers' dream you could say. They've only played about ten shows so far and are a little rough around the edges (not helped by an amp problem) but there are signs that given time they'll be able to follow-up the excitement that their early release caused to new blogs like this. "Eleventh Hour" itself is spellbinding, deep guitar and rattling rhythms recalling some of Manchester's finiest post-punk bands. For now I'll label them as promising and keep following them with baited breathe...

I could call it a night but I don't, I head for a drink at The Latest Music Bar and catch half of The Chapman Family's set. I find myself at conflict. I really enjoyed watching TCF about 15 months ago on tour with The Joy Formidable, yet here they start with four new tracks out of five (which in itself is no big deal) but when performed by a rhythm section that I don't recognise as TCF (their old drummer and bassist left amicably last summer) and instead see fresh faced, immaculately dressed lads I'm not sure what to make of it. TCF 2.0 is an entirely new band and I'm not sure where I stand with them. My time runs out and I head over to see my last act of the night Curxes...

The place, Riki Tik's is not a live music venue at all, it's full of drunks dancing to intolerable dance music. I'm expecting a car crash. Curxes take the none existent stage after a bouncer pushes a few people who keep trying to tumble into the keys and then you realise the sound system is shit as well. The band are really up against it, really. They perform admirably though. Roberta even ventures out into the crowd and intimidates a few people twice her size, her voice as strong and powerful as I expected. It's a shame my first Curxes experience had to be like this but I leave with enough there to know they'll be more to come and in venues where music is not a byword for overpriced piss-water lager.

I even manage to avoid the chip shops on the way home, Friday was a success...

The Great Escape 2012 - Thursday Review

For another year The Great Escape has come and gone and after a days recovery, some decent sleep (although to be fair, after staying in a hotel bed for three nights with hot showers every day it's hardly post Glastonbury syndrome) I'll attempt my review of the festival over the next three posts...

2012 was a good year, for me it wasn't quite the same vintage as 2011, that's partly my own fault for making a few scheduling errors across the weekend. The weather was good, very good on Friday and gorgeous on Saturday (if I wasn't in some dark, dark dive for most of the day that is) and the beer was of varying quality (highest marks go to The Fishbowl's 'Laines' and the Pav Tav's £2.50 EPA (although that didn't exactly taste great).

Other general observations see similar complaints to last year, the text / update service was arguably worse - there were a few unavoidable cancellations / delays and very few were actually announced in advance, it doesn't help to arrive at a venue to find it running an hour behind or worse the act you were after seeing not even playing. I know it's impossible to tell everyone around Brighton but a message via the text service / twitter / facebook wouldn't take more than a minute...

Anyway grumble aside, I arrived in Brighton at about half eleven on Thursday and headed straight to Blind Tiger, or Hector's House as it was formerly, formerly known and something impossible to remember last year. I find the stage has been moved and a lick of white paint makes the room feel cleaner and larger. The first act of my (and many others, for the room is pretty busy) Great Escape 2012 is Canada's Slow Down, Molasses, a band I'd not heard of previously but whose blend of alt-rock is quite pleasing, built around sprawling guitars and two drummers (though one did seem to just mirror the other) there are loud, thumping moments interlaced with euphoric choruses and also slow-burning, dreamier sections. The last track where the female keyboardist performed vocals particularly pleasing (says the blog writer with an obvious tilt towards female led indie/pop!).

I probably should have stayed there longer to enjoy more on the Canadian showcase but I was carrying my luggage and starving so menial chores of bag-drop and lunch take president before returning to music at The Hope, Berlin based singer Dillon is next, the show is rammed with queues outside but after three songs littered with technical problems and poor sound (and even worse beer) I decide I'd rather go somewhere else so I head to The Loft, where I bump into Breaking More Waves and Flying With Anna, Robin is particularly complimentary of the venues last act Giovanni.

Next up for me is Half Moon Run who have a few fans in the crowd but aren't really my thing, I stick with the Loft for Savoir Adore who are build as synth dream-pop and sound none of the sort, the female vocals are soft and harmonious but the band are loud, with rattling beats and shimmering guitars with a male, rockier voice taking primary vocals, I await their dream-pop album...

The pint-sized  Nina Nesbitt is next, I stick around waiting for news about the reason I had actually come to the venue (Ren Harvieu - who's show was cancelled), I'm told Nina has supported Example on tour and it looks like it, the now quite busy crowd watch her quirky guitar led pop. It's pure pop though and doesn't really get me excited, the younger members of the crowd seems into it though and I'm sure there is a big future ahead of her, and perhaps somewhere an album for me as her voice is nice and she's got a good stage presence. I though head for the curry house, one of the staples of a Great Escape weekend in Brighton if you ask me.

The evening starts with a walk to the other end of Brighton and The Green Door Store to catch Deaf Club, I like them, I like them a lot. I expected too as I've featured them on a few times here but sometimes the live show is a different kettle of fish altogether, Deaf Club though are highly polished, soaring, shimmering guitar soundscapes and Polly's commanding vocals engage a packed out crowd with the bands blend of dark, moody alternative pop. Definitely a band to keep an eye on,

Which is exactly what can be said for the next band Cut Ribbons, their guitar lines aren't quite as menacing but the Llanelli five piece manage to effortlessly create a whirlwind of stadium sized riffs with deep bass lines and two guitars which are complimented by thumping drums and wonderful dual vocals, star of the show is Anna Griffiths whose gorgeous accented vocals send lovely thoughts right down my spine. A wonderful start to the evening from two of Wales' finest new exports.

After Cut Ribbons it's a quick exit and trek to the Corn Exchange to watch a band added to the bill just the day before, Savages, perhaps word hadn't got out too soon as the massive hall is only part full minutes before the four piece start. The empty space didn't help the sound in the venue and some of their thunderous beats and ferocious guitars seemed to echo around the hall rather than fill a sweaty room like my previous Savages live encounter.

Yet the four piece are still impressive, they've all got previous band experience by the bucket-load and it shows, they are all incredible at what they do, singling out one individual in this case would be unfair. Blistering through their set in no time at all, the much watched "City's Full" slays the crowd instantly, their intensity (or the audiences attention) doesn't let go throughout the set, Savages set of rhythmic post-punk tracks make them amongst  2012 best new acts, lets not get too carried away though and give them chance to release some music in their own time.

Another quick change over sees me head just around the corner to the somewhat more calmer surroundings of the Unitarian Church for Hannah Cohen, my facebook had been covered with plaudits of her London show the previous day and my expectations were sky high. Hannah didn't disappoint. Primarily a solo show with the addition of piano for some tracks Hannah's gorgeous voice resonated across the room to an impeccable quiet audience, the best received perhaps the singles "Crying Game" and "Don't Say" and a cover of "Blue Velvet", beautiful throughout, it was Hannah who a turned to to send me to sleep once I'd returned to my bed (after three hours drinking in the fishbowl that is).

A fine end to a fine start to The Great Escape 2012. My Friday review will follow as soon as possible.

Palmz #2 - Stay This Way Forever

Facebook / palmz.bandcamp.com/

Despite the rain and gloom that shrouds the weather today, this past weekend showed signs of at last  turning for the better, with warm sunshine instead of grey overcast rain instantly making things seems easier (especially when I happened to be by the seaside), to accompany the sunshine what better than some fun, fuzzy surf rock with retro melodies and jangly pop hooks. There's plenty of places to turn for said musical joy but high on that list for me since I discovered them last October are California's Palmz.

Their early tracks on bandcamp (still available to d/l for free) made such an impression on me that I pushed for a UK release (the 'Grow EP' which came out a few months back on limited tape which you can buy here), now as summertime approaches Palmz are back to melt your hearts and raise your smiles with a new track "Stay This Way Forever", an irresistible ode to finding love in their home-town ("we'll stay this way forever, our love won't die no never"). Upbeat guitars chime around purposeful percussion as Lexie's gorgeous, sugar-sweet vocals cover you with giddy, nostalgic happiness.

Palmz' pretty as a flower melodies will make you forget everything that's on your mind weighing you down and make the sun shine, even on a grey day. They'lll be my soundtrack to summer 2012, they should be yours too.. Listen / download free below:

Alice Jemima #4 - First Love

Facebook / alicejemima.com/

Before I start with my review of The Great Escape festival here's an update on not quite my first love, but certainly one of my latest loves, the exquisite and beautiful Alice Jemima.

The prolific Devon singer-songwriter has shown up here probably more than anyone else in 2012 and here I find myself writing about Alice again after she (for the umpteenth time) causes butterflies inside. The latest of her garageband demo tracks to send me all funny is the aching beauty of "First Love", released whilst I was getting ready to head to Brighton it highlights perfectly why so many of us bloggers have been swept off our feet...

Delicate guitar shimmers and a gently plucked chord rhythm leads the way for Alice's pretty, warming vocals that just like in everything I've heard from Alice so far, it's the deceptive simplicity of her voice / melody combination that shines through. "First Love" is just genuinely gorgeous, Alice's lyrics candid and intimate as she sings to a past love, "you'll always be my first love, but that's the last love, I give to you"... there is good news seemingly for the increasing number of admires as Alice appears to have moved on "There's no point in going backwards, if I can't go forwards with you". Form an orderly line boys...

I make that at least a half dozen wonderful tracks and hopefully news of an EP or wax release is to follow soon. If an MP3 streamed via soundcloud (new listeners can find the rest here) can sound this good, just imagine how warm Alice's voice will be on wax. Hmmm.

Knickers - New Music "Introducing"

Facebook / knickers.bandcamp.com/

As I alluded too in my last post, I'd not heard of Knickers until Monday, I went to watch a few bands on impulse including yesterdays post Cosines (with whom Knickers share a rhythm section) and Fever Dream but I'm happy I stayed around at The Lexington a little longer before shooting off to see I Like Trains' album release show (fantastic - buy it), for Knickers (with use of a chronically band analogy) completely charmed the undergarments off me (though being of the male species I tend to wear boxers).

To save beating around the bush, "Are You Ready Boy?" is just plain gorgeous. Languid guitars shimmers around gentle drum and vocalist Sarah's soft, dreamy vocals. Her words instantly melt your heart, regular readers might already recognise the traits of a sound I'm an absolute sucker for and with good reason, listen to the track below for yourself and fall hopelessly in love...

Just as wonderful is another track on the quintets bandcamp, "My Baby's Just A Baby (But I Love Him So)" playfully sweeps by with an effortlessly cool air, organ keys and ratatat beats provide the rhythms for the infectious blend of 60's girl group pop as Sarah duets with herself the track makes you wish you were at a high school prom with your childhood sweetheart swinging the night away.

"My Baby's Just A Baby (But I Love Him So)" will be available on 7" / download with three other tracks on June 4th via Elefant Records - already excited. Knickers next date in London is Friday 18th May at Wilmington Arms - details.






I'll be in Brighton by the time you read this. I've been snowed under with work / gigs and planning more gigs the last week or so, so there aren't any scheduled post until my return next week.
Here's to some sunshine on the south coast. Hope to meet a few of you there...