Download Festival 2022 – KISS REVIEWED!

© Matt Higgs for Download Festival

The stage is draped with an enormous KISS banner, the sides flanked with KISS ARMY insignias, and the roof a hive of ring shaped lighting like something from sci-fi. Giant inflatable metallic effigies of the band members stand either side of the stage, blowing in the wind threatening to squash the puny worshippers below. As a tape begins to roll on the screens, of the band making their way through dressing rooms and corridors to get to the stage, I can’t help but giggle. We’re in a field, miles from anything solid, with only tents and tour buses back there. It’s all part of the KISS schtick though isn’t it.

“You wanted the best, you got the best!” yells Paul Stanley, aka The Starchild as a rain of sparkly pyro falls from the centre of the stage and the banner is dropped. As usual, they are dressed to the nines in, well, quite possibly bigger than nine-inch platform shoes and their signature shiny glam get-up – and there’s a part of me watching this, that is just a bit sad that nothing comes after this. We won’t witness this level of ridiculousness again, it’s an ending era. KISS are known for keeping it strictly performance. They have a script and they rarely step outside of it, which is professional I guess, if a little wooden sometimes. “This song is about putting something in your mouth…” comes before they drop into ‘Lick It Up’ but it’s the same sentence we heard last time we saw them here. I’m not sure whether I enjoy this from a nostalgia perspective – like re-watching your favourite movie when you feel down – or if I wish they’d break character just once, for this one final time.

‘Calling Dr Love’ is followed by ‘Tears Are Falling’ and then the more recent ‘Psycho Circus’ pulls up to a long drum solo from The Cat, who is raised up onto a giant platform. Presumably giving the other band members a much needed breather. I don’t hate it, it isn’t obscenely long… but the following instrumental really is. The solo is another thing from an older time, new bands don’t do it, or it’s a few seconds while someone grabs a drink. Another nail in the coffin of what it meant to be a headliner.

Luckily the band put on a great show regardless, Gene Simmons bleeding from the mouth whilst flapping his monumentally long tongue is an image burned into the rock retina for life. Jamming his iconic axe shaped bass whilst high up on a platform amongst the mysterons covered in images of his own face… you can’t get more Gene than that really.

“It’s the last time we’re gonna be together… and because it’s the last time, I’m gonna come out there and be with you. But you have to invite me… count to three and say my name…” calls Stanley, despite the fact that this is precisely the same way it went down the last time they played here, which obviously many of the fans remember all to well. Regardless, it is really fun to see him whizz from the stage to the sound tent on a circus ring zip wire to play ‘Love Gun’, and the epic ‘I Was Made For Lovin’ You’, amongst the sparkly light of a giant projected disco ball.

Closing out with three song encore, the end finally comes with ‘Rock and Roll All Nite’. Big inflatable KISS branded beach balls are thrown into the crowd, ticker tape explosions go off, and fireworks erupt from the top of the stage as they lament “We’re gonna miss you so much, we bow to you. It’s so special every time we come here”. Now, plenty of bands have said it’s their ‘final show’ before (cough, Aerosmith, cough Black Sabbath). KISS have been one of them… over 19 times according to Steve Tyler. This time though, it really does seem like they’re done. Some of the vibrancy was missing, it was too rehearsed.

It’s testimony to their skill as musicians and performers that the show was still great, and I will be forever sad that my child won’t get to remember seeing one of, if not the most iconic bands in the world, but maybe it is time to open the gates for new things. KISS have done thousands of gigs, sold millions of records and have the weirdest and most diverse collection of merch on this earth (KISS condoms anyone?) so… fair play to them. I’m glad I was here for the last show… probably.

Bowling For Soup @ Cambridge Junction 23/05/2022

Monday evenings are usually fairly quiet but not for Cambridge. Bowling For Soups Jaret and Rob are at the Junction for a seated sing-a-long show with support acts Lacey and Tom Felicetti of Don’t Panic.


Walking into J1 was very different for the show as its the first time I had been in there for a seated event. There was something nice about it though so you could relax with your favourite drink and enjoy the music. On stage there were banners with edited family photos with Jaret and Robs faces on and a table and chairs.


First up are Josh, Dave and Graz from the UK Alt-rock band Lacey. The trio played a stripped back acoustic set and also mentioned its a sing-a-long show so played some well known clips from songs such as Im Not okay, Sugar Were Going Down, The Middle, Teenage Dirtbag and more. The band closed their set of their set with a song that the audience could sing to aswell The lyrics were ‘We’re still young just older now’.


The second support act is Tom Feliicetti from Don’t Panic who was joined by members of Lacey to back him. He is also the brother of Bowling For Soups bassist Rob Felicetti. This was Toms second ever time playing a show in the UK and he said he found it weird playing acoustically. Tom made the audience really laugh as he was learning things about the UK. He asked everyone what ‘Dogging’ means and mentioned if it was fun and if anyone wanted to take him. It would be great to see him play with his whole band someday.


After a short interval the two members of Bowling For Soup entered the stage and sat on their chairs with drinks on the table. Later on we found out that Jaret was drinking loads of vodka but not Russian as they Rush it which was one of his many jokes of the night. The first song was Trucker Hat which was taken well by the audience. During the evening there were facts about the band and jokes as well. Jaret mentioned that ‘The Bitch Song’ was written about an ex and that it saved the bands career. ‘Stacey’s Mum’ which was originally sung by Fountains Of Wayne also made them a lot of money as they covered it and everyone thought they were the original band to release the song.


Throughout the night one of the crew members named Daniel kept bringing out drinks for Jaret and Rob and got the hugest applause. The duo played many songs including the big hits. It was overall a great evening of live music from three fantastic acts and I would recommend seeing them all if you get a chance.


Bowling For Soup are due to {Jaret told us] play the UK again later this year on their next tour!!

Photos By Kane Howie Photography

Agents of Time release excellent new “The Mirage” EP on Tale Of Us’ Afterlife

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Agents Of Time return to Afterlife with two heartrending audio expeditions.

Italian act Agents Of Time have established a sterling reputation over the years. Their mesmerising approach to club music blends emotive melodies and transcendent rhythms, with dance floor-centred beats.

The Mirage EP begins with its title cut; enveloping the listener is a swathe of atmospheric synth and pad work from the off. Oscillating frequencies complement the sultry rhythms while a life-affirming riff forms the stirring centrepiece. On the flip ‘Northern Lights’ is a sensitive, emotive composition which gradually increases its emotional impact as it builds and evolves.

Artist(s): Agents Of Time
Title: The Mirage
Record Label: Afterlife
Cat.Number: AL062
Release Date: 18th February 2022

Tracklisting:
1) The Mirage
2) Northern Lights

Highly rated French artist Space 92 releases new “The Door” EP on Reinier Zonneveld’s Filth on Acid

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Space 92 is the latest artist to land on the unstoppable Filth on Acid label with his three track “The Door” EP. Stay Filthy on Acid NOW!

This hit producer was Beatport’s top selling artist of 2020 and has already had 2 number 1’s on Filth on Acid in the past, with Atlas, and The Game. Here he shows off his skills and heads into 2022 on another wave of goodness.

The Door opens up with fizzing synths and blisteringly tough drums that will rattle walls. Its got searing synths and an all consuming sense of dynamic groove that never lets up. Luna is a similarly potent track with thunderous claps and epic bass, all driven by more super solid kicks.

Cyberspace then closes down with futuristic synths, searing synth loops straight from a 90s video game, and whooshes of white noise and blasts of bass that bolster the grooves.

This is a vital new EP from Space 92.

Artist(s): Space 92
Title: The Door
Record Label: Filth On Acid
Cat.Number: FOA107
Release Date: 28th January 2022 [Beatport exclusive (2 weeks)]

Tracklist:
1) The Door
2) Luna
3) Cyberspace

George X drops Slice of Life EP

EP Drops 19/11 via Do Not Sit

Artist: George X
Title: Slice Of Life
Record Label: Do Not Sit on the Furniture
Cat.Number: DNS0TF053
Release Date: 19th November 2021

Tracklisting:
1) Slice Of Life (Original Mix)
2) Slice Of Life (Powel Remix)
3) Closer
4) The City Of A Thousand Colors

We’ve been fans and friends of George X’s refined productions and well executed vocal arrangements, and pleased to welcome him to Do Not Sit with the brilliant 9 minute opus, “Slice Of Life”. Featuring delicate vocals, George naturally crafts the notes and lyrics in perfect harmony.

Two additional singles are included on the EP—the more upbeat tone of “Closer” in contrast to the melancholy mood of “The City Of A Thousand Colors”

Sweetening this already abundant package, Berlin’s Powel returns to Do Not Sit as a remixer by giving the original “Slice of Life” his own treatment, an elegant and rich interpretation from this master producer.


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Fontaines DC – Southampton Guildhall. 11 October 2021

Review – Graham Tarrant

Fontaines DC came on stage at Southampton’s Guildhall with a deserved confident swagger. Commencing with ‘A Hero’s Death’, the song heralded singer Grian Chatten’s anxiety that their follow up album not being able to match the swift instant success of their debut.

With both their debut albums nominated for the Mercury Music Prize, these fears were in vain, and the band certainly warrant their hype. It’s no wonder this show sold out with Dublin’s finest post-punk band having headlined their first festival this summer. Despite the pandemic still raging on, it was great to see the venue full again, with the necessity of covid passes or a negative lateral flow-test to gain entry should you have been lucky enough to get a ticket early.

Comparisons with The Fall would be easy to make, but lazy as they’ve outgrown this as they made clear singing ‘ Don’t Get Stuck In The Past.’ There is more than a hint of The Pogues lyricism mixed in for good measure on tracks such as ‘Roy’s Tune’, mixed with the ferocious energy of Joy Division’s on ‘ Hurricane Laughter’ and ‘Televised Mind.’ In fact, the singer has also perfected late Ian Curtis’ stare as he prowled the stage. 

Leaving the stage for the first time to rabble-rousing anthem ‘Boys in the Better Land’, Grian sang ‘If you’re a rock star, porn star, superstar, doesn’t matter who you are/Get yourself a good car and get out of here’.

Hopefully more venues in Southampton will be full again soon, but this will certainly be one of the gigs of the year in the city no matter what.  

The Vaccines @ Cambridge Junction 29/09/2021

With the global pandemic bringing the music scene to a hault, this had prevented music venues from opening throughout the majority of 2020 and some of 2021. It made a huge impact on keeping the music scene alive for a lot of places. The National Lottery decided to bring out ‘Revive Live’, a boost for the entertainment industry to bring big bands and artists to play at smaller, grassroot venues in which all have started out at to become who they are today. Venues across the country have seen the likes of Sir Tom Jones, Rag n Bone Man, Twin Atlantic and many more.


For Cambridge Junction they have had a few of the artists playing there but Wednesday 29th September saw The Vaccines performing at the venue in J1. This show is a very intimate one as the band have just announced they are doing a tour next April which sees them playing places like Wembley Arena which is a lot bigger capacity.


Supporting The Vaccines were two piece Icelandic band called BSI. On drums and vocals is Silla Thorarensen and bass guitar and toe-synths is Julius Pollux Rothlaender. The duo play anti fascist punk music. What stood out for me with them was Silla’s microphone being an old telephone adapted into a microphone and Julius using his toes to play synth and on the neck of his bass was written ‘No Borders’.


Behind the band was a guitar case with BSI painted on it and then a little sign saying refugees welcome. The crowd seemed to enjoy the duo. They wrote their EP during the height of the pandemic and released it back in May. The tour was the first time they had played in the UK. It will be good to see the duo back in the UK again soon.

With a short interval the crowd are eager to see The Vaccines to perform. Around the stage is tall light sabre like lights scattered around the area. When the lights dim on comes the famous Pulp Fiction intro music by Dick Dale. First song to be performed is ‘Wanderlust’ which off their latest album ‘Back In Love City’. Frontman Justin is rocking the whole stage with his glaring eyes into the crowd and reaching out with his hands.


During the night there is new and old music including ‘Post Break Up Sex’, ‘Headphones Baby’ and ‘If You Wanna’. Justin mentioned that the band have not played the Junction since 2011 and the area had changed since then. Also he thanked BSI for supporting them on their tour.

Just before the encore the band perform ‘XCT’ which is apparently their favourite song to perform live in which I found out on a recent Instagram question time.


After the encore drummer Yoann Intonti comes on drumming the beat whilst the rest of the band set up and hit straight into Wreckin’ Bar (Ra Ra Ra). To finish the night was the performance of ‘All In White’. This will be a night that everyone will remember.

Photos by Kane Howie Photography

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End of the Road 2021 – Review

End of the Road is a festival for people passionate about music. Set halfway between Salisbury and Blandford in Dorset, this years festival didn’t disappoint. With such an eclectic mix, it was appropriate that the main tent was sponsored by the ‘Loud and Quiet’ independent publication. No two words at each end of the musical spectrum sum up the performances over the magical weekend.

Stereolab headlined the Thursday night, with their first set since before the pandemic in March 2020. Clearly the bandhad initial stage nerves, but launching their biggest hit, French Disko, they renamed it ‘F**k the Daily Telegraph‘, presumably due to the chorus ‘La Resistance‘. Long gone are the days when festival would be three day affairs beginning on the Friday – such is the power of End of the Road’s attraction that they can attract such talent when people used to be accustomed to setting up their tent and perusing the merch stalls on opening night.

The political messages continued into Saturday morning, with the Mark Jenkin’s film ‘Bait‘ starting proceedings for the day. One of the defining British films of the decade, it portrayed beautifully the war between the local Cornish fishermen and the gentrification of the once-thriving village by rich city folk. Welsh musician Gwenno accompanied the film in person with a mesmerising score.

© Graham Tarrant

Later in the day as the sun began setting, Damon Albarn appeared as special guest on the main stage. Clearly enjoying himself and goofing around onstage, he mixed solo material, Gorillaz and The Good, the Bad and the Queen tracks, it was an impressive addition to the bill. Finishing with classic Blur song ‘This is a Low‘, it was a difficult act to follow or compete with. The only downside was that while Damon played the main Woods stage, Arlo Parks was booked to play the Garden stage at the same time – such a crime for there to be a clash pulling fans apart when people still haven’t developed the ability to be in two places at the same time. Still, she was booked over 12 months ago to play in 2020 so it shows the astute ear and crystal ball the organisers have for upcoming talent.

© Hot Chip

To beat Damon and Arlo Parks, the festival would have to pull out impressive headliners. And they did.

Hot Chip and John Grant would later be booked at competing stages as headliners on the same evening. Having chosen to see Hot Chip, it would have taken an unreal performance to have stolen the show from them. They were simply on fire with arguably the best headline show of the summer at any festival. This may sound like over-the-top praise, but in addition to their own classic pop and funk, they mixed in the mosh-pit frenzy of Beastie Boys classic ‘Sabotage‘ and finished appropriately with Springsteen’s ‘Dancing in the Dark‘.

Saturday began again with another Welsh six-piece, Melin Melyn – with catchy eccentric pop with a country twang. Joined by Dr Sausage onstage with a fake wig, beard and easel, they felt like a fresh new Super Furry Animals.

Dr Sausage – Melin Melyn ©Graham Tarrant

Later on Saturday, Anna Meredith dazzled the crowd with her self-defacing charm. Her music straddled so many different genres it would be unwise to categorise her, but she is a must-see on any lineup. Finishing with an unbelievable cover of ‘Enter Sandman’ which Metallica would have been proud of, it’s clear why she was even awarded an MBE on the Queen’s honours list in 2019.

Making a rare solo performance, Radiohead’s Jonny Greenwood followed on the Garden Stage. Introducing a number of classical songs from soundtracks to There Will Be BloodPhantom Thread, and You Were Never Really Here it was a unique concert experience. He’ll be playing a number of cathedrals and concert halls throughout 2022 and the acoustics in such venues will make this an exceptional experience.

Sunday began with a had a hard rock feel with Oldboy and John taking to the Big Top. Ear-splittingly loud, the two-piece (both appropriately called John), highlight how many exciting bands are currently out there, from Slaves, Royal Blood and IDLES.

Later, Porridge Radio took to the same stage, with singer and lead guitarist Dana Margolin rinsing her head under the tap multiple times before taking to the stage due to the sheer heat on the festival site.

Porridge Radio – © Graham Tarrant

Clearly it was a beautiful weekend on the festival site, and the peacocks rummaging around the grounds added to the beauty of the weekend. Simon Amstell’s comedy performance even described the crowd as the ‘forest people’ which was apt due to the magical transformation Larmer Tree gardens took for the weekend.

Heckled by sheep in the field behind, it was hard not to laugh at many of the comedy performances throughout the weekend.

Finishing off the weekend were Black Country New Road, with someone in the crowd shouting ‘you’re the best band in the world’ – not quite yet, but watch this space.

Little Simz followed and arguably the rapper should have been booked as a headliner, such was the power of her performance. Her album is entitled ‘Sometimes I Might Be Introvert‘, but that personality was not on show today – she was here to party in style and show the world, or at least Dorset, what a star she will be.

Little Simz – © Graham Tarrant

After Little Simz, watching Arab Strap showed the contrast of the festival. Aidan Moffat’s very dark but humorous lyrics painted him as a grumpy old Father Christmas, and it was clear many in the crowd didn’t see the comedic elements of the Scottish legends.

With many bands booked throughout the weekend having to cancel either due to Covid or travel restrictions, 2022 at End of the Road cannot come soon enough. With legends and Bowie favourites Pixies expected to headline, the next twelve months can’t pass quick enough so we can all head back to this incredible unique festival.

Words & Photos: Graham Tarrant

Victorious 2021 – Review

The definition of the word ‘Victorious‘:

‘Victorious’ – /vɪkˈtɔːrɪəs/ – adjective – having won a victory; triumphant.

Based on this definition, the name is definitely appropriate to this years festival, returning to the coast at Southsea in style, with an impressive line up and glorious sunshine.

The Lottery Winners kicked off the proceedings and it was good to see they don’t take themselves too seriously. Ferociously catchy songs were the perfect starter to get the crowd warmed up. On a similar note, Terrorvision followed and it was pop-rock all the way, culminating in the crowd singalong ‘Tequila‘.

Criminally, Peter Hook and the Light only had a 40 minute slot, and the legendary bass player shone. Playing Joy Division and New Order classics arguably better than their singer Bernard Sumner two years’ prior in their headline slot in 2019, Hooky certainly had more stage presence, bravado and crowd engagement.

Despite equipment problems, Feeder returned to Victorious with a blistering set. The Kooks followed and it’s amazing to think it has been 15 years since their debut album – their feel good songs still sounded just as fresh. Ending with hit Naive, there was no lack of experience in their set.

Madness clearly have a huge loyal fan base, with the crowd sporting more fez than a Moroccan wedding. The nutty boys came on stage smoking, but played hit after hit to their adoring fans. Questioning how many old Etonians have led the country on ‘Bullingdon Boys’, Suggs brought the politics and it’s good to see they still have a message to make. Finishing with ‘Always Look on the bright side of life‘, the crowd went home happy on Friday night.

At Victorious, organisers cunningly book a special guest early who may be found headlining other festivals to draw the crowd on site early. Saturday kicked off in style with Craig David and TS5 this year – fortunately he was delayed by an hour due to the sheer traffic trying to get on site to see him.  For those who haven’t seen his TS5 sets, Craig combines his ability to sing, MC and work the crowd while DJing. Mixing his own songs with the likes of Whitney Houston and TLC, everyone was on their feet dancing, including the security.

© Graham Tarrant

Stereo MC’s followed stepping it up, looking like a mix between Steptoe & Son and a long lost Chuckle Brother, while Morcheeba brought class and elegance to Portsmouth. Singer Skye made her own luscious dress and aptly played their hit ‘The Sea‘ next to the coast.

Local legend Frank Turner was up next, lamenting how he had memories of coming to Portsmouth to play and leaving with a stinking hangover. Having a shot of spirits, it was great to see him live in the flesh, so to speak, after he’s done so many zoom charity gigs for local venues closed due to covid lockdown.

© Graham Tarrant

Festival crowd pleasers Blossoms took to the main Common Stage while Reef blew down the walls at the Castle Stage with a blistering set.

Rag’n’Bone man truly was a giant on before the headliner. Arguably, based on the size of the crowds, Rory aka Rag should have taken the slot at the top of the bill – his voice was so strong even when belting out his ballads. The crowd repeatedly requested Human and he didn’t disappoint.

Richard Ashcroft was due to headline the Saturday night at the castle stage, but was replaced by welsh legends Manic Street Preachers. Arguably this was an upgrade for the crowd and anyone questioning a simple lateral flow test to gain entry shouldn’t be booked for these events – hopefully Mr Ashcroft’s sound engineers won’t bother earthing his guitar next time he complains about basic safety measures in place.

© Graham Tarrant

The Streets played the main stage after Rag’n’Bone donated his champagne to the headliners and clearly the crowd weren’t quite ready for what followed. Mike Skinner was clearly in the mood for a party – encouraging women to show the blokes how to crowd surf in exchange for a bottle of bubbly, he ended up spraying the Moet over everyone. Comically, he pitted the Portsmouth locals against the Southampton visitors, stoking the local south-coast rivalry, and encouraged everyone to jump in the sea after his set…maybe a swim would have been less painful than leaving the full car park after the fireworks.

Sunday began with positive vibes when legendary Annie Mac took the legends guest slot early afternoon. Mixing Balearic beats in the sun was the perfect start to get the day going. Liverpool legends Cast followed with the first classic version of ‘Alright’ of the day with singer John Power in his glasses and long hair increasingly turning into another Liverpudlian, Lennon.

Miles Kane brought an adoring audience to the stage, but like the churros sold nearby, it felt slightly more style over substance with fairly forgettable treats lacking any real memorability. Over on the Castle Stage, sporty Melanie C really got the crowd jumping. As well as her own solo material, she ably made up for her missing Spice Girls, singing 2BecomeOne and Who Do You Think You Are. It’s clear who the one with the talent was, especially when she also covered Touch Me In The Morning…

© Graham Tarrant

It was so good to see Supergrass back together on the main stage, with their own version of ‘Alright‘. With so many great songs, it was so much more enjoyable than Gaz Coombes solo performance years prior.

© Graham Tarrant

Bringing the show to a close were two strong headliners (well three if you include Clean Bandit’s DJ set on the Seaside Stage.) Two piece Royal Blood, with their unique sound were back strong for their first festival performance since the band’s third album ‘Typhoons’ became their third successive UK Number One. Blasting out bass solos and the occasional drum solo, the band finished with ‘Figure It Out.’

Talking of figuring it out, the only person who could rival Royal Blood was Nile Rodgers on the Castle Stage at the same time. The word legend is often used freely, but it truly applies to this man. As well as classic Chic songs, Nile mixed in his other work, including Daft Punk’s ‘Get Lucky‘ and Bowie’s ‘Let’s Dance

© Graham Tarrant

Finishing with his classic song, the weekend can’t be summed up better than:

Good times
These are the good times
Leave your cares behind
These are the good times

Words and photographs: © Graham Tarrant