Amber

Indie folk-rock quintet Amber met at the University of Nottingham, released their debut EP "Noah" in July this year, and have already been compared to the likes of The National and To Kill A King.



"NOAH" - Amber

"Noah" is their first single and the title track of the EP. For me, it brings in a lot of my favourite things about all of the best folk music to emerge in the last six years (of the dreaded "nu-folk" title). It has the religious references and organic roots of "Peaceful..." era Noah and the Whale, and the rousing choruses and long, joyous "haar's" of a good Mumford footstomper - at the same time, it's a little more heavily produced and there's even moments that remind me of Coldplay.

Looking a little further to find more of their stuff, I came across a cover of Imogen Heap's "Hide and Seek" on their Tumblr, which is one of my favourite songs in the world, and they certainly did it justice, showcasing Joshua Keogh's beautifully melancholic vocals, the addition of drums giving it a chunk of texture. The layered harmonies in the infamous "Whatcha say" bridge, however, don't differ hugely from Heap's original arrangement, and they echo around the earphones gorgeously.

Amber are currently unsigned, but there's undeniably going to be opportunities ahead which I hope they make the right decisions about, and, despite having made the fatal decision of choosing a band name that isn't Google-able, I definitely think there's exciting things ahead for these guys.

More of them here.

Bear's Den announce new EP "Without/Within"

Today Bear's Den, who are vastly becoming one of my favourite bands to emerge in 2013, announced the release of their third EP via a website statement- "Without/Within" is due for release via Communion Records on October 27th this year. They also unveiled a preview of its opening track, "Sahara".



"SAHARA" - Bear's Den

Those that have been to one of their gigs, or seen them play at numerous festivals over the summer will maybe recognise in the tracklisting "The Writing On The Wall" from their live set, and "Don't Let The Sun Steal You Away" was previously released with lead singer Andrew Davie's 2009 project Cherbourg.

"Sahara" I find much more powerful and raw than anything else they've ever released before. With a gorgeously minimal opening sliding down from the simplest of runs on keys, it swells into the most immense floods of instrumental break, with drums that go though you like heartbeats, soft and strong thumps of bass and lyrics that go between articulate and the simple yet brilliant "You said I could never be happy with anyone, but I found love".

If it's anything to go by, following the triumph of "Agape" this is more promising than anything they've done so far, and I'm definitely excited to see their incredible progress continue.

"We packed up all our troubles, in our beloved bubble"

"A STRANGE KIND OF MYSTERY IN THE AIR" - Pete Roe

In March last year, I ended up going to three Laura Marling shows within something stupid like five days, and her opener for that tour was Pete Roe, who you might remember also plays in her band. I remember how the first night I was happily surprised by a support act that I enjoyed and just politely nod along to with an air of impatience. The second night I found myself singing along, and by the third, I was a fully converted fan, knew each song and had bought some of the music.

The way that Pete Roe plays guitar, effortlessly plucks and slaps the strings to create so much dynamic, reminds me at times of Marling too, of Ben Howard and even Leonard Cohen. It's clear from watching him on stage that he's a comfortable showman and has a lot of charisma, he's an exceptional guitarist and his studio recordings incorporate strings gorgeously.

"A Strange Kind of Mystery in the Air" is the first single from Roe's newly released album, "Our Beloved Bubble", and is written about the various occurrences in a Bristol pub that he used to live above.

"Our Beloved Bubble", recorded in Nashville is 2012, is out now, and you can check out some of his upcoming tour dates here.

Live from Jodrell Bank - The Transmissions - 30th August 2013

I’ve wanted to get to a gig at Jodrell Bank – a space station and observatory which is pretty close to where I live, ever since they began their series of one day festivals “The Transmissions” in 2011 – their stage has seen the likes of Elbow, the Flaming Lips and Lianne La Havas. When I heard Sigur Rós were playing I was sure they were the perfect band to play this perfect and slightly bizarre venue.

It was a really well-organised event, with a lively end-of-summer festival atmosphere despite occasional spells of rain and a bit of a different crowd than most festivals – there were a lot of families and it was in general a bit of a richer crowd, though people definitely weren’t cold or unresponsive. The observatory had set up a Science Arena in the adjoining field with demonstrations and stalls, and it was nice if not a little weird being able to escape the main area to eat a tray of potato skins and learn about H2O powered cars.

First up was Nik Colk Void, whose abrasive art-noise effects it is hard to believe are created by just the three members and their intricate electric guitar/bow work. Personally, I wasn't massively into it but could definitely see how what they're doing is clever (and the weird space sound effects along with the bizarre venue made the whole thing feel like being in an episode of Doctor Who for sure).

I'd heard a lot of both good and bad things about Daughter's live performance so was interested to go decide what I thought. Generally, they were sounding great: the project as a whole admittedly rides on Elena Tonra's gorgeous and ethereal vocals - their set had a few hiccups with obvious technical difficulties, and I do feel like whilst they’ve got a really lovely sound going on, they don't quite have the songs yet. Their hit single "Youth", however, definitely had the front rows singing along.

Poliça are from the States, and are at the top of their game, having just released their album “Shulamith” (named after feminist writer Shulamith Firestone) and having had Justin Vernon of Bon Iver call them “the best band I’ve ever heard”. I thought they were great – lead singer Shanny Leaneagh was brilliantly energetic and cool, and their electro synth-pop sound was in general really bright and refreshing.

With some very theatrical control room messages, it was announced that the Lovell Telescope - of 76 metres in diameter and focal length of 22.9m – would be turned around for Sigur Rós’ set. That moment was truly spectacular, the strange mixture of people making up the audience: the families, the kids smoking weed, the girls in flower crowns and middle class couples – staring up at the sky in union and with wonder, like children walking into Disneyland for the first time, and thegigantic radio telescope was revealed in its full frontal glory, to a soundtrack of audio from Jodrell Bank’s footage from the last fifty years, specially selected by the band.

Sigur Rós took to the stage, modestly and their set wasn’t overshadowed, nor disjointed with the spectacular light show that incorporated both the large screen above the stage and the majestic Lovell Telescope behind it. For it was the perfect backdrop for the world they were creating – it was at times the moon, the tide, a shadow moving through golden fields.

And their music compliments it perfectly, because neither imbalanced the other but was one entity. If you listen to Sigur Rós, you’ll probably know what I mean when I say that their music makes you feel like you’re having some kind of profound and epiphanous realisation about something – it captivates your mind, turns any moment into a movie, and the visuals they use in their show illustrate and add to that beautifully.

Lead singer Jónsi’s sings in gorgeous falsetto, his voice is one you can never mistake, it’s just pure as snow and beautifully clean and clear – and during the set he moves between playing guitar, and also flute.

I spent a lot of the latter half of their performance stood near the front, trying to find out quite what their set up is, and all I concluded was really the fleet of musicians that make up Sigur Rós changes throughout their set – at times there being about ten musicians on the stage, with horn and strings player coming on and off.

Highlights included “Hoppípolla”, their biggest hit – to which the crowd response was insanely joyous and warm, and a brilliant rendition of “Sæglópur” – the bass just gives me chills every time.

It was, actually, so nice to attend a show where people’s eyes aren’t utterly focused on the people on the stage– heads turned as lasers and spotlights threw gazes to the trees and the sky – although, sadly, it wasn’t a particularly clear night - and in a way I think it pushed the crowd to pay more attention to the music than actually looking at the band. Sigur Rós truly brought their world to Jodrell Bank, through a whirling technicolour journey of sound and visual, and the life in their set more than made up for the lack of stars.

"The Barr Brothers" - The Barr Brothers

One of the things I always think about music made in Canada is that it has a very definite sense of place to it - I’ve noticed this with folk artists, electro-rock bands and everything in between.  I can’t even articulate that properly, or quite put my finger on what it is – the word “cinematic” comes close. Maybe it’s a product of the fact that it’s not exactly a country where bands rush to tour, or possibly just because parts of Canada are so quiet and serene. It might be that it’s “just me”, and that I picture it as this far away (and maple syrup filled) Disney Land of tranquillity, but there’s definitely a sense of both refuge and distance in the sound that a lot of musicians that spend time over there produce.

To me, the Barr Brothers self-titled debut epitomises that spirit. “The Barr Brothers” was released in 2011 but it seems to be only now that it’s getting a lot of attention here in the UK, with recent radio plays from Lauren Laverne and rave reviews for their shows all over Canada and the States this summer.

Andrew and Brad Barr grew up in Rhode Island, count rock and roll as a big influence, and as kids they put all of their rage, energy and passion into intense boxing matches with each other – now, they channel it into music.

They moved to Montreal in 2005 and began this project, picking up harpist Sarah Page along the way, who Brad met when he overheard her playing through the shared wall of their neighbouring apartments. With the bringing in of their friend Andres Vial to play keyboards, bass, percussion and sing back-up vocals, quarter that is The Barr Brothers was assembled.

The album itself is gorgeous, folky without confining itself to one particular genre – it’s full of different sounds and moods and textures, from the serene and gentle “Beggar In The Morning” to songs with slightly rougher edges, like bluesy “Lord I Just Can’t Keep From Crying”.

They’re about to embark on a six city UK tour, kicking off tomorrow night at the Borderline, London, and will also be playing at the End of the Road Festival this Sunday. You can find out more on their website.

"Life's magical around you"

"I FORGOT TO TELL YOU YOU'RE BEAUTIFUL" - Josh Weller

I was so hesitant to like Josh Weller, mainly because whilst his Twitter account is hilarious 90% of the time, and also occasionally vaguely offensive and sexist, but I cannot help but grin every time I hear this song.

In the video for his new single, "I Forgot To Tell You You're Beautiful", Weller dances around a bedroom in the style of a tacky dating site ad and it's just the perfect summer tune: catchy, playful, a tiny bit kitsch and yet all with a thread of actual sentiment.

And just as it promises: "You'll be lolling in no time."

Catfish and the Bottlemen

Lead singer Van, bass player Billy and guitarist Ben met at school – the origins of their drummer, Dr Bob, remain enigmatic, something Van only describes as “a very naked story.” As a band, Catfish and the Bottlemen aren’t actually that new, but have spent the last year writing and recording together.

Van spent a lot of his early life in Australia, has a love of tacky horror films and, admittedly, only knows four guitar chords - "My friend's brother taught me guitar, and I think he was scared I'd get better than him."

More of a poet, really than a musician, he describes the band’s writing procedure as more of a process than adding than taking away – it’s all about “romantic lyrics” and parts that “hit you hard”. I say that I think “Homesick” does that – go listen to it. The chorus is an argument; enhanced syllables are great big prods in the heart, and the verses softly accompanied by delicate guitar riffs.

“Homesick” wasn’t a favourite of theirs, but when they presented what would have been their first EP,

Their recent UK tour has showed a huge expansion in their fan base – with heartwarming modesty, Van expresses surprise at seeing that people are actually singing along with the lyrics of the songs. His favourite gig they’ve played so far was at Camden Barfly, the end of May. “We’d just been signed to our label, so it was like a celebration”.

The label they’ve joined is Communion Records – founded by the likes of Kev Jones from Bear’s Den, Ben Lovett from Mumford and Sons and Maz Tappuni, radio presenter of Sunday night XFM goodness. Van describes the label not like an employer, but the way somebody talks about an inspiring teacher or older friend. “It’s like a great big family. They’re all musicians, so there’s no man in a suit telling you “This is how music should be.” They really get it.”

That night, I watch them play Wrexham’s Central Station – admittedly it’s spacious, but half of the crowd that there is run to the very front as soon as the band come on, dancing to every track and singing along, clasping their friends’ hands, headbanging, and raising their drinks in the air. I can’t quite tell who these people are – whether they’re big fans, who know and adore all of these songs, or if they just came out for the night and fell in love straight away. And I decide it doesn’t matter.

Catfish and the Bottlemen’s debut single, “Homesick”, came out last Monday and is already climbing the iTunes rock charts, reaching #11. You can buy it on iTunes, or find a vinyl copy here.

"Your tears will speak of love and better times"

"FAMILY TREE" - Meadowlark

At the end of last year, musician Kate McGill, whose 150,000+ following largely came from the Youtube covers she posted when she was a teenager, announced that she wouldn't be making music as a solo act any longer. This March, however, she emerged with Meadowlark, her new band compromised of herself, Daniel Broadley and Carl Jones.

"Family Tree" first demo of theirs is gorgeously dark, nostalgic and so very minimal, nothing but the piano, sinking into minor chords in the verses, a gently plucked guitar and soft, swift percussion; it's a new and original take on folk-pop, yet miles away from the Ben Howards and the Mumfords. Kate McGill's voice is as sweet and youthful as it is filled with the angst and regret that these lyrics spark.

Meadowlark recently supposted Bastille at one of their London shows and are currently working on their first EP, more details can be found on their website.

Recommendations: April 2013

"Fools" - Lauren Acquillina
"Those hardest to love need it most." - a pop song that's beautiful, clean and refreshing, seventeen year old Lauren found fame through the BBC Introducing programme, was recently playlisted by Greg James and though she's being constantly compared to other female singer-songwriters, her sound is so special. Check out her EP, also titled "Fools".

"April" - Imaginary Friend
Imaginary Friend has been releasing tracks every Tuesday from his upcoming album "Fire Escape", due for release on the 14th of May. "April" continues that base of Jesse Epstein's blanket-soft voice, and minimal, acoustic instrumentals that we hear through his debut release "The Imaginary EP". It is lyrically that you can feel how he's matured.

"Riceboy Sleeps" - Jonsi and Alex
A truly unique sound, lyricless, emotional and ambient, this album swirls and dives about the head. Music to read, to walk, or to just close your eyes and breathe to.

"The Expats" - Chris Pavone
A novel in which an ex-CIA officer retires to Luxembourg with her husband, but is unable to commence a quiet life. If I'm honest, I thought there was a lot wrong with this book, only beginning with Americans who act like "Europe" is one country. But it's full of twists and turns, sometimes which you'll predict from the start and groan at and others you just don't see coming

"The Wasp Factory" - Ian Banks
Ian Banks sadly passed away recently, and "The Wasp Factory" has always been one of my favourites - the story of Frank, a lonely and violent teenager. It's just bizarre, revolting, dramatic, and with an extraordinarily unpredictable ending.

Camden Lock Market
Nothing revolutionary at all but I'd never been before a trip to London this month, and spent the most perfect Sunday morning there by myself. An Aladdin's cave of gorgeous vintage clothes, mismatched jewellery, old records, falafels and all that you can imagine.

"if you wanna cut yourself, remember that i love you"

"LOOSE LIPS" - Kimya Dawson

I will not lie: I discovered folk-punk because, like most people, I saw the movie Juno. It is all about the lyrics with Kimya Dawson, and her music is just the perfect soundtrack to that film - it is youthful, confused, simple, charming.

"Loose Lips" moves fast. It's chatty and smart, it's just about angsty teenage years, and politics, and friendship. A chant of "We won't stop until somebody calls the cops, and even then, we'll start again, and just pretend that nothing ever happened", simple chords on an acoustic guitar, it's so gratuitously minimal and peaceful, and words like a comfort blanket.

And another thing, love Kimya Dawson or hate her, her Twitter is definitely one to follow. She's hilarious, and smart, and has a lot to say about life, love, the music industry, and sometimes tweets in haikus. Perfection.

Lost At Sea

"SÆGLÓPUR" - Sigur Rós

It occured to me how little I've written about Sigur Rós on here, which seems so insane, because they're one of my favourite bands of all time. I found out about them when I was fourteen, after hearing lead singer Jónsi's solo work, gorgeous 2010 album "Go". I remember telling a friend about him, one of the first I had who felt like this about music, and he laughed because I'd never heard of Sigur Rós. Then it was "Takk", of course, that was the album that had me enchanted.

It goes like this: I go through periods of not listening to them for weeks and months, then something happens that triggers it. I hear their music in one of the evergrowing hoards of TV shows that chooses to feature it. Or someone mentions them. Or it snows. And then I remember them again, go through long periods when I'll listen to nothing else, and notice new things every time.

There is just nobody like them. Beautiful Icelandic goodness, their music is the perfect companion to an adventure. Twinkling glockenspiel, that piano part and Jónsi's vocals; a caress to your soul, lovely ethereal falsetto - the above song is one of my favourites of theirs. They're so many things simultaneously, orchestral-choral-classical-minimal-cinematic-ambient-rock music.

I haven't written in a while. Except I have, weirdly, more than ever, and listened - I think this month I've heard more music that I've felt like I had to share suddenly than I have in a long time. A notebook full of it, and then I get to the computer to transfer all of this mess and forget how to write. I have no excuse, not even laziness or stress this time, like in the past. And apart from that, in all other areas, I'm happier than ever.

Kick of motivation starts tomorrow, I swear. I have so, so much to tell you.

And I wish you a very happy Easter/Spring time xxxx

"it's a curse of the mind to be sad at night"

On Friday, appropriately enough on International Women's Day, the princess of "nu-folk", Laura Marling, announced the release of her fourth studio album. "Once I Was An Eagle" comes out on the 27th May in the UK, and  the 28th May in the US, produced by Ethan Johns, who worked on Laura's last two LPs. This is "Where Can I Go?", the first release from it.



Marling's website calls the new album a "hugely ambitious record that reflects the dark themes of "A Creature I Don't Know"". The song above confirms this, a melody that seems so gently nostalgic and relaxed, incorporating soft organ that serves as a reminder of Ryan Adams' strong influence in Laura's songwriting. The lyrics contrast this, the use of the same character we hear in "A Creature I Don't Know"'; bitter and worn by love. A chorus that cries out "Late at night he'll come to me and tell me I'm alone - don't you think I don't already know?", it all suggests the point of view of a hardened and broken heart. It breaks into gloriously liberal strumming, that feeling of release that comes with an openly tuned guitar.

"Once I Was An Eagle" is avaliable for preorder here.

"the colours of another sky"

"MEXICO" - The Staves

Jessica, Camilla and Emily Stavely-Taylor are three sisters from Watford, formed in 2010. They work with Communion Records and ended last year wrapping up a tour with Bon Iver, as well as releasing their debut album.

This is their single "Mexico", wistful and longing for both proximity and distance. Their vocals brush lightly over a simple pattern plucked on an acoustic guitar, lyrics that whisper of the past and the future, "Lover, you may cause me tears". It is bittersweet and lovely, so minimal that it sounds almost just casually sung beside a campfire, with only gentle percussion weaved in, every instrument in the song second nature to their voices.

There is this sense of togetherness and perfect precision you hear when families sing together in flawless harmony, and that isn't missing in the sisters' music; their voices run together perfectly, like streams into a river into an ocean.

Their first album is "Dead & Born & Grown", and was released last year, and you can find more of them here.

"our love was made for movie screens"

"ALL I WANT" - Kodaline

Kodaline are from Dublin, currently unsigned and previously made music under the name 21 Demands. "All I Want" is their most recent single, released in late 2012, the first from an upcoming album.

This is one of those songs that fills a gap you didn't know existed. Something that could be just one more break-up ballad, another to the list of thousands of love songs that have been written, it's not. It's special because it is itself. Lyrically, it is simply leaking straight from the heart sorrow and honest desperation.

This isn't the music video for, "All I Want", but that too is just as creative and wonderful. This performance is just four guys, in a big empty room, filling it with the same amount of bursting noise and atmosphere as an entire orchestra, just as acoustic music should be equally able to. The swinging light bulbs and perfect timing of everything make it as visually stunning as it is to the ear, that moment around 3:20 where everything just explodes, stomping feet and beautifully powerful voices shining as bright as the lights.

Bear's Den - Tuesday 12th February 2013 - The Ruby Lounge

Agape - a.ga.pe - Greek noun, one of the "four loves", a sacrificial love felt for one's children, spouse, siblings. A love that is divine and unconditional.

Bear's Den are Andrew Davie, Kev Jones and Joey Haynes: I've written about this band a few times here before, I've listened to "Pompeii" lots over the last few months and can't quite remember where I found it. With the upcoming release of their EP "Agape", I've started to listen to them more and more and went to see them play at The Ruby Lounge in Manchester this week.

Support came in the form of Honey Feet, a band I think are Northern Irish made up of the odd and surprisingly perfect combination of a vocalist/flautist, guitarist and saxophone player. Their music they admitted was "miserable" except it's great, seeming to combine Gaelic folk with jazz and choral blues, elements of joy in there, despite finishing with a song about cannibalism. Joe Banfi followed, a beautiful guitarist similar in style to Laura Marling and Ben Howard, his voice is so strange and the addition of slight reverb effects on the microphone gave it an almost eerie level of distance and grace. He played a quieter, softer cover of Nirvana's "Where Did You Sleep Last Night?", and original songs, including lovely "Olive Tree" and "Nomads", from a recent EP of his, which is dark and ghostly as it is gorgeous.

Bear's Den took to the stage, opening with "Agape", the lively and reminiscent title track from their newest EP, full of life and heart. Like so many folk-rock bands, blossoming out of this fast developing genre,  Bear's Den are a whole when they play; they're just perfectly in time and in sync, make a lot of eye contact, and just seem to know these songs and each other in and out. It's something you notice in Noah and the Whale, in Johnny Flynn and the Sussex Wit, and the Mumfords of course, that sense of connection through music.

They are, most of the time, a rhythm guitarist who is also on vocals. Their drummer is also their bass player, sometimes the two at once, and their lead guitarist switches between this and banjo, all of this making extraordinary amounts of noise and atmosphere for three people.

"Isaac", from their new EP, is completely beautiful, a message of devotion. "A father's love must be earned" - it's full of uncertainty as much as it is full of love. Their music is foot-stomping, heart-warming folk, their lyrics rich and riddled with tales. "A Year Ago Today" talks of standing outside a courtroom beside someone, a song about family and pride.

"Pompeii" is about the loss of a family member, talking of both the dark and the light sides of grief. The band seemed genuinely surprised when they announced they were about to play "Pompeii", and the crowd cheered, saying it was so strange to them that people know these songs. Some songs are just meant to be heard and played in a crowd, however big or small as long as people are all feeling it at once, and it was incredible to be a part of that in this little bar, everyone singing like a mantra;

"Don't cry, hold your head up high,
She would want you to, she would want you to."

Bear's Den's EP "Agape" is released this March. There's still dates left for them to play on their UK tour and they're headed to the States to support Mumford and Sons this summer, more information avaliable from their Twitter.

David Bowie - New Album and Single!

You will have heard this all over today already, but today, David Bowie's sixty-sixth birthday, he announced that the first album he has recorded in ten years will be released in March. Completely out of the blue.

David Bowie's new single - it feels so weird to say this - was released today.



"WHERE ARE WE NOW?" - David Bowie

About Bowie and I... honestly, his music was not really a massively acknowledged presence in my life until I was fourteen and my friend I met that year listened to him all the time. He was one of his most beloved musicians, and it was him who made me actually listen to all of his records and not just "Space Oddity", "Dancing in the Street", "Changes" etc. It is needless to say David Bowie is fantastic and "Heroes" particularly has been a part of my life.

"Where Are We Now?" shows a shift in his sound, though clearly the same elements as his old music running through, there are changes both audibly in his voice, and in the song and its style. The video is already iconic and its story an enigma, the song itself both warm and heartbreaking, its lyrics full of sorrow and conclusion. As well as being a talking point, it's just beautifully unexpected, an amazing song with lots like it to follow, I hope.

It's a really weird thought that this morning I woke up having no idea this would happen today.

"Where Are We Now?" is avaliable on iTunes, and the new album scheduled for March release.

"if you need to cry, then cry, cry, cry"

"HANDWRITING" - Emily and the Woods

Emily Wood grew up in London, amongst a family of musicians, and began writing music and learning guitar whilst she was at university in Exeter

The way "Handwriting" opens is fuzzy and blurred, like a crackling voice on the other end of the whole, and fades into your ears. Growing soft guitar chords and horns, she sings  Later, the drums kick in. I love how soft and vast it is at the same time, and the little crackles and tremouring noises that sandwich it either end.

It sounds like long bike rides over the summer. It sounds like brushing your hair and shutting your eyes and trying to concentrate on breathing.

It sounds like running out into the hills, or into the city, or just anywhere where nobody can find you.

This is from her gorgeous EP, "Eye To Eye", which was released in 2011.

"hold her head, two years, every night"

"THREE POINTS ON A COMPASS" - Martin Rossiter

Martin Rossiter was the frontman of Gene, 90s rock/Britpop group, known for "For The Dead" and "Olympian." After eight years of silence, he came back with his first solo release, The Defenestration of St Martin, in November 2012.

"Three Points on a Compass" is just a piano and Rossiter's vocals, perfectly rough and delicate and scratchy. It is minimalist, instrumentally so simple, nothing distracting from his voice and those words, lyrics that are thoughtful and full of regrets.

"The only thing,
I got from you,
was my name."

It ends with the most gorgeous piano solo, climbing up to the higher octaves, its melody reminiscent, almost, of jazz or lounge music.

"Three Points on a Compass", and the whole album, are available here.

Mumford and Sons - Friday 7th December 2012 - LG Arena, Birmingham

Mumford and Sons are considered one of the bands that the increasingly popular genre that so frequently gets referred to now as “nu-folk” stemmed from. They are Ben Lovett, Marcus Mumford, “Country” Winston and Ted Dwane and long with the likes of Noah and the Whale, Laura Marling and Johnny Flynn,  the four of them met amongst a circle of musicians in a London folk club that became a community and wrote together, played in each other's bands et cetera. Their name is chosen for its similarity to that of an old English family business.

They didn't stay small. Now, they win Grammys and fill arenas and perform in the White House.

I was late to the party with Mumford and Sons, buying "Sigh No More" in late 2010 but I fell in love with their music so easily, and consider them one of my favourite bands. Their first album is rousing folk-rock, revolutionising the banjo and the mandolin, glittering with lyrics that frequently reference Shakespearian literature and the bible. "Babel", their second release from September this year, follows the winning formula.

The LG Arena that night was so profoundly their's, decorated with trademark strings of fairy lights hanging over the crowd and the Gentlemen of the Road logo across the curtain, the four red flags that symbolise their new album hanging gratuitously above the stage.

Support kicked off with the unenthusiastic, witty and completely hilarious Piff the Magic Dragon, who entertained the crowd with magic tricks. He was followed by Post War Years, a band that brought together rock and electronica in a set that had the crowd dancing. The third of their opening bands were Dawes, a band from Los Angeles that carry reminders of both Dire Straits and Ryan Adams in their music, but you can also hear Mumford and Sons in them. After this, Piff the Magic Dragon came on for a second set, bringing with him this time a chihuahua.

At nine pm, the lights went down, to huge amounts of applause, and those first piercing and sharp chords of "Babel" shone out through the arena. And the curtains came down.

The crowd were open-hearted and loud, singing along with every word of "Babel". Seeing Marcus, Winston, Ben and Ted for those first few minutes was completely surreal, it never feels quite real when I see a band play for the first time, especially when their voices and their sound has been along with me every day for years before. They brought so much life and energy to the stage from those first few moments.

"I Will Wait" is all jangling guitar rhythms and rousing choruses; it had the whole crowd dancing, and there is something special about crying out "Raise my hands, paint my spirit gold!" aloud, along with a giant arena full of other humans, doing and feeling the same. For "Winter Winds", a song from the first album, Marcus took on an electric mandolin, and every moment of it reminds me of Christmas. "Below My Feet" is thoughtful and soft, with more of a focus on keyboard than most other songs, during which they sing together in perfect harmony. Those moments in which all of the instruments stop, leaving the room alone with the four guys and their voices, were some of the most beautiful of the night.

This was followed with "White Blank Page", beautifully bursting with passion and anger. Tonight, they said, was the third time only they had played "Hopeless Wanderer" to an audience but like everything else it was flawless, rousing feet to dance and warming hearts' cockles with contagious melodies and beautiful words as hands slammed violently and impossibly quickly across strings.

"So when your hope's on fire
But you know your desire
Don't hold a glass over the flame, don't let your heart grow cold,
I will call you by name, I will share your road."

This intense spell of energy was followed by "Timshel" - the song entitled after an old-English word meaning "thou mayest", a moment of quiet and beauty. It's a song that always reminds me of Christmas. "As brothers we will stand and we'll hold your hand." 

"Little Lion Man" was That One everyone knew the words to, the whole crowd chanting the chorus from the bottoms of their lungs. "Thistle and Weeds", strong and stormy and loud, blew over into "Ghosts That We Knew", the most tender of melodies, a comfort blanket of a song, sounding so fragile though it never could break.

"Lover of the Light" was one of the most beautiful moments of the night for me, and there's a particular banjo line in this one - you'll probably know which I mean - that tangles right through my heartstrings every time. During this song Marcus went over to drums.

Support band Dawes came back on to join them for "Awake My Soul", as did Piff the Magic Dragon who helpfully fed Winston Doritos. That song sounds like the walk you take that makes you think differently, or just like breathing in fresh air. "Roll Away Your Stone" is playful and loud and full of life, has your feet stomping. "Whispers in the Dark" is romantic and swings between the loud and the quiet.

I was so pleased that they played "Dust Bowl Dance", a song different to all of their others, it is a ballad in the traditional sense that it tells a story. It is dark, growing in pace, lyrics that talk of betrayal and, most of all, of revenge, complete proof that folk music does indeed rock out a lot.

They left, and then, for encores, emerged on a smaller stage right in the middle of the crowd, just the four of them crowded around one acoustic guitar. They sang "Where Are You Now?" in gorgeous four part harmony, the tale of someone lost without a trace. This moment of peace and quiet continued with "Reminder", before the band headed back to the main stage and played "The Cave", a song that's become an absolute anthem. It was a moment of complete communion, and assured me however big this band gets, however big venues they are playing, it does not mean there will be distance. Where I was that night, squashed up in the front row, the room felt tiny and everyone close by.

They brought Dawes back on for the last song, a cover of the Beatles' "With A Little Help from My Friends" which was both brilliant and hilarious, Ted and Winston leaning towards the mic in unison to sing backing vocals and Marcus and Dawes' vocalist both singing lead.

Mumford and Sons had as much heart and enthusiasm in the huge LG Arena than they would have playing in a tiny venue where everyone was quiet or a pub where nobody would listen, I'm sure, because you can tell so easily that they just love doing this. They breathe life into their music, they stick with their roots and explore at the same time, and I don't think this is going to change, however "mainstream" or not they are considered. The idea of "Mumford and Sons" as an old English family business completely defines and influences their music, carrying all the values of something shared through love, pride and community. 

***
A Really Slushy Note:
This took two days to make myself write because I have these childish feelings of not wanting it to be over, wanting to cling on in every way possible and blogging about a concert is always sort of like the last step in the process for me. I've loved Mumford and Sons for two years and during this time I have had a lot of almosts in terms of getting to their shows and then being disappointed. When I was fourteen one of my friends went and my mum didn't let me, because it was on a week day, it was too far away for me to go on my own, various other things that didn't seem sensible at the time and to be honest still don't really. Then earlier this year they were in England when I was in Hamburg, which was really frustrating. So it didn't seem real when we finally got tickets in October. It was in a lot of ways nothing like I thought. I wasn't there with the person I thought I'd be going with, and they played songs I didn't think they would, and vice versa didn't play songs I would sure would be on the set list. It didn't matter, it was really perfect.
I want there to be a neat way to conclude this but there isn't. I suppose what I'm saying is, that band you are waiting to see that you listen to every day, it is so worth it to keep trying. Even if you live on a tiny goat farm somewhere and you need to travel, or it means you have to cut back on spending on other things for a while.
It is worth it. Honest.

I hope you're all well. I'll be back really soon.
Sincerely, with post-gig depression and a heavy heart,

Lizzie xxxxxxxxxx

"my love is in the water"

I don't really know how to begin to tell you about Bo.

You might remember, I went to see her play over the summer, in a tiny venue in Islington, and it was just one of the most magical nights I've experienced. It sort of changed my life. That sounds very teenage girlish, very melodramatic, but it did. I still think about it every single day. Bo Bruce is not the typical contestant that emerges from reality TV contests. She writes from the heart, beautifully and honestly. This is not demonstrated more than in "The Fall", a collaboration with Johnny McDaid, which she released today. It is here.



"THE FALL" - Bo Bruce

It's gorgeous, and I was so pleased to see that the studio version of the song isn't much more than the simple piano arrangement it carried when I first heard her play it. Filmed in the woods in Wiltshire, where she grew up, everything about this song is personal, honest and so incredibly brave, and visually, this music video is stunning, the costumes, the forest and the fire are nothing over-clichéd. Her voice, the way she looks and the way she puts across her thoughts into music are beautiful in all ways.

I am so sorry for the lack of eloquence today.

Bo's album is due out early next year and wrapping up recording at the moment. She is working with heroes and friends old and new, including Danny O'Donoghue, Joel Pott, Johnny McDaid, Henry Binns and many more.

And for now, "The Fall" is avaliable for free download, for limited time, here.