Outside it was a seemingly ordinary Thursday evening in early November, but inside the Tanz Cafe in Bryanston, there was an air of enchantment and expectation. A veritable who’s who of the music and media industries had turned up to join Paul E Flynn (Sugardrive) in celebrating the launch of his debut solo album Fields. The evening started with a screening of the video for the first single off the album, May God’s Work Resume. A delicate song which catches you off guard with its closing ode to love, the video portrayed this spirit well. It was filmed by Eban Olivier on location at his studio in Blairgowrie and in Delta Park, and features the model Hayley Rickard. Certainly the poignancy of the song is captured in the video, and the audience responded with glee. A great way to get things going. Naturally, it wouldn’t be a CD launch without a performance from the man of the hour, and Paul E Flynn and the Seeds of Doubt took to the stage after the video screening. They appeared to be energised by the magic of the evening, and once again held their audience mesmerised. Just to add an extra special element to the night, we were treated to guest appearances by Louise Carver, who appears on the album on Changed, and Cito of Wonderboom. By the end of the night I think all who were there had the warm sense of having been part of something beautiful and momentous in the musical fabric of our society.
I caught up with Paul before a show at Back2Basix the following night to chat about the new album, going solo, and basically whatever else popped into our heads:
Belinda Glenn: This project has been a long time in the making – how does it feel to have it finally reach fruition?
Paul E Flynn: I started writing the songs for Fields in early 2005. Sugardrive was playing at the time, but I already knew I wanted to do something on my own. It also happened to be a three month period during which I had no alcohol, and all I did was write. Maybe that wasn’t such a coincidence! I had no agenda – I just wrote and ended up with about 30 songs. Then I did nothing with them for almost a year. Later that year I met up with Theo Crous (Springbok Nude Girls) and he wanted to hear the songs. He phoned a few days later to say he loved them and then set to work getting the deal with Playdough Records organised. I went down to Cape Town and recorded the songs with Theo producing and the master was done by 2006. Still, I had no agenda and felt no pressure to release the album. There was all this talk about deals and I needed a break. I took time off in Ireland and it was six months without even touching a guitar. When I got back, the album was ready but I wanted a band to play the songs during shows with me. Live performances are what matter most. There was really no rush; I wanted to make sure I had the right chemistry with the band and that we’d be good live. The Seeds of Doubt (Sean Strydom, Donovan Campbell and Paulo Rego) formed, and we’ve done about 20 shows. The album was released about 3 months ago, and we only had the launch last night, so really it’s been a very relaxed process. I’m loving that it’s gone public now. It’s really cool. I know the different directions an album can take once it’s been released and I’m really relaxed about where we go with this. As long as I get to play shows, I’m happy.
BG: What would you tell people who haven’t heard it to expect from the album?
PF: It will take you on a journey. Each song is a story and they’re all very visual. It’s natural and raw-sounding, and has a lot of soul. I think when you’ve listened to it a few times it grows on you, into something of stature. I’m not going to say it sounds like this band or that artist. I hate that. I will say that this album’s about optimism. Sugardrive was far more investigative and surreal. This is uplifting. It’s cathartic.
BG: What are the pros and cons of going solo?
PF: Well, the obvious pro is that you have 100% creative control. I thoroughly enjoyed the idea of being able to hear something in my head and not having to consult anyone. I’m a bit of a loner so it really appealed. The other pro is that you can soak up every influence you like – even if you’re not a fan of a specific genre – and play with things in ways you couldn’t in a band. If you walked up to your drummer or bassist and said let’s play an electro-ska-reggae song, he’d just look at you like you were mad – this way I could do whatever I wanted. And the way I did it, I had total control of the way the tracks were laid down as well. Um. I sound like a control freak, I know! But you can definitely be crazier if you’re solo. On the other hand with a band you have a brotherhood that’s really great. And you don’t have to take the reins all the time – you can feed off others, which you can’t do if you’re solo. But I think now that I have the Seeds of Doubt, I have the best of both worlds.
BG: How does it work having the Seeds of Doubt playing with you after you’ve already recorded all the material?
PF: The album was recorded quite casually, using session musicians and guest artists like Louise Carver. Mostly everything was done by me and Theo. He’s really a fantastic producer and I managed to convince him to do backing vocals on a few of the songs as well. Since our first gig together, the band has just made the songs their own. I’m not too pedantic about it, and they really capture the feel of the album. I think they’ve found it difficult sometimes but I’m so happy with the way the live shows are going.
BG: Why did you call the album Fields?
PF: Fields was one of the first songs I wrote in 2005 and the lyrics really drove the song. They’re simplistic, yet there’s a depth there. That song directed the way the rest of the songs were written, and essentially is the reason the album sounds the way it does. It’s significant in that that was the way I was feeling at that time – “It’s alright to break your life, it’s alright to lose your mind” – and that’s why I chose it for the title.
BG: How did your time in Ireland affect you?
PF: The album was done already. I just needed a break from everything, music included. I had to get away from the claustrophobia I was feeling in South Africa. And I wanted to get in touch with my roots since I have grandparents from Ireland. I had no expectations of going there to pursue music. I wanted to start anew. But I didn’t make a big deal out of leaving because I knew it was almost inevitable that I’d be back again, I just didn’t know when. I took the time to re-identify with my soul and my being. I think it’s made me less cynical and more grown up. Probably a good thing!
BG: Your songs are always lyrically so evocative – to what extent are they autobiographical, and what else motivates you to write?
PF: Hmmm, I don’t think any of the songs are really autobiographical as such. More like points of view. May God’s Work Resume was totally stream of consciousness and at first the change at the end surprised even me – I wasn’t sure it would work at first. My lyrics are really based on my observations, on things that strike a chord. And they’re everyday things. I think the songs are prosaic and poetic at the same time. The main thing is that this album has a positive vibration. There are no dark places reflected in the lyrics. I’m often inspired to write by what I’ve seen on the road. You can be hypnotised by the landscape of different places as you stare out of a car window. There are always very visual elements in my lyrics.
BG: So, where to from here?
PF: Getting a new album out there is usually an 18 month process. We’ll keep doing lots of live shows. And I’m hoping to do some new songs with input from the guys in the band. We’ll release these online I think – not everything has to be an album now. Sugardrive will also be doing some shows again at the end of the year and are involved in the Do Band Up competition, which should be interesting. Basically I’m just going with the flow and keeping it simple.
Wednesday, November 12, 2008
The Parlotones, Starsailor and Wonderboom – The Barnyard Theatre, Gateway, 27.10.08
There’s nothing quite like going to work on a Monday, knowing that there’s a light at the end of the tunnel in the form of a gig that night….it tends to make up for all those annoying little things we have to put up with that make giving up the weekend so much harder. Add to this the fact that we had organised our tickets for this gig in July, and you’ll appreciate the fact that it was much anticipated!
Originally Perez were meant to be the opening act for this event, but since Nic has left to join The Parlotones (more on that later), I guess they are no more. I’m strangely less devastated by this news than I was the first time they broke up. Must be all those new songs with only 3 words in the lyrics. Ahem. Anyway. Anyone who knows me will know I was, of course, super keen to hear that they had been replaced by Wonderboom. They were supposed to play at the Barnyard last year but the gig was cancelled so I wasn’t the only person excited about this turn of events. I should, in fairness, point out that it was not in fact the whole of Wonderboom performing on the night - Cito and Danny did their fabulous thing without the crazily talented Martin and Wade. Even though it was more like Wonderboom Lite, it was still a beautiful set. They stayed true to the mellow nature of most gigs at the Barnyard and this really gave the audience the opportunity to appreciate Cito’s soaring vocal skills. From his always haunting rendition of Leonard Cohen’s Hallelujah to the most exquisite version of Never Ever I’ve ever heard, their performance was spectacular and the crowd couldn’t get enough. Here’s hoping the whole band comes back for another performance soon.
Starsailor is one of those bands that you know you know. And you know you like. But you can’t for the life of you think of how you know them. Of course, as soon as they took to the stage my friend and I were like oooh, we know that song. And the next one. And the next one. They’ve been on the scene since 2000, and have had a series of hits in the UK, so I guess it makes sense that we would recognise their songs. They have an indie vibe with enough of a rock edge to keep them from falling into the melancholy of bands like Keane and are low key enough not to have the annoying swagger of the Oasis types. I thought it was pretty cool that Starsailor took on the role of support act to The Parlotones. It’s certainly likely that far more South Africans know who the latter band is, but still, not many internationals would be prepared to set the ego and the headline slot aside so readily. It is a reciprocal arrangement, as from what I hear, The Parlotones will be supporting Starsailor when they are next in the UK. The crowd certainly loved how much they seemed to be enjoying themselves on stage and every song was met with thunderous applause, especially their epic performance of the hit Four to the Floor. I enjoyed them so much that I wished I’d thought to bring extra cash with to buy some CDs. A truly great band that hasn’t let success or the requirements of the mainstream affect the music they make.
Last up was The Parlotones, without doubt the biggest musical export in SA at the moment, rightly or wrongly. It certainly makes sense to pair them with a band like Starsailor, as their sound is indie to its core, which is what I like about them. Their matching outfits and staccato movements are also the stuff indie kings like Franz Ferdinand are made of – they definitely commit to the genre. I have heard a lot of criticisms of this band, and in truth, when I first heard Here Comes a Man I thought they were exceptionally overrated. But they are more than that rather unfortunate choice of cover. Their other songs are remarkably well written and performed, with lyrics that often manage to be both poignant and catchy. If perhaps they now have something of the well-oiled machine about them, then maybe that is why they are trying to spice things up a bit by including a new member in the band. I must be honest though, Nic seems a bit wasted in this band. For someone of his vocal talent to be reduced to barely audible backing vocals, as well as keyboards and guitar, seems a real shame. Nonetheless, his presence added new depth to their sound. I think the best moment of this set, for me anyway, was when Danny of Wonderboom joined them on stage to play an extra set of drums during my favourite song, Bird in Flight. The Barnyard was virtually sold out, and apparently was for the next night’s show – no mean feat in Durban – and I don’t think there was a person there who wasn’t loving every minute of it. I think perhaps that sometimes, as members of the music loving community, we are so quick to deem a band ‘sold out’ or no longer hip enough, the instant they are not underground and living on peanut butter and jam toast. Yes, we do love our bands edgy, but sometimes we have to recognise that for any band to make it big, a certain slickness of performance is required….and kudos to The Parlotones for being able to deliver performances that get audiences raving across South Africa and abroad.
The only thing that distracted me from the performances was Kahn’s extraordinarily slim fitting pants – my friend and I spent a fair amount of time discussing how exactly one would get everything into such a crotch-huggingly tight pair of jeans (or were they leggings, we can’t be sure). We have no solutions. All I know is that I don’t usually get to see that much detail until at least the third date. Or after a bottle of tequila. Nonetheless, we had fun and all three bands were fantastic enough to merit the 3 months of anticipation!
Originally Perez were meant to be the opening act for this event, but since Nic has left to join The Parlotones (more on that later), I guess they are no more. I’m strangely less devastated by this news than I was the first time they broke up. Must be all those new songs with only 3 words in the lyrics. Ahem. Anyway. Anyone who knows me will know I was, of course, super keen to hear that they had been replaced by Wonderboom. They were supposed to play at the Barnyard last year but the gig was cancelled so I wasn’t the only person excited about this turn of events. I should, in fairness, point out that it was not in fact the whole of Wonderboom performing on the night - Cito and Danny did their fabulous thing without the crazily talented Martin and Wade. Even though it was more like Wonderboom Lite, it was still a beautiful set. They stayed true to the mellow nature of most gigs at the Barnyard and this really gave the audience the opportunity to appreciate Cito’s soaring vocal skills. From his always haunting rendition of Leonard Cohen’s Hallelujah to the most exquisite version of Never Ever I’ve ever heard, their performance was spectacular and the crowd couldn’t get enough. Here’s hoping the whole band comes back for another performance soon.
Starsailor is one of those bands that you know you know. And you know you like. But you can’t for the life of you think of how you know them. Of course, as soon as they took to the stage my friend and I were like oooh, we know that song. And the next one. And the next one. They’ve been on the scene since 2000, and have had a series of hits in the UK, so I guess it makes sense that we would recognise their songs. They have an indie vibe with enough of a rock edge to keep them from falling into the melancholy of bands like Keane and are low key enough not to have the annoying swagger of the Oasis types. I thought it was pretty cool that Starsailor took on the role of support act to The Parlotones. It’s certainly likely that far more South Africans know who the latter band is, but still, not many internationals would be prepared to set the ego and the headline slot aside so readily. It is a reciprocal arrangement, as from what I hear, The Parlotones will be supporting Starsailor when they are next in the UK. The crowd certainly loved how much they seemed to be enjoying themselves on stage and every song was met with thunderous applause, especially their epic performance of the hit Four to the Floor. I enjoyed them so much that I wished I’d thought to bring extra cash with to buy some CDs. A truly great band that hasn’t let success or the requirements of the mainstream affect the music they make.
Last up was The Parlotones, without doubt the biggest musical export in SA at the moment, rightly or wrongly. It certainly makes sense to pair them with a band like Starsailor, as their sound is indie to its core, which is what I like about them. Their matching outfits and staccato movements are also the stuff indie kings like Franz Ferdinand are made of – they definitely commit to the genre. I have heard a lot of criticisms of this band, and in truth, when I first heard Here Comes a Man I thought they were exceptionally overrated. But they are more than that rather unfortunate choice of cover. Their other songs are remarkably well written and performed, with lyrics that often manage to be both poignant and catchy. If perhaps they now have something of the well-oiled machine about them, then maybe that is why they are trying to spice things up a bit by including a new member in the band. I must be honest though, Nic seems a bit wasted in this band. For someone of his vocal talent to be reduced to barely audible backing vocals, as well as keyboards and guitar, seems a real shame. Nonetheless, his presence added new depth to their sound. I think the best moment of this set, for me anyway, was when Danny of Wonderboom joined them on stage to play an extra set of drums during my favourite song, Bird in Flight. The Barnyard was virtually sold out, and apparently was for the next night’s show – no mean feat in Durban – and I don’t think there was a person there who wasn’t loving every minute of it. I think perhaps that sometimes, as members of the music loving community, we are so quick to deem a band ‘sold out’ or no longer hip enough, the instant they are not underground and living on peanut butter and jam toast. Yes, we do love our bands edgy, but sometimes we have to recognise that for any band to make it big, a certain slickness of performance is required….and kudos to The Parlotones for being able to deliver performances that get audiences raving across South Africa and abroad.
The only thing that distracted me from the performances was Kahn’s extraordinarily slim fitting pants – my friend and I spent a fair amount of time discussing how exactly one would get everything into such a crotch-huggingly tight pair of jeans (or were they leggings, we can’t be sure). We have no solutions. All I know is that I don’t usually get to see that much detail until at least the third date. Or after a bottle of tequila. Nonetheless, we had fun and all three bands were fantastic enough to merit the 3 months of anticipation!
Baz Corden & Farryl Purkiss – Society, 12.10.08
Before I went to this gig I had something of a heated discussion with the Cape Town correspondent about my motives for attending. It occurred to me then that as much as I hate being labelled a groupie (guaranteed to get you a swift kick to the shins if you’re within striking distance), there is a flip side to that coin. It must really suck to be an artist and have people assume that the only reason anyone goes to watch you is because you happen to be good looking. So let the record reflect that while I like to randomly look at good looking guys as much as the next girl, I don’t spend money on their CDs or brave Florida Road on a Sunday night to do it!
Ahem. Now that I’ve had my little rant, let’s get down to what actually matters. The first artist to take to the stage in the intimate environs of Society on Sunday night was Baz Corden. Baz looks like one of the guys from Weezer and brings a quiet sense of humour to his performance. You have to really pay attention to what he’s saying but when you take a moment to listen you realise that for such a low key guy, he’s funny as hell. Last week the venue was so full I was practically snuggled into some stranger’s armpit….so it was a relief to have a little more room to breathe and to actually be able to see the stage. The atmosphere was a lot more relaxed with a lot of pretty people slouching artfully on expensive furniture, but the focus was still on what was happening musically. Baz provided some lovely chilled out sounds to lounge to, and his Tom Petty style vocals had some die-hard fans singing at full lung capacity. There’s no denying his remarkable talent and the gentle appeal of his songs, but I wasn’t blown away.
Farryl Purkiss was up next and he had Kieran Smith join him on stage on bass. They started off with a little jam session that, as one friend pointed out, brought to mind mystical Indian cities and yoga gurus. Interesting. And indeed there is something almost mystical about the hold Farryl has over his audiences. The wine glasses were set aside and once again we were transported far away from the dull concerns of the week that lay ahead. That’s part of the beauty of the Vintage Sunday Sessions - you get to cling to the notion that the weekend is not quite over yet, and delay the inevitable slap of reality that faces us all on a Monday morning. What better artist to hold us captive in that optimistic little bubble than Farryl, with his velvet tones and bittersweet melodies. When I first heard of him, he was being touted as our answer to Jack Johnson. And yes, he does have that languid surfer vibe going for him, but there’s a complexity and vitality that he brings to his music which rises above the comparison. He’s also completely down to earth and relaxed on stage, to the point of cracking jokes about doing his friend’s mom. We could all see the crimson glow of said friend’s blush from way in the back. Nice. For the last two songs, the legendary Nibs van der Spuy joined Farryl and Kieran on stage, much to the delight of the crowd. The perfect way to end a lovely show.
And so we wandered out into a balmy Durban night, our ears still filled with the luscious sounds of Farryl Purkiss and thoughts of the Monday morning meeting blissfully relegated to the backburner. What a pleasure.
Ahem. Now that I’ve had my little rant, let’s get down to what actually matters. The first artist to take to the stage in the intimate environs of Society on Sunday night was Baz Corden. Baz looks like one of the guys from Weezer and brings a quiet sense of humour to his performance. You have to really pay attention to what he’s saying but when you take a moment to listen you realise that for such a low key guy, he’s funny as hell. Last week the venue was so full I was practically snuggled into some stranger’s armpit….so it was a relief to have a little more room to breathe and to actually be able to see the stage. The atmosphere was a lot more relaxed with a lot of pretty people slouching artfully on expensive furniture, but the focus was still on what was happening musically. Baz provided some lovely chilled out sounds to lounge to, and his Tom Petty style vocals had some die-hard fans singing at full lung capacity. There’s no denying his remarkable talent and the gentle appeal of his songs, but I wasn’t blown away.
Farryl Purkiss was up next and he had Kieran Smith join him on stage on bass. They started off with a little jam session that, as one friend pointed out, brought to mind mystical Indian cities and yoga gurus. Interesting. And indeed there is something almost mystical about the hold Farryl has over his audiences. The wine glasses were set aside and once again we were transported far away from the dull concerns of the week that lay ahead. That’s part of the beauty of the Vintage Sunday Sessions - you get to cling to the notion that the weekend is not quite over yet, and delay the inevitable slap of reality that faces us all on a Monday morning. What better artist to hold us captive in that optimistic little bubble than Farryl, with his velvet tones and bittersweet melodies. When I first heard of him, he was being touted as our answer to Jack Johnson. And yes, he does have that languid surfer vibe going for him, but there’s a complexity and vitality that he brings to his music which rises above the comparison. He’s also completely down to earth and relaxed on stage, to the point of cracking jokes about doing his friend’s mom. We could all see the crimson glow of said friend’s blush from way in the back. Nice. For the last two songs, the legendary Nibs van der Spuy joined Farryl and Kieran on stage, much to the delight of the crowd. The perfect way to end a lovely show.
And so we wandered out into a balmy Durban night, our ears still filled with the luscious sounds of Farryl Purkiss and thoughts of the Monday morning meeting blissfully relegated to the backburner. What a pleasure.
Gonzo Republic and 340ml – Society, 05.10.08
On a rainy, rather blah Sunday night in Durban, when spring seems to have abandoned us, what better way to cure the pre-Monday blues than a great gig? We decided to head over to Society and check out the opening night of the Durban leg of the annual Levis Vintage Sundays series. For the uninitiated, this is a series of gigs which take place across the country, showcasing local talent at its acoustic best. And they’re free, which says a lot about Levis’ commitment to the industry and probably goes a long way to ensuring the series’ popularity in the current economic climate!
It’s a rare thing to see a band as wholly consumed by their music as Gonzo Republic. So consumed as to be almost alarming – I keep waiting for one of them to hurt themselves in their frenetic flailing around on stage. The lead singer seems like an unassuming guy when you see him around….fast forward to their performance and he yelps and growls as he shivers and shudders across the stage. Its one hell of a transformation. Their sound is a frenzied blend of funk and jazz – Jamiroquai on crack cocaine. Despite the weather – the first sign of rain is usually the death knell for a show in surf city – the place was packed, and the crowd were eating it up like ice cream on a summer’s day. Their style is perhaps not something I would listen to ordinarily but they are exceptionally good at what they do. They are definitely beloved by the Durban hipsters.
Five years ago 340ml were an enigmatic band from Mozambique who had just released their first album, Moving and were basing themselves in Jo’burg. It seemed like getting to see them perform was the Holy Grail for those in the know, as they were certainly elusive, at least in these parts of the country. They were lauded far and wide as the band to watch out for – a shining jewel from our dusty African shores, doing something a little different to all the other rock and nu-metal outfits. They’ve certainly earned their reputation, and I was really looking forward to seeing them again, having missed their album launch for Sorry for the Delay. Of course, I didn’t reckon on how many other people were looking forward to watching them, and in the end, I couldn’t see them at all. Luckily I could still hear them. Its hard to exactly pinpoint their brand of music – there’s a generous dose of reggae, a helping of dub and more than a few shots of sultry Latin rhythm mixed into a sonic cocktail that goes down easy and gets your hips swaying. The dreary rain outside was banished and instead we were whisked away to some tropical isle where barefooted girls and good looking boys serve you drinks with umbrellas in them. Bliss. And if the crowd lapped up Gonzo Republic, they positively inhaled the sweet sound of 340ml and exhaled in song so loud that at times the band could not be heard.
Eventually we had to leave that pleasant little isle and make our way back to the mundane world outside. But I’m pretty sure I’m not the only one who held on to a little bit of that magic to make the work week less dull…we’re all thinking about scoring, at the midnight drive-in.
It’s a rare thing to see a band as wholly consumed by their music as Gonzo Republic. So consumed as to be almost alarming – I keep waiting for one of them to hurt themselves in their frenetic flailing around on stage. The lead singer seems like an unassuming guy when you see him around….fast forward to their performance and he yelps and growls as he shivers and shudders across the stage. Its one hell of a transformation. Their sound is a frenzied blend of funk and jazz – Jamiroquai on crack cocaine. Despite the weather – the first sign of rain is usually the death knell for a show in surf city – the place was packed, and the crowd were eating it up like ice cream on a summer’s day. Their style is perhaps not something I would listen to ordinarily but they are exceptionally good at what they do. They are definitely beloved by the Durban hipsters.
Five years ago 340ml were an enigmatic band from Mozambique who had just released their first album, Moving and were basing themselves in Jo’burg. It seemed like getting to see them perform was the Holy Grail for those in the know, as they were certainly elusive, at least in these parts of the country. They were lauded far and wide as the band to watch out for – a shining jewel from our dusty African shores, doing something a little different to all the other rock and nu-metal outfits. They’ve certainly earned their reputation, and I was really looking forward to seeing them again, having missed their album launch for Sorry for the Delay. Of course, I didn’t reckon on how many other people were looking forward to watching them, and in the end, I couldn’t see them at all. Luckily I could still hear them. Its hard to exactly pinpoint their brand of music – there’s a generous dose of reggae, a helping of dub and more than a few shots of sultry Latin rhythm mixed into a sonic cocktail that goes down easy and gets your hips swaying. The dreary rain outside was banished and instead we were whisked away to some tropical isle where barefooted girls and good looking boys serve you drinks with umbrellas in them. Bliss. And if the crowd lapped up Gonzo Republic, they positively inhaled the sweet sound of 340ml and exhaled in song so loud that at times the band could not be heard.
Eventually we had to leave that pleasant little isle and make our way back to the mundane world outside. But I’m pretty sure I’m not the only one who held on to a little bit of that magic to make the work week less dull…we’re all thinking about scoring, at the midnight drive-in.
Solace & The One Night Stands – Burn, 03.10.08
The end of a horrendous week at work and the lure of the couch was strong. But I managed to convince myself that instead of sleep, what I actually needed was an indie party at Burn. Alas, this turned out to be something of a misnomer, what with my favourite DJ inexplicably playing things like Rage Against The Machine (cool, but not very indie), and what seemed like 30 people bouncing around inside a cavernous club…not much of a party vibe. Although the guy vomiting at the bar seemed to be having a grand old time.
Solace was the opening act for the evening and I had never heard of them before so I was pretty keen to check them out. The first song was awful, but I gave them the benefit of the doubt as the sound was playing up and the mic wasn’t working properly. I will give them kudos for not letting that affect their raw enthusiasm on stage and their eager desire to get the ‘crowd’ involved. Alas, the second song was no better. Someone needs to teach the vocalist that the purpose of a mic is to amplify your voice…therefore yelling into the mic is not only unnecessary, but it makes things really unpleasant for those who are trying to watch you. There was certainly nothing indie about Solace, unless you go back to the origins of the word and assume they are signed to an independent label. There seemed to be some technical ability amongst the other band members but it was overshadowed by a very mediocre front woman. They reminded me of Ketamine - the same try-too-hard rock chick lead singer with questionable ability and instantly forgettable songs. We adjourned to the bar after the third song with bleeding ears and high hopes for the next band. And it didn’t seem like much of the audience stuck around for their full set either.
The One Night Stands have been burning up the 5fm High 5 at 5 with their single Seconds. Very indie, super catchy, instantly likeable. That song alone was what dragged me away from a big night in with the couch and a good book. By the time the band took to the stage I was a little desperate for something to redeem the evening. I wish I could say they were awesome and that they made the whole trip worthwhile. But they weren’t. They were…okay. The first song was a slow and rather melancholy affair - kind of The Cure after they’d smoked a few too many buttons. Perhaps not the right way to start a set if you want to rev up a rather meagre audience. They picked up the tempo after that but I could tell they’d already lost my partner in crime as she stood there looking cheated. I was determined to find something to like and in truth they’re a likeable band. You can definitely hear the 80’s influence their bio brags about - their sound is very The Cure meets Joy Division. But alas, with the exception of Seconds their songs just don’t seem to hook you and reel you in. The bait is there but the follow through seems to be lacking. Nonetheless, we had a little dance to their hit and a good giggle at the goth girls doing their weird pelvic thrusty thing in the front, so maybe it was worth forgoing the couch after all. Maybe not.
Solace was the opening act for the evening and I had never heard of them before so I was pretty keen to check them out. The first song was awful, but I gave them the benefit of the doubt as the sound was playing up and the mic wasn’t working properly. I will give them kudos for not letting that affect their raw enthusiasm on stage and their eager desire to get the ‘crowd’ involved. Alas, the second song was no better. Someone needs to teach the vocalist that the purpose of a mic is to amplify your voice…therefore yelling into the mic is not only unnecessary, but it makes things really unpleasant for those who are trying to watch you. There was certainly nothing indie about Solace, unless you go back to the origins of the word and assume they are signed to an independent label. There seemed to be some technical ability amongst the other band members but it was overshadowed by a very mediocre front woman. They reminded me of Ketamine - the same try-too-hard rock chick lead singer with questionable ability and instantly forgettable songs. We adjourned to the bar after the third song with bleeding ears and high hopes for the next band. And it didn’t seem like much of the audience stuck around for their full set either.
The One Night Stands have been burning up the 5fm High 5 at 5 with their single Seconds. Very indie, super catchy, instantly likeable. That song alone was what dragged me away from a big night in with the couch and a good book. By the time the band took to the stage I was a little desperate for something to redeem the evening. I wish I could say they were awesome and that they made the whole trip worthwhile. But they weren’t. They were…okay. The first song was a slow and rather melancholy affair - kind of The Cure after they’d smoked a few too many buttons. Perhaps not the right way to start a set if you want to rev up a rather meagre audience. They picked up the tempo after that but I could tell they’d already lost my partner in crime as she stood there looking cheated. I was determined to find something to like and in truth they’re a likeable band. You can definitely hear the 80’s influence their bio brags about - their sound is very The Cure meets Joy Division. But alas, with the exception of Seconds their songs just don’t seem to hook you and reel you in. The bait is there but the follow through seems to be lacking. Nonetheless, we had a little dance to their hit and a good giggle at the goth girls doing their weird pelvic thrusty thing in the front, so maybe it was worth forgoing the couch after all. Maybe not.
Matthew van der Want – The Zulu Jazz Lounge, 20.09.08
Once, long ago, when I was all bright eyed and full of optimism, my boyfriend at the time declared Splashy Fen to be his weekend with the boys. Every year, I would pout and plead, and every year he would swan off into the mists of Underberg, returning smelly and dirty, full of tales of the wonderful bands he had seen. It’s a wonder we lasted as long as we did. The point of this is not to explain my current state of abject cynicism and commitment phobia, but rather, why I never got to see the phenomenal Matthew van der Want at any of the many Splashy Fens he played at. And then, when he returned to Durban a few years ago, my friends chose that day to get married. Inconsiderate. While the bride is smaller than me, I weighed up my odds, and realised she could probably take me….so decided against forgoing the reception in favour of the gig. It was a tough call. All this adds up to the fact that last night’s gig was a long time coming for me!
Matthew van der Want released his first album Turn On You in early 1996. With song titles like Jesus Goosestep, I’m pretty sure he realised it wasn’t destined for overnight commercial success. Which might explain why there were only 16 people at the gig last night. And no, this is not me exaggerating in another indictment of Durban’s general apathy. I counted. Yet I think the 16 of us who braved the rain and ignored the international siren call of Katie Melua (who actually cares how many bicycles there are in Beijing, really?!), were some of the luckiest people around last night. I’m not entirely sure Matthew enjoyed the intimacy of the gig (and I really hope he wasn’t getting a door deal!), but it certainly made it a very special experience for the audience. We got to boss him around and tell him when to take breaks, and how many songs to play, for starters.
It’s not easy, being the lone man on the stage, just him, his guitar and his voice – no band to hide behind, no stage antics to provide bravado. You either have it or you don’t. And the fact that during each song, the audience were held in place, like butterflies pinned to a collecting sheet, barely daring to breathe, is testimony to the fact that if anybody has it, Matthew does. He does dark and twisty in a way that makes me feel better about being the cynical bitch I am. His cutting insights into matters of the heart, and satirical take on the music industry have probably made him a few enemies, but anyone with an ounce of self respect or taste should not be able to deny the talent behind the fuck off attitude. He says what he thinks, but he does so with such frightening beauty that you can’t look away. It was a gig that was definitely worth the wait. And as I sat in the plush surrounds of The Zulu Jazz Lounge, watching Matthew bleed poetry underneath an alarming stuffed kudu head, I thought how lucky we are to still have musicians in this country who don’t feel compelled to play it safe to please the masses. His song Turn On You (my favourite) could be as much about what we do to our musicians with our Americanised expectations, as it could be about love:
”I feel so close to you, only a million miles away.
I look for someone else in you.
I find things worth keeping…I throw them all away
I’m on my own when I’m with you,
I turn you on I turn on you
And I don’t know what’s wrong with me,
The sting in my tail is all you feel”
I wish more people had made the effort to go to last night’s gig and experience an exquisite talent – but at the same time, a selfish little part of me is glad those of us who were there had it all to ourselves.
Matthew has a ‘best of’ CD out at the moment, which can be ordered off his website www.vanderwant-letcher.com
Matthew van der Want released his first album Turn On You in early 1996. With song titles like Jesus Goosestep, I’m pretty sure he realised it wasn’t destined for overnight commercial success. Which might explain why there were only 16 people at the gig last night. And no, this is not me exaggerating in another indictment of Durban’s general apathy. I counted. Yet I think the 16 of us who braved the rain and ignored the international siren call of Katie Melua (who actually cares how many bicycles there are in Beijing, really?!), were some of the luckiest people around last night. I’m not entirely sure Matthew enjoyed the intimacy of the gig (and I really hope he wasn’t getting a door deal!), but it certainly made it a very special experience for the audience. We got to boss him around and tell him when to take breaks, and how many songs to play, for starters.
It’s not easy, being the lone man on the stage, just him, his guitar and his voice – no band to hide behind, no stage antics to provide bravado. You either have it or you don’t. And the fact that during each song, the audience were held in place, like butterflies pinned to a collecting sheet, barely daring to breathe, is testimony to the fact that if anybody has it, Matthew does. He does dark and twisty in a way that makes me feel better about being the cynical bitch I am. His cutting insights into matters of the heart, and satirical take on the music industry have probably made him a few enemies, but anyone with an ounce of self respect or taste should not be able to deny the talent behind the fuck off attitude. He says what he thinks, but he does so with such frightening beauty that you can’t look away. It was a gig that was definitely worth the wait. And as I sat in the plush surrounds of The Zulu Jazz Lounge, watching Matthew bleed poetry underneath an alarming stuffed kudu head, I thought how lucky we are to still have musicians in this country who don’t feel compelled to play it safe to please the masses. His song Turn On You (my favourite) could be as much about what we do to our musicians with our Americanised expectations, as it could be about love:
”I feel so close to you, only a million miles away.
I look for someone else in you.
I find things worth keeping…I throw them all away
I’m on my own when I’m with you,
I turn you on I turn on you
And I don’t know what’s wrong with me,
The sting in my tail is all you feel”
I wish more people had made the effort to go to last night’s gig and experience an exquisite talent – but at the same time, a selfish little part of me is glad those of us who were there had it all to ourselves.
Matthew has a ‘best of’ CD out at the moment, which can be ordered off his website www.vanderwant-letcher.com
Counting Crows & Flat Stanley - ICC Arena, Durban, 08.06.08
There are some bands that capture the memories of a certain period in your life. The merest sound from bands such as these unleashes a torrent of Technicolor nostalgia. The Counting Crows are one of these bands for me, which is one reason this was my fifth trip to see them live. Of course the other reason would be the outstanding performance they deliver every time.
I was moderately surprised at the choice of Capetonians Flat Stanley as the support act. In theory, their style of gentle pop rock was in keeping with the tone of the evening. But for the most part they lack complexity, despite having an inordinate number of band members on stage, and I found their performance to be lacking in sparkle. The crowd appreciated fontman Andrew‘s humility and the band’s big hits like Treading Air were well received. If you’re looking for pleasant local pop-rock, these guys are certainly on top of their game. I just felt they needed to up that game somewhat in order to provide worthy support to a band of the Counting Crows’ calibre.
The Counting Crows released their seminal album August and Everything After in 1993. Their sound did not quite fit the grunge mould that was taking the scene by storm at that stage. Yet their manic depressive brand of country rock struck a chord, and August and Everything After sold millions of copies at whirlwind speed. Cut to 2008, and they have just released their 5th studio album, Saturday Nights and Sunday Mornings. The album is an amalgam of rockier songs and more melodic numbers, based on the theme of Saturday night sinning and Sunday morning repenting.
The band has visited SA twice before, in 1999 and 2004, and amazingly enough always includes Durban on their itinerary, despite our reputation as being the only city that never sells out. Anyone who has listened to their live recordings will realize that they do not believe in performing exact replicas of the songs on the albums. They wend their way through the songs, taking the odd detour into what appears to be improvised territory, adding lyrics from other songs or making up new ones as they go along. This may be annoying to those who only know the radio hits, but for the true fans, it makes every gig a new and rich experience. Add to this the fact that Adam Duritz is a man in perpetual motion, one moment leaping off the monitors, the next crooning as he lies spread-eagle on the floor, and you’re in for a magical performance. Despite having visited us before, they did not make the mistake so many big bands make of only focusing on their new material. The 90 minute set contained fairly equal representation of all their albums, and even included the guaranteed crowd pleaser Mr Jones, which after 15 years, they must be heartily sick of playing. You’d never think it to watch them though.
My only complaint about the evening was the strangely low volume….I never want to be able to hear every conversation being held in the nearby vicinity while I’m trying to watch a band. Having a quiet performance tends to detract from the atmosphere of a show, and add to this the usual lacklustre response of the Durban audience, and you’re left with a tough crowd. Nonetheless, when the last song faded away, the folks of Durban called for more. And of course, the Counting Crows obliged.
Just before the final song of the encore, Adam Duritz shared some touching words with the crowd, spurring us on to take heart against the recent problems our country has been suffering. It was heart warming to see an artist take an interest in the country he was touring, without coming across in a smarmy Bono ‘heal the world’ kind of way. And that is the essence of what appeals about this band – genuine emotion and sincerity infuses everything they do. It’s hard not to like them.
I was moderately surprised at the choice of Capetonians Flat Stanley as the support act. In theory, their style of gentle pop rock was in keeping with the tone of the evening. But for the most part they lack complexity, despite having an inordinate number of band members on stage, and I found their performance to be lacking in sparkle. The crowd appreciated fontman Andrew‘s humility and the band’s big hits like Treading Air were well received. If you’re looking for pleasant local pop-rock, these guys are certainly on top of their game. I just felt they needed to up that game somewhat in order to provide worthy support to a band of the Counting Crows’ calibre.
The Counting Crows released their seminal album August and Everything After in 1993. Their sound did not quite fit the grunge mould that was taking the scene by storm at that stage. Yet their manic depressive brand of country rock struck a chord, and August and Everything After sold millions of copies at whirlwind speed. Cut to 2008, and they have just released their 5th studio album, Saturday Nights and Sunday Mornings. The album is an amalgam of rockier songs and more melodic numbers, based on the theme of Saturday night sinning and Sunday morning repenting.
The band has visited SA twice before, in 1999 and 2004, and amazingly enough always includes Durban on their itinerary, despite our reputation as being the only city that never sells out. Anyone who has listened to their live recordings will realize that they do not believe in performing exact replicas of the songs on the albums. They wend their way through the songs, taking the odd detour into what appears to be improvised territory, adding lyrics from other songs or making up new ones as they go along. This may be annoying to those who only know the radio hits, but for the true fans, it makes every gig a new and rich experience. Add to this the fact that Adam Duritz is a man in perpetual motion, one moment leaping off the monitors, the next crooning as he lies spread-eagle on the floor, and you’re in for a magical performance. Despite having visited us before, they did not make the mistake so many big bands make of only focusing on their new material. The 90 minute set contained fairly equal representation of all their albums, and even included the guaranteed crowd pleaser Mr Jones, which after 15 years, they must be heartily sick of playing. You’d never think it to watch them though.
My only complaint about the evening was the strangely low volume….I never want to be able to hear every conversation being held in the nearby vicinity while I’m trying to watch a band. Having a quiet performance tends to detract from the atmosphere of a show, and add to this the usual lacklustre response of the Durban audience, and you’re left with a tough crowd. Nonetheless, when the last song faded away, the folks of Durban called for more. And of course, the Counting Crows obliged.
Just before the final song of the encore, Adam Duritz shared some touching words with the crowd, spurring us on to take heart against the recent problems our country has been suffering. It was heart warming to see an artist take an interest in the country he was touring, without coming across in a smarmy Bono ‘heal the world’ kind of way. And that is the essence of what appeals about this band – genuine emotion and sincerity infuses everything they do. It’s hard not to like them.
The Powerzone Roadshow – Burn, 19.04.08
It’s been a while since I’ve been to a gig at Burn – the club has changed ownership, and for a while there the emphasis seemed to be on metal bands. Luckily for the less hardcore amongst us, the balance is being regained. Saturday was a friend’s birthday party, which started with the rugby at 11:30 (and the less said about dirty cheating Aussie refs the better!!), so needless to say by the time we rolled in to Burn we were somewhat worse for wear. Most of us managed to maintain an upright position though, bolstered by the lure of Perez…except for the birthday boy who was discovered taking a power nap at a table. Bless.
One Sock Thief opened up the night’s events to a rather lacklustre audience. However, their poignant indie sound, rife with haunting keyboard melodies and rich vocals, soon managed to draw the bar flies onto the dance floor. They unfortunately only got to play 5 songs due to time constraints and a late start (something about a roadblock…damn that KZN zero tolerance!), but they were definitely my surprise hit of the evening. They’ve managed to get the blend of grinding guitars and pretty piano just right, and at times there was the slightest scent of Muse in the air. Definitely a band with the potential to go far.
Next up was The Black Hotels, another indie staple on the local scene. What a pity these guys can’t seem to cultivate a stage personality. Their music is fantastic, their technical ability superb. But they look as if they’d rather be watching paint dry than playing in front of a crowd of fans. Bored doesn’t begin to describe it – even a yawn would be some display of emotion that we as the audience could tap into! The first time I watched them, I wrote it off to the whole indie indifference thing on stage. But after a few more shows, I simply can’t keep making excuses for them, as much as I love their music. Move around, crack a comment, do something to give us a hint that being on stage is not equivalent to the Spanish Inquisition torture chambers. Otherwise I may as well just stay at home and listen to the CD.
I recently read a review of Coke Fest which described Crash Car Burn as the best thing happening in the local scene at the moment. What a pity that would be if it were true. Let’s face it, they’re pretty much just Tweak with a new name and new songs (which amazingly enough sound remarkably like Tweak). Don’t get me wrong, I used to love Tweak back in the day…I even own 2 of their CDs. In fairness to me, the first time I saw them at Woodstock 2, they were dressed as possums and jumping off the speaker stacks. It was love at first sight. I am such a sucker for a good stage act. And their songs were fun, in a kind of teenage angsty punk pop way. But the novelty wore off after a while…probably after I let go of my teenage angst (not a good thing to hold onto when you’re in your twenties…). Now, I will grant Crash Car Burn this – their lyrics have matured slightly…they no longer sing about house parties being crashed by the FBI (thank god!). But the sound is still the same, without the fun stage act, and with the exception of Get Away (which I almost like and has been stuck in my head since Saturday night), their songs are virtually indistinguishable from one another. I think I may have nodded off on my feet during their set…but that could have been the wine-sours-jager combination working its charm.
While we’re talking about back in the day, Perez thundered onto the scene in early 2001 and took no hostages as they made a name for themselves in local music. Within a few short months of their first gig at Splashy Fen, they were signed to Powerzone, receiving extensive airplay for their first single Wasted Out, and playing to sold out venues across the country. I’m pretty sure South Africa has not seen a meteoric dash to success like this either before or since. And like a brightly burning flame that cannot sustain itself, by 2003, they were announcing their split. Hordes of fans were crushed – me especially since I was living in Ireland at the time and missed their final tour. I cannot put the magic of those early shows into words. Perez had an indefinable chemistry on stage and a sound that was phenomenal. Their ability to draw on the diverse vocal talents of Matt Wilkinson and Nic Olsen, both on lead guitar and vocals, gave them a sound that was exquisite and unique. Across the country, people were falling in love with their songs. I’m not going to lie…they’re the only band that’s ever come as close to toppling the Springbok Nude Girls from their number one spot in my heart. So when we heard last year that Perez were reforming, there was a collective happy dance. And now I almost wish I hadn’t been around for those heady early years. My expectations of this band are beyond high – I know what they are capable of and I’ve seen their inordinate amount of talent in action many, many times. The talent is still there, there’s no disputing that. And the fans haven’t gone anywhere either, because the dance floor of Burn was groaning with those who had come out to see their Durban boys in action again. But they’ve lost a little of their magic and it breaks my heart to have to say it. If I’d never seen them before, I would think they were amazing. Instead, I am forced to compare their new persona with what came before and it comes up slightly lacking. Nic sings less than he did when they first played, which is a real pity. The almost nasal quality of his voice is the perfect juxtaposition for Matt’s deeper tones and it’s a shame not to use this to their full advantage. Also, Matt no longer plays guitar, leaving their sound less full, less rich. Their new songs lack the lyrical complexity of their early work and in some cases border on monotonous. But that prodigious talent is still there and they hold the audience captive for the full set. If nothing else, you have to stand in awe of four musicians so remarkably gifted. Will I watch them again? Of course. I just need to put my old memories aside and work on building new ones.
One Sock Thief opened up the night’s events to a rather lacklustre audience. However, their poignant indie sound, rife with haunting keyboard melodies and rich vocals, soon managed to draw the bar flies onto the dance floor. They unfortunately only got to play 5 songs due to time constraints and a late start (something about a roadblock…damn that KZN zero tolerance!), but they were definitely my surprise hit of the evening. They’ve managed to get the blend of grinding guitars and pretty piano just right, and at times there was the slightest scent of Muse in the air. Definitely a band with the potential to go far.
Next up was The Black Hotels, another indie staple on the local scene. What a pity these guys can’t seem to cultivate a stage personality. Their music is fantastic, their technical ability superb. But they look as if they’d rather be watching paint dry than playing in front of a crowd of fans. Bored doesn’t begin to describe it – even a yawn would be some display of emotion that we as the audience could tap into! The first time I watched them, I wrote it off to the whole indie indifference thing on stage. But after a few more shows, I simply can’t keep making excuses for them, as much as I love their music. Move around, crack a comment, do something to give us a hint that being on stage is not equivalent to the Spanish Inquisition torture chambers. Otherwise I may as well just stay at home and listen to the CD.
I recently read a review of Coke Fest which described Crash Car Burn as the best thing happening in the local scene at the moment. What a pity that would be if it were true. Let’s face it, they’re pretty much just Tweak with a new name and new songs (which amazingly enough sound remarkably like Tweak). Don’t get me wrong, I used to love Tweak back in the day…I even own 2 of their CDs. In fairness to me, the first time I saw them at Woodstock 2, they were dressed as possums and jumping off the speaker stacks. It was love at first sight. I am such a sucker for a good stage act. And their songs were fun, in a kind of teenage angsty punk pop way. But the novelty wore off after a while…probably after I let go of my teenage angst (not a good thing to hold onto when you’re in your twenties…). Now, I will grant Crash Car Burn this – their lyrics have matured slightly…they no longer sing about house parties being crashed by the FBI (thank god!). But the sound is still the same, without the fun stage act, and with the exception of Get Away (which I almost like and has been stuck in my head since Saturday night), their songs are virtually indistinguishable from one another. I think I may have nodded off on my feet during their set…but that could have been the wine-sours-jager combination working its charm.
While we’re talking about back in the day, Perez thundered onto the scene in early 2001 and took no hostages as they made a name for themselves in local music. Within a few short months of their first gig at Splashy Fen, they were signed to Powerzone, receiving extensive airplay for their first single Wasted Out, and playing to sold out venues across the country. I’m pretty sure South Africa has not seen a meteoric dash to success like this either before or since. And like a brightly burning flame that cannot sustain itself, by 2003, they were announcing their split. Hordes of fans were crushed – me especially since I was living in Ireland at the time and missed their final tour. I cannot put the magic of those early shows into words. Perez had an indefinable chemistry on stage and a sound that was phenomenal. Their ability to draw on the diverse vocal talents of Matt Wilkinson and Nic Olsen, both on lead guitar and vocals, gave them a sound that was exquisite and unique. Across the country, people were falling in love with their songs. I’m not going to lie…they’re the only band that’s ever come as close to toppling the Springbok Nude Girls from their number one spot in my heart. So when we heard last year that Perez were reforming, there was a collective happy dance. And now I almost wish I hadn’t been around for those heady early years. My expectations of this band are beyond high – I know what they are capable of and I’ve seen their inordinate amount of talent in action many, many times. The talent is still there, there’s no disputing that. And the fans haven’t gone anywhere either, because the dance floor of Burn was groaning with those who had come out to see their Durban boys in action again. But they’ve lost a little of their magic and it breaks my heart to have to say it. If I’d never seen them before, I would think they were amazing. Instead, I am forced to compare their new persona with what came before and it comes up slightly lacking. Nic sings less than he did when they first played, which is a real pity. The almost nasal quality of his voice is the perfect juxtaposition for Matt’s deeper tones and it’s a shame not to use this to their full advantage. Also, Matt no longer plays guitar, leaving their sound less full, less rich. Their new songs lack the lyrical complexity of their early work and in some cases border on monotonous. But that prodigious talent is still there and they hold the audience captive for the full set. If nothing else, you have to stand in awe of four musicians so remarkably gifted. Will I watch them again? Of course. I just need to put my old memories aside and work on building new ones.
Fire through the Window & The Redflecks – The Willowvale, 04.04.08
The Willowvale Hotel is definitely the hottest place to be in Durbs if you’re an indie hip kid or just want to watch a really great band. It certainly seems to be the only venue around that isn’t focussing primarily on metal (no fingers pointed). So off we skipped on Friday night to catch my pick for awesome Durban band of the moment, and their American friends.
I think there was another band playing, since we saw some dudes sitting around in matching suits (although that’s not really out of place at the Willowvale) – but we must have missed them, catching another show at Thunder Road first. By the time we arrived The Redflecks were about ready to go on. The band has been doing a whistle-stop tour of South Africa, hailing from Nashville, and I had to giggle at a comment someone made on their myspace page, fearing for their safety. They are made up of Ben on guitar, Amy on vocals and Nicole on bass/keyboards/all other percussion type things. Nicole used to play bass in Nemesis, the band Marc from Fire through the Window once fronted, so I guess that’s the connection. They took to the stage in a hail of bad early 80’s glitter and headbands, which should have been a sign that this was not going to be a good start to my Willowvale experience. Their sound has been described as electro-rock, reminiscent of Blondie. To me, they sounded like the unfortunate bastard offspring of The Breeders and Portishead…and they didn’t really get the good genes. Amy would appear to have a really good voice, which was one redeeming feature, but alas it was drowned out in pseudo-psychedelic synth wank. There wasn’t much exciting going on onstage and I found most of their songs boring and repetitive. Not quite a poke in the eye with a sharp stick but close enough. One of my friends did really enjoy them…he described their sound as ‘raw’. Ahem. Enough said.
All was not lost though, because Fire through the Window, as always, pulled the magic out of the bag. They are flawless and I would be heartily surprised if big things do not happen for this band. If you haven’t heard them by now, you clearly never listen to 5fm/watch MK/pay attention to the hype surrounding a band of this calibre. Best you remedy the situation ASAP. Their songs are pretty without being cutesy and manage to capture that fine balance between being rock enough to have some street cred, while still being easy enough on the ear to merit extensive radio play. Sinead is by far one of the most natural and down to earth people I’ve ever seen on stage – she reels the audience in with her little stories and the sense that she’s just having a chat with us. There’s also a palpable sense that her and Marc are having a great time up there, and they’re hoping the audience will join in. Which is exactly what they did on Friday night…to the point of near mayhem. To say that I never expected to encounter a violent mosh pit at a FTTW gig would be the understatement of the decade. So imagine my surprise when I found myself in the middle of just that, as well as nearly on the receiving end of a kick to the head from a crowd surfing fan. Eventually I had to bail to the side of the stage – there’s only one band I’m prepared to shed actual blood for – while the frenzy continued unabated for the duration of the show. The band has some great new material, with the same sing-along-able quality of all their songs. But I think the new highlight of their show is their rendition of the Kings of Leon’s Four Kicks. It takes a lot of balls to tackle a Kings of Leon song – the band has a cult following and an unusual style. FTTW more than do this song justice and the crowd were begging for it almost from the start. As they break out into the cover, Sinead suddenly goes from wide eyed sweetheart next door to a husky voiced sex kitten who looks as likely to scratch as purr. The fans are enraptured and the mosh pit goes wild. They wrapped it up with a collaboration with the Redflecks gang and certainly left the stage on a high note.
Given the rather youthful appearance of most of the patrons at the Willowvale that night, it came as no surprise really that the venue was almost cleared out by 12am – must stick to those curfews you know. I myself was quite happy to have an early night, with a bound to be raucous wedding to attend the next day, and drifted home on the happy buzz that always follows a FTTW show.
I think there was another band playing, since we saw some dudes sitting around in matching suits (although that’s not really out of place at the Willowvale) – but we must have missed them, catching another show at Thunder Road first. By the time we arrived The Redflecks were about ready to go on. The band has been doing a whistle-stop tour of South Africa, hailing from Nashville, and I had to giggle at a comment someone made on their myspace page, fearing for their safety. They are made up of Ben on guitar, Amy on vocals and Nicole on bass/keyboards/all other percussion type things. Nicole used to play bass in Nemesis, the band Marc from Fire through the Window once fronted, so I guess that’s the connection. They took to the stage in a hail of bad early 80’s glitter and headbands, which should have been a sign that this was not going to be a good start to my Willowvale experience. Their sound has been described as electro-rock, reminiscent of Blondie. To me, they sounded like the unfortunate bastard offspring of The Breeders and Portishead…and they didn’t really get the good genes. Amy would appear to have a really good voice, which was one redeeming feature, but alas it was drowned out in pseudo-psychedelic synth wank. There wasn’t much exciting going on onstage and I found most of their songs boring and repetitive. Not quite a poke in the eye with a sharp stick but close enough. One of my friends did really enjoy them…he described their sound as ‘raw’. Ahem. Enough said.
All was not lost though, because Fire through the Window, as always, pulled the magic out of the bag. They are flawless and I would be heartily surprised if big things do not happen for this band. If you haven’t heard them by now, you clearly never listen to 5fm/watch MK/pay attention to the hype surrounding a band of this calibre. Best you remedy the situation ASAP. Their songs are pretty without being cutesy and manage to capture that fine balance between being rock enough to have some street cred, while still being easy enough on the ear to merit extensive radio play. Sinead is by far one of the most natural and down to earth people I’ve ever seen on stage – she reels the audience in with her little stories and the sense that she’s just having a chat with us. There’s also a palpable sense that her and Marc are having a great time up there, and they’re hoping the audience will join in. Which is exactly what they did on Friday night…to the point of near mayhem. To say that I never expected to encounter a violent mosh pit at a FTTW gig would be the understatement of the decade. So imagine my surprise when I found myself in the middle of just that, as well as nearly on the receiving end of a kick to the head from a crowd surfing fan. Eventually I had to bail to the side of the stage – there’s only one band I’m prepared to shed actual blood for – while the frenzy continued unabated for the duration of the show. The band has some great new material, with the same sing-along-able quality of all their songs. But I think the new highlight of their show is their rendition of the Kings of Leon’s Four Kicks. It takes a lot of balls to tackle a Kings of Leon song – the band has a cult following and an unusual style. FTTW more than do this song justice and the crowd were begging for it almost from the start. As they break out into the cover, Sinead suddenly goes from wide eyed sweetheart next door to a husky voiced sex kitten who looks as likely to scratch as purr. The fans are enraptured and the mosh pit goes wild. They wrapped it up with a collaboration with the Redflecks gang and certainly left the stage on a high note.
Given the rather youthful appearance of most of the patrons at the Willowvale that night, it came as no surprise really that the venue was almost cleared out by 12am – must stick to those curfews you know. I myself was quite happy to have an early night, with a bound to be raucous wedding to attend the next day, and drifted home on the happy buzz that always follows a FTTW show.
My Coke Fest – New Market Race Course, 21.03.08
It was with a heavy heart that I realised I would have to miss Splashy Fen for the second year in a row. I do love that one weekend a year where I get to roll around in the muck and be all outdoorsy. But nothing on Splashy’s line-up came even remotely close to the lure of Muse and Chris Cornell, despite my passion for the local bands.
Lonehill Estate started off the day, and I won’t lie to you…we missed them on purpose. I find them a bit of a yawn, though they do have one prettyish song on the radio. We probably could have watched most of Crash Car Burn but we had to trek about 1 km from the car and then we were too busy mustering the troops to pay them much attention. We’ve heard it all before anyway, when Tweak were around back in the day. Its not that I dislike Crash Car Burn, they are very skilled little punk popsters, but their songs start to sound a bit samey after a while. Very catchy though, I’ll give them that.
It pretty much goes without saying that Wonderboom was the local highlight for me. Those boys really know how to own a big stage and were full of energy as usual. The sound was a bit iffy from time to time, but it didn’t detract from yet another stellar performance. In fact, I’d be prepared to go out on a limb and say they had a lot more charisma on stage than some of the international acts – like Good Charlotte, who just looked pissed. More on that later.
The final local act was Prime Circle. I actually love this band and it’s the first time I’ve ever seen them that they just didn’t hold my attention. Not their fault though – the sound was abysmal. You’d think that at an event of this calibre they could get it right, even for the local acts who traditionally get half lights half sound. Apparently not. So I don’t judge Ross and the gang for a seemingly lacklustre show. I will say though, that I don’t really see the need for the recent inclusion of a keyboardist in the band. That’s just a matter of personal preference though.
Horror of horrors, but the sound problems continued throughout 30 Seconds to Mars’ set. I have heard that the sound was fine in the golden circle, but I do think concert organisers need to ensure sound quality is optimum for all the people who have forked out to come to the show. We may have paid R200 less but there were lots more of us! Anyway, this was definitely one of the draw card bands for many people – a friend of mine only bought her ticket when they were announced. I think they’re very good, and from what I could hear of them, they put on a great performance. I am a bit anti the whole emo thing though. Its all been done to death. But they are without doubt one of the best emo bands on offer and I did enjoy them. I think Jared Leto gave the security some palpitations by mixing with the great unwashed in the audience, and then by climbing the rig like a little chimpanzee. Loads of energy, loads of passion…unfortunately loads of guyliner. Sigh. You were so pretty before Jared!
Next up were the Kaiser Chiefs. What an incredible band. I may have been Ruby Ruby Ruby-ed to death by various radio stations but these guys are infectious indie rock at its finest. I did notice though that many people around us did not seem to be enjoying them as much as we were and didn’t seem too familiar with even the biggest of their hits. Maybe the Jo’burgers don’t do indie. Whatever – our little Durban enclave was hopping around like kernels in a popcorn machine. The Kaiser Chiefs were down to earth in true Brit style and seemed genuinely thrilled to be playing in the homeland of their namesakes. I loved their bouncy performance and they were definitely the surprise hit of the show for me. And happily enough the sound miraculously recovered just in time for them.
Good Charlotte strolled on next and basically looked pissed off their heads. Complimentary drinks at the Hilton anyone? Maybe they just look like that all the time though, what do I know. I enjoyed their show and they have some very sing-along-able songs but they didn’t have the same enthusiasm that the Kaiser Chiefs displayed. The highlight of their set was definitely their cover of The Cure’s Love Song, which they more than did justice to. Had to have a little giggle at the kids around us looking blankly at the band when they said it was a cover. Clearly not Cure fans.
Chris Cornell is just one of those musicians that makes me glad to have been around for the birth of grunge. His inclusion on the bill was probably what swayed me in terms of booking the flight and buying the ticket. Some of my friends were nervous that he was going to appear sans backing band and start doing his solo songs with the mere assistance of an acoustic guitar. But I had faith and it was justified. Chris came out rocking and didn’t stop for an hour. He played songs from all his musical projects, but it was the Soundgarden songs that really blew me away. I never thought I would have the opportunity to see Spoonman or Black Hole Sun performed live. The absolute highlight of the entire concert for me was when Chris was chatting into the mic and just casually said ‘Feel the rhythm with your hands’ – cue much screaming from me – and then broke into Spoonman. I get goosebumps every time I think about it. Apologies to the friends who were deafened by my wild screaming and who have video footage with nothing but me yelling on it. Whoops.
While Spoonman was the highlight of the day for me, Muse was far and away the best band of the day. There is a reason they have won numerous best live act awards and we were privileged to witness their magic. To be honest, I knew I liked Muse and I knew I really wanted to see them…but I had no idea how amazing it was going to be. I should have paid more attention to my friend who saw them in London and rates them as the best live band she’s ever seen. I might have to agree now. As I was watching them I found myself wondering ‘is it natural for one person to be so phenomenally talented???’ Matt Bellamy is awe-inspiring. He is all over the stage, singing, playing numerous instruments including guitar and classical piano, and generally just taking the breath of his audience away. If I wasn’t so busy singing along and jumping up and down, I would have been standing there with my mouth hanging open in wonderment and adoration. More goosebumps.
The last act of the very long day was Korn. I’m not really a fan of angry ‘my parents were mean to me’ music, but Korn are probably the best of the genre. We only got to see a couple of songs as the lift club leader was even less of a fan than me and practically dragged us out by the hair in abject disgust. They seemed to get a great reception from the crowd though and I’ve heard rave reviews from those who stuck around to watch. I will say this though, despite fear of being kicked in the head – it is kind of wanky the way Korn fans wear kilts just because Jonathan Davis does. Seriously guys.
And that was the end of that. In general, it was a very well organised event, with the exception of the initial sound problems and the power cutting during 30 Seconds to Mars. Its great to see such high profile bands making their way to our shores, and a pity the media paid more attention to Paris Hilton being in the country than they did to the bands. Can’t wait to see who we get next year…
Lonehill Estate started off the day, and I won’t lie to you…we missed them on purpose. I find them a bit of a yawn, though they do have one prettyish song on the radio. We probably could have watched most of Crash Car Burn but we had to trek about 1 km from the car and then we were too busy mustering the troops to pay them much attention. We’ve heard it all before anyway, when Tweak were around back in the day. Its not that I dislike Crash Car Burn, they are very skilled little punk popsters, but their songs start to sound a bit samey after a while. Very catchy though, I’ll give them that.
It pretty much goes without saying that Wonderboom was the local highlight for me. Those boys really know how to own a big stage and were full of energy as usual. The sound was a bit iffy from time to time, but it didn’t detract from yet another stellar performance. In fact, I’d be prepared to go out on a limb and say they had a lot more charisma on stage than some of the international acts – like Good Charlotte, who just looked pissed. More on that later.
The final local act was Prime Circle. I actually love this band and it’s the first time I’ve ever seen them that they just didn’t hold my attention. Not their fault though – the sound was abysmal. You’d think that at an event of this calibre they could get it right, even for the local acts who traditionally get half lights half sound. Apparently not. So I don’t judge Ross and the gang for a seemingly lacklustre show. I will say though, that I don’t really see the need for the recent inclusion of a keyboardist in the band. That’s just a matter of personal preference though.
Horror of horrors, but the sound problems continued throughout 30 Seconds to Mars’ set. I have heard that the sound was fine in the golden circle, but I do think concert organisers need to ensure sound quality is optimum for all the people who have forked out to come to the show. We may have paid R200 less but there were lots more of us! Anyway, this was definitely one of the draw card bands for many people – a friend of mine only bought her ticket when they were announced. I think they’re very good, and from what I could hear of them, they put on a great performance. I am a bit anti the whole emo thing though. Its all been done to death. But they are without doubt one of the best emo bands on offer and I did enjoy them. I think Jared Leto gave the security some palpitations by mixing with the great unwashed in the audience, and then by climbing the rig like a little chimpanzee. Loads of energy, loads of passion…unfortunately loads of guyliner. Sigh. You were so pretty before Jared!
Next up were the Kaiser Chiefs. What an incredible band. I may have been Ruby Ruby Ruby-ed to death by various radio stations but these guys are infectious indie rock at its finest. I did notice though that many people around us did not seem to be enjoying them as much as we were and didn’t seem too familiar with even the biggest of their hits. Maybe the Jo’burgers don’t do indie. Whatever – our little Durban enclave was hopping around like kernels in a popcorn machine. The Kaiser Chiefs were down to earth in true Brit style and seemed genuinely thrilled to be playing in the homeland of their namesakes. I loved their bouncy performance and they were definitely the surprise hit of the show for me. And happily enough the sound miraculously recovered just in time for them.
Good Charlotte strolled on next and basically looked pissed off their heads. Complimentary drinks at the Hilton anyone? Maybe they just look like that all the time though, what do I know. I enjoyed their show and they have some very sing-along-able songs but they didn’t have the same enthusiasm that the Kaiser Chiefs displayed. The highlight of their set was definitely their cover of The Cure’s Love Song, which they more than did justice to. Had to have a little giggle at the kids around us looking blankly at the band when they said it was a cover. Clearly not Cure fans.
Chris Cornell is just one of those musicians that makes me glad to have been around for the birth of grunge. His inclusion on the bill was probably what swayed me in terms of booking the flight and buying the ticket. Some of my friends were nervous that he was going to appear sans backing band and start doing his solo songs with the mere assistance of an acoustic guitar. But I had faith and it was justified. Chris came out rocking and didn’t stop for an hour. He played songs from all his musical projects, but it was the Soundgarden songs that really blew me away. I never thought I would have the opportunity to see Spoonman or Black Hole Sun performed live. The absolute highlight of the entire concert for me was when Chris was chatting into the mic and just casually said ‘Feel the rhythm with your hands’ – cue much screaming from me – and then broke into Spoonman. I get goosebumps every time I think about it. Apologies to the friends who were deafened by my wild screaming and who have video footage with nothing but me yelling on it. Whoops.
While Spoonman was the highlight of the day for me, Muse was far and away the best band of the day. There is a reason they have won numerous best live act awards and we were privileged to witness their magic. To be honest, I knew I liked Muse and I knew I really wanted to see them…but I had no idea how amazing it was going to be. I should have paid more attention to my friend who saw them in London and rates them as the best live band she’s ever seen. I might have to agree now. As I was watching them I found myself wondering ‘is it natural for one person to be so phenomenally talented???’ Matt Bellamy is awe-inspiring. He is all over the stage, singing, playing numerous instruments including guitar and classical piano, and generally just taking the breath of his audience away. If I wasn’t so busy singing along and jumping up and down, I would have been standing there with my mouth hanging open in wonderment and adoration. More goosebumps.
The last act of the very long day was Korn. I’m not really a fan of angry ‘my parents were mean to me’ music, but Korn are probably the best of the genre. We only got to see a couple of songs as the lift club leader was even less of a fan than me and practically dragged us out by the hair in abject disgust. They seemed to get a great reception from the crowd though and I’ve heard rave reviews from those who stuck around to watch. I will say this though, despite fear of being kicked in the head – it is kind of wanky the way Korn fans wear kilts just because Jonathan Davis does. Seriously guys.
And that was the end of that. In general, it was a very well organised event, with the exception of the initial sound problems and the power cutting during 30 Seconds to Mars. Its great to see such high profile bands making their way to our shores, and a pity the media paid more attention to Paris Hilton being in the country than they did to the bands. Can’t wait to see who we get next year…
Paul E Flynn & the Seeds of Doubt, Greenhouse Effect and Munkinpure - Back2Basix, 28.02.08
When 2008 dawned on us, I promised myself (and Visa) that I would seriously curtail my trips to Jo’burg to watch bands. I managed to fool myself for a few weeks, tops. I suspect Visa knew it was a hoax all along. Oh well, there’s something to be said for living on gigs and toast.
For those of you who don’t know (and you should hang your heads in shame unless you’ve just awoken from a 15 year coma), Paul E Flynn is the frontman of iconic South African rock group, Sugardrive. His solo album Fields has been in the works for a while now and it seems that with the collaboration of the Seeds of Doubt (Sean Strydom, Donovan Campbell and Paulo Rego), we can look forward to buying it in April. Flynn has arguably the most distinctive voice in the country, and it’s the kind of voice that sends quivers racing along your skin. Add to this the skilled musicianship of the rest of the band, and I think Thursday night was by far one of the best gigs I’ve been to in months. They have a slightly country sound but definitely not in a dodgy, Stetson wearing kind of way - although Paul did do an alarmingly accurate rendition of the redneck dance on stage. Too much time in Ireland perhaps. They were still rock enough to get me and the usual gig partner-in-crime up and dancing, and they had fantastic rapport with their audience. All in all, we had an awesome time (and not just because of the free wine that came with the burgers which apparently only I was drinking!), the band looked like they were having loads of fun, and we were also taught a novel use for onions. My kind of show.
The support acts had a lot to measure up to, and Greenhouse Effect were the smarter of the pair, in that they played first. They are a funky looking group of guys and the hip kids in the crowd definitely seemed to be lapping them up. A drummer is replaced by a dj with a drum machine, which definitely added to their trip-rock sound. All in all, I really enjoyed them, and hope to get to see them again soon. Alas, by the time Munkinpure took to the stage, they didn’t have much of an audience left. Not that we had left, just that most people had adjourned to the bar after the main act. What can I say, the lure of the shooter was simply too strong. I did peep around the door once or twice during their set and they seemed pretty good. Mental note to self - must resist the shooters and watch the band instead next time. I’m disappointed in myself.
So all in all, a good time was had by all. Some might say too good a time, considering the lethal combination of wine and tequila that was on the menu. Certainly my beautician, who recently told me that the space between my eyebrows represents my liver and is crying out for mercy, would suggest it….who knew my liver was such a tittle tale! Anyway, I maintain its all relative…after all, what seems excessive to a Benedictine monk is veritably chaste by Paris Hilton’s standards! I’m somewhere in between I think…
For those of you who don’t know (and you should hang your heads in shame unless you’ve just awoken from a 15 year coma), Paul E Flynn is the frontman of iconic South African rock group, Sugardrive. His solo album Fields has been in the works for a while now and it seems that with the collaboration of the Seeds of Doubt (Sean Strydom, Donovan Campbell and Paulo Rego), we can look forward to buying it in April. Flynn has arguably the most distinctive voice in the country, and it’s the kind of voice that sends quivers racing along your skin. Add to this the skilled musicianship of the rest of the band, and I think Thursday night was by far one of the best gigs I’ve been to in months. They have a slightly country sound but definitely not in a dodgy, Stetson wearing kind of way - although Paul did do an alarmingly accurate rendition of the redneck dance on stage. Too much time in Ireland perhaps. They were still rock enough to get me and the usual gig partner-in-crime up and dancing, and they had fantastic rapport with their audience. All in all, we had an awesome time (and not just because of the free wine that came with the burgers which apparently only I was drinking!), the band looked like they were having loads of fun, and we were also taught a novel use for onions. My kind of show.
The support acts had a lot to measure up to, and Greenhouse Effect were the smarter of the pair, in that they played first. They are a funky looking group of guys and the hip kids in the crowd definitely seemed to be lapping them up. A drummer is replaced by a dj with a drum machine, which definitely added to their trip-rock sound. All in all, I really enjoyed them, and hope to get to see them again soon. Alas, by the time Munkinpure took to the stage, they didn’t have much of an audience left. Not that we had left, just that most people had adjourned to the bar after the main act. What can I say, the lure of the shooter was simply too strong. I did peep around the door once or twice during their set and they seemed pretty good. Mental note to self - must resist the shooters and watch the band instead next time. I’m disappointed in myself.
So all in all, a good time was had by all. Some might say too good a time, considering the lethal combination of wine and tequila that was on the menu. Certainly my beautician, who recently told me that the space between my eyebrows represents my liver and is crying out for mercy, would suggest it….who knew my liver was such a tittle tale! Anyway, I maintain its all relative…after all, what seems excessive to a Benedictine monk is veritably chaste by Paris Hilton’s standards! I’m somewhere in between I think…
Myepic & Shaun Morgan – Burn, 21.12.07
So on Friday night I decided to take a little trip to my local sauna…a.k.a Burn on a summer’s night with fans thronging in to see the front man of Seether. I think anyone who even went near the dance floor was sweating like a commercial sex worker on payday but I’m pretty sure everyone would agree it was worth it. And hey, think of the saving in gym fees.
Anyway, before I digress any further, I was pleasantly surprised to discover on arrival that Myepic were supporting. These guys are great, and not just ‘cos they buy me shooters! Jeff’s vocals are really unusual and their performance is always full of intensity. Because Shaun Morgan was playing unplugged, Myepic obviously had to go the same route, which I think was a little weird for them. They pulled it off really well but you could tell they were just itching to rock out on stage, and frankly they didn’t let the acoustic set up hold them back from doing just that. Definitely one of the most underrated bands in the country as far as I’m concerned, and well worth watching out for.
For once Durban didn’t let apathy get the better of her, and people were crammed onto the dance floor a good 30 minutes before Shaun Morgan was due to start, trying to make sure they got a good spot…or any spot at all for that matter. For those of you who may have been living under a rock, or recently arrived from the planet Neptune, Shaun Morgan (a.k.a Shaun Welgemoed) is the lead singer of grunge rock supergroup, Seether, formerly known as Saron Gas when they were still living on SA soil. I don’t think I have ever seen Burn so packed before, and for once even the jocks turned up. There was an air of sweaty anticipation as the crowd waited for the prodigal son to return….and I think I can say with relative confidence that no one was disappointed by his performance. I did think the set up was not really conducive to 500 people trying to watch an acoustic set, since as soon as you got further back than the front two rows, all you could see was the fairly lights on stage and maybe, if you were lucky, Shaun’s forehead. Perhaps some tables and chairs a’la the old MTV unplugged format would not have gone amiss…but then I guess you wouldn’t have been able to cram 500 people into the room. Nonetheless, Shaun’s performance was heartfelt and beautiful, and the crowd couldn’t get enough. He also got Grant from Myepic to join him on stage for one song, which was a really nice touch, and Grant definitely pulled it off with aplomb. At one point the audience burst out into Happy Birthday, as Shaun just happened to be celebrating the big day, and I have to admit I was touched to see how moved he looked. He came across as humble and genuinely pleased to be playing before South African audiences again. And they were clearly genuinely pleased to have him.
All in all, it was a fantastic evening of music designed to make us proud to be South African. I definitely can’t wait to catch Seether at Kenton-on-Sea for New Year’s Eve, and if you live in Cape Town, you’d have to be a complete fool not to catch Shaun at one of his upcoming unplugged gigs!
Anyway, before I digress any further, I was pleasantly surprised to discover on arrival that Myepic were supporting. These guys are great, and not just ‘cos they buy me shooters! Jeff’s vocals are really unusual and their performance is always full of intensity. Because Shaun Morgan was playing unplugged, Myepic obviously had to go the same route, which I think was a little weird for them. They pulled it off really well but you could tell they were just itching to rock out on stage, and frankly they didn’t let the acoustic set up hold them back from doing just that. Definitely one of the most underrated bands in the country as far as I’m concerned, and well worth watching out for.
For once Durban didn’t let apathy get the better of her, and people were crammed onto the dance floor a good 30 minutes before Shaun Morgan was due to start, trying to make sure they got a good spot…or any spot at all for that matter. For those of you who may have been living under a rock, or recently arrived from the planet Neptune, Shaun Morgan (a.k.a Shaun Welgemoed) is the lead singer of grunge rock supergroup, Seether, formerly known as Saron Gas when they were still living on SA soil. I don’t think I have ever seen Burn so packed before, and for once even the jocks turned up. There was an air of sweaty anticipation as the crowd waited for the prodigal son to return….and I think I can say with relative confidence that no one was disappointed by his performance. I did think the set up was not really conducive to 500 people trying to watch an acoustic set, since as soon as you got further back than the front two rows, all you could see was the fairly lights on stage and maybe, if you were lucky, Shaun’s forehead. Perhaps some tables and chairs a’la the old MTV unplugged format would not have gone amiss…but then I guess you wouldn’t have been able to cram 500 people into the room. Nonetheless, Shaun’s performance was heartfelt and beautiful, and the crowd couldn’t get enough. He also got Grant from Myepic to join him on stage for one song, which was a really nice touch, and Grant definitely pulled it off with aplomb. At one point the audience burst out into Happy Birthday, as Shaun just happened to be celebrating the big day, and I have to admit I was touched to see how moved he looked. He came across as humble and genuinely pleased to be playing before South African audiences again. And they were clearly genuinely pleased to have him.
All in all, it was a fantastic evening of music designed to make us proud to be South African. I definitely can’t wait to catch Seether at Kenton-on-Sea for New Year’s Eve, and if you live in Cape Town, you’d have to be a complete fool not to catch Shaun at one of his upcoming unplugged gigs!
Japan and I & Sibling Rivalry – The Willowvale, 08.12.07
There I was, quite comfortable on my couch, in my pj’s watching what was shaping up to be quite a good movie. And then the phone rang. I am such a sucker for gigs and so of course in a matter of minutes I was ditching the pj’s for my party frock and hitting the road to catch Japan and I, who I hadn’t had a chance to see yet.
It would appear that I am not destined to see Japan and I. I had presumed that they would be the last act of the night but when I careened into the Willowvale just after 10pm, it was to hear them announce that they only had 2 more songs to play. So really, I’m not in much of a position to pass comment. However, what I did see was solid punk delivered by 3 girls in matching cutesie dresses. They were good but not wow, however I will make the effort to catch them again when they’re in town, so that I can give them a fairer listen.
I suppose it actually makes sense that Sibling Rivalry played last, as it was clear the audience was there for them. This band is a force to be reckoned with in the Durban underground scene, and work tirelessly to promote that scene. I really enjoyed their show, with their energetic mix of punk, ska and reggae, and it was patently obvious that the rest of the crowd was enjoying it too. And most obvious of all was that their frontman Matt Wilson was enjoying himself immensely. He never plays with shoes on, and leaps around on stage like an epileptic hobbit – or like Jesus on drugs as one friend described him. He also jumps off the stage and wanders around the venue, singing and dancing with the fans. Indeed, the whole band looks like they’re having one big party up there, and inevitably this rubs off on the audience.
It’s impossible not to have fun with these guys around, and so much fun was had by all, way into the wee hours of the morning, even after we’d abandoned the Willowvale and headed to Burn. The only piece of advice I can offer is that when someone tells you they’ve invented a new shooter…you should run as fast as your gig-weary legs will carry you. Tequila and tomato cocktail. That’s all I have to say.
It would appear that I am not destined to see Japan and I. I had presumed that they would be the last act of the night but when I careened into the Willowvale just after 10pm, it was to hear them announce that they only had 2 more songs to play. So really, I’m not in much of a position to pass comment. However, what I did see was solid punk delivered by 3 girls in matching cutesie dresses. They were good but not wow, however I will make the effort to catch them again when they’re in town, so that I can give them a fairer listen.
I suppose it actually makes sense that Sibling Rivalry played last, as it was clear the audience was there for them. This band is a force to be reckoned with in the Durban underground scene, and work tirelessly to promote that scene. I really enjoyed their show, with their energetic mix of punk, ska and reggae, and it was patently obvious that the rest of the crowd was enjoying it too. And most obvious of all was that their frontman Matt Wilson was enjoying himself immensely. He never plays with shoes on, and leaps around on stage like an epileptic hobbit – or like Jesus on drugs as one friend described him. He also jumps off the stage and wanders around the venue, singing and dancing with the fans. Indeed, the whole band looks like they’re having one big party up there, and inevitably this rubs off on the audience.
It’s impossible not to have fun with these guys around, and so much fun was had by all, way into the wee hours of the morning, even after we’d abandoned the Willowvale and headed to Burn. The only piece of advice I can offer is that when someone tells you they’ve invented a new shooter…you should run as fast as your gig-weary legs will carry you. Tequila and tomato cocktail. That’s all I have to say.
Van Coke Kartel – Burn, 07.12.07
Those of you who may have read my previous reviews will know I have quite a thing for Francois van Coke….musically speaking of course. So even though no one else was keen for Burn, I wasn’t going to let the prospect of a solo voyage dampen my enthusiasm, and off I went.
Usually, there is an unwritten rule in Durban that if it rains, you should avoid going out at all costs. I haven’t quite figured out why yet, after spending the better part of 28 years living here. Is everyone made of sugar and afraid they’ll melt? I don’t know. Imagine my surprise then, when I arrived at Burn just before 11pm to discover it was so full I had to park in the Outer Hebrides and trek back through that damn rain. Luckily I don’t ever brush my hair anyway. Clearly the lure of Van Coke Kartel was strong for many people. Van Coke Kartel is comprised of Fokoffpolisiekar members Francois van Coke and Wynand Myburgh, as well as Justin Kruger on drums. This of course would explain the crowd at Burn, considering the cult following Fokoff enjoys. I did, however, feel quite bad for the guys occasionally, as there were a few (young) drunkards milling about who just kept screaming for Fokoff songs in a most annoying manner. The band did oblige with one or two songs but generally, and rightfully so, stuck to their new material. It is, of course, all in Afrikaans, and it’s quite clever of them they way they tend to play in notoriously English Durban when almal is op vakansie. My brain does operate on a bilingual footing to some extent but I think I would need to listen to the CD to properly appreciate the depth of the lyrics as she just wasn’t moving fast enough to catch on totally on Friday night. Never mind. It was still an outstanding performance and not even technical difficulties can detract from van Coke’s almost demonic charisma on stage. Much the same as with Fokoff, there are no wishy washy platitudes about this band, no metrosexual bullshit either. It’s all straight up punk rock with an attitude and beautifully discordant music to match. It’s the way music should be made – honest and fearless. I love it.
Alas, I did not think to take enough money with to buy the CD but I’m told it will be fairly easily available from major outlets. If you get a chance to see this band, leave your hang ups at home and prepare to get down and dirty with the masters of Afrikaans punk.
Usually, there is an unwritten rule in Durban that if it rains, you should avoid going out at all costs. I haven’t quite figured out why yet, after spending the better part of 28 years living here. Is everyone made of sugar and afraid they’ll melt? I don’t know. Imagine my surprise then, when I arrived at Burn just before 11pm to discover it was so full I had to park in the Outer Hebrides and trek back through that damn rain. Luckily I don’t ever brush my hair anyway. Clearly the lure of Van Coke Kartel was strong for many people. Van Coke Kartel is comprised of Fokoffpolisiekar members Francois van Coke and Wynand Myburgh, as well as Justin Kruger on drums. This of course would explain the crowd at Burn, considering the cult following Fokoff enjoys. I did, however, feel quite bad for the guys occasionally, as there were a few (young) drunkards milling about who just kept screaming for Fokoff songs in a most annoying manner. The band did oblige with one or two songs but generally, and rightfully so, stuck to their new material. It is, of course, all in Afrikaans, and it’s quite clever of them they way they tend to play in notoriously English Durban when almal is op vakansie. My brain does operate on a bilingual footing to some extent but I think I would need to listen to the CD to properly appreciate the depth of the lyrics as she just wasn’t moving fast enough to catch on totally on Friday night. Never mind. It was still an outstanding performance and not even technical difficulties can detract from van Coke’s almost demonic charisma on stage. Much the same as with Fokoff, there are no wishy washy platitudes about this band, no metrosexual bullshit either. It’s all straight up punk rock with an attitude and beautifully discordant music to match. It’s the way music should be made – honest and fearless. I love it.
Alas, I did not think to take enough money with to buy the CD but I’m told it will be fairly easily available from major outlets. If you get a chance to see this band, leave your hang ups at home and prepare to get down and dirty with the masters of Afrikaans punk.
Stereophonics – RDS Main Hall, Dublin, 29.11.07
I found it quite entertaining that some of my friends were surprised that I was going to gigs while in Ireland…have they not met me? And after all, I was missing out on loads of stuff back home so I had to make up for it somehow. In fact, one of the first things I did after booking my flights was check to see which bands I could go and watch in between visiting the family. I mean really, what else would you expect?
The Stereophonics are a weird band, in that I never really think of them as one of my favourites, but then when I hear their songs I’m like oh yeah, I love that song! Except for that unfortunate choice of cover Handbags and Gladrags of course, which luckily enough, they opted not to play at this gig. I saw the Stereophonics play live at Slane Castle when I was living in Ireland quite a few years ago but since then I haven’t really paid too much attention to them, other than my all consuming love for the song Dakota, which was released a couple of years ago and is one of those songs I can just listen to over and over and over and over…you get the picture. So it wasn’t really a surprise to me that I didn’t know the first three or four songs they played. I was a teeny bit nervous that the gig would end up being like R.E.M in Durban a couple of years ago when we all stood around blankly waiting for over an hour for them to play a song we recognised…but fortunately the ‘phonics were a bit kinder in terms of mixing in the classics and soon enough we were singing along with the rest of the rowdy bunch. The band definitely knows how to get their crowd going, and frontman Kelly Jones is formidable in his ability to relate to an audience on their level. They played for almost 2 hours and treated us to a delicate mixture of old and new. One of my favourite parts of the show was when Kelly did a medley of all their big hits, explaining that he knows people want to hear all those songs, but at this stage they have too many to choose from to fit into one set – hence the verse+chorus medley which went down like a homesick mole with the rapt crowd. The stage set up itself was also pretty impressive, with loads of lighting and big screens. The only thing I would have preferred to see was more of the actual performance on the big screen, instead of random pictures. As it was, I couldn’t see much of them at all. Which brings me to the true definition of Murphy’s Law, as pointed out to me by a friend. When at home in SA, I consider myself to be of average height, nothing out of the ordinary. When I go to Ireland however, and meet all the short men there, I feel like a freakin Amazon woman…until I get to a gig, and then the only 3 tall people in the whole of Ireland will be standing in front of me. Pffft.
The band played their set and there was no sign of Dakota. Panic started to set in. My friend started to sidle away as if she feared for her life. After what seemed like an interminable wait, they reappeared for an encore. The first song wasn’t Dakota either. Gah. Then Kelly had a nice long chat with us about what it means to him to play in Dublin and his plans to go out and get pissed later. All that stuff about loving bands who chat to their audience…I take it back!! Tension by now insurmountable. As they were about to introduce the absolute final song of the night, some dick in front shone a laser in Kelly’s eyes, which prompted an angry tirade and if I could have found that guy I would have smacked him myself. And then…Kelly spoke the words I’d been waiting all night to hear “This next song is called Dakota” and I erupted into bliss. That song alone would have made the €50 ticket fee worthwhile (assuming I had actually paid for myself), it certainly was one of the highlights of my whole trip. I don’t think I’ll forget again so easily how much I like the Stereophonics after that show, that’s for sure!
The Stereophonics are a weird band, in that I never really think of them as one of my favourites, but then when I hear their songs I’m like oh yeah, I love that song! Except for that unfortunate choice of cover Handbags and Gladrags of course, which luckily enough, they opted not to play at this gig. I saw the Stereophonics play live at Slane Castle when I was living in Ireland quite a few years ago but since then I haven’t really paid too much attention to them, other than my all consuming love for the song Dakota, which was released a couple of years ago and is one of those songs I can just listen to over and over and over and over…you get the picture. So it wasn’t really a surprise to me that I didn’t know the first three or four songs they played. I was a teeny bit nervous that the gig would end up being like R.E.M in Durban a couple of years ago when we all stood around blankly waiting for over an hour for them to play a song we recognised…but fortunately the ‘phonics were a bit kinder in terms of mixing in the classics and soon enough we were singing along with the rest of the rowdy bunch. The band definitely knows how to get their crowd going, and frontman Kelly Jones is formidable in his ability to relate to an audience on their level. They played for almost 2 hours and treated us to a delicate mixture of old and new. One of my favourite parts of the show was when Kelly did a medley of all their big hits, explaining that he knows people want to hear all those songs, but at this stage they have too many to choose from to fit into one set – hence the verse+chorus medley which went down like a homesick mole with the rapt crowd. The stage set up itself was also pretty impressive, with loads of lighting and big screens. The only thing I would have preferred to see was more of the actual performance on the big screen, instead of random pictures. As it was, I couldn’t see much of them at all. Which brings me to the true definition of Murphy’s Law, as pointed out to me by a friend. When at home in SA, I consider myself to be of average height, nothing out of the ordinary. When I go to Ireland however, and meet all the short men there, I feel like a freakin Amazon woman…until I get to a gig, and then the only 3 tall people in the whole of Ireland will be standing in front of me. Pffft.
The band played their set and there was no sign of Dakota. Panic started to set in. My friend started to sidle away as if she feared for her life. After what seemed like an interminable wait, they reappeared for an encore. The first song wasn’t Dakota either. Gah. Then Kelly had a nice long chat with us about what it means to him to play in Dublin and his plans to go out and get pissed later. All that stuff about loving bands who chat to their audience…I take it back!! Tension by now insurmountable. As they were about to introduce the absolute final song of the night, some dick in front shone a laser in Kelly’s eyes, which prompted an angry tirade and if I could have found that guy I would have smacked him myself. And then…Kelly spoke the words I’d been waiting all night to hear “This next song is called Dakota” and I erupted into bliss. That song alone would have made the €50 ticket fee worthwhile (assuming I had actually paid for myself), it certainly was one of the highlights of my whole trip. I don’t think I’ll forget again so easily how much I like the Stereophonics after that show, that’s for sure!
Pinback – Whelans, Dublin, 25.11.07
I have to be 100% honest and say that up until fairly recently, I had never even heard of Pinback. But someone who’s musical judgement I trust pretty much implicitly raves about them with almost the same rabid intensity I reserve for the Nude Girls (almost!), so when I saw they were playing at my favourite club in Dublin while I just happened to be there on holiday I thought it was a sign. Or something.
Whelans is quite a small venue and it was packed to the hilt by the time Pinback took to the stage, so I figured my friend must be on to something. That, or the Irish will just use any excuse to go out and drink….hmmmm. Pinback have been around since 1998 and come from San Diego in the US. There are only 2 main contributors in the band – a guy with a really long name who calls himself Zach instead, and Rob Crow. It’s quite hard to describe their sound as they’re pretty unique in what they do, but I suppose at a stretch I could call it melodic rock. They both do vocals and their voices blend in a way that is quite superb. There’s a lot of very pretty synth work as well as some good rocking guitars, and they include other people in their live act to flesh their sound out. It’s quite difficult to get into a band that you’ve never heard at all before, particularly when you’re jammed into a room full of people who are all trying to hang onto the heavy coats necessitated by the awful weather outside as well as their precious drinks, but Pinback managed to reel me in. I was quite apprehensive about the high expectations my friend had instilled in me, but on a first listen I’d say I can see why he loves them so much. They were also really chatty with their audience, which is always a plus in my books. All in all, it was definitely worth braving the freezing Irish weather to watch them.
So, if like me you’ve never heard of Pinback before, do yourself a favour and make a plan to check them out. They won’t disappoint you.
Whelans is quite a small venue and it was packed to the hilt by the time Pinback took to the stage, so I figured my friend must be on to something. That, or the Irish will just use any excuse to go out and drink….hmmmm. Pinback have been around since 1998 and come from San Diego in the US. There are only 2 main contributors in the band – a guy with a really long name who calls himself Zach instead, and Rob Crow. It’s quite hard to describe their sound as they’re pretty unique in what they do, but I suppose at a stretch I could call it melodic rock. They both do vocals and their voices blend in a way that is quite superb. There’s a lot of very pretty synth work as well as some good rocking guitars, and they include other people in their live act to flesh their sound out. It’s quite difficult to get into a band that you’ve never heard at all before, particularly when you’re jammed into a room full of people who are all trying to hang onto the heavy coats necessitated by the awful weather outside as well as their precious drinks, but Pinback managed to reel me in. I was quite apprehensive about the high expectations my friend had instilled in me, but on a first listen I’d say I can see why he loves them so much. They were also really chatty with their audience, which is always a plus in my books. All in all, it was definitely worth braving the freezing Irish weather to watch them.
So, if like me you’ve never heard of Pinback before, do yourself a favour and make a plan to check them out. They won’t disappoint you.
For the Love of 1974: Dave’s birthday bash – Burn, 10.11.07
A definite perk to being the owner of the only alternate club in Durban is that when its your birthday, you get to book loads of really cool bands and feel really popular when hundreds of people show up for the party. It felt a little strange rocking up at Burn at 5pm and not being able to find a parking but an afternoon of bands on the roof before a night of retros hits on the dance floor was definitely one of the better ways I’ve spent a Saturday in a long time.
We arrived purposefully late, so as to avoid Clock Struck June, who were pretty horrible when we saw them at Sibaya. We’d also thought we would miss The Kiff but that wasn’t to be. They are too jazzy/funky for my taste and their nonsensical songs all start to sound the same after a while. They do have a kickass bass player though – I think when he leaves the band shortly it may be the end for them. Basically these guys just provided the background music as we settled in for the long night that lay ahead.
Next up were Bhora, legends of the Durban nu-metal scene. Unlike The Kiff, they adhered to the unplugged theme of the day, and I enjoyed them far more than I ever have before. Although all that nu-metal screamy stuff is not really my thing, Bhora are indisputably excellent at it. Unplugged, we were able to get more of an idea of the harmonies behind their songs and it made for a thoroughly enjoyable set.
The AK Massive took to the stage next and wowed the audience with their new material. I’m loving the indie feel of their latest songs and a bunch of us were up and dancing despite it being acoustic. These guys have notoriously bad luck and true to form the electricity tripped half way through their set. They handled it with characteristic humour and the crowd really seems to love interacting with this band.
What can I say about Fire through the Window that I haven’t already said? Sinead & Marc’s vocals just blend together perfectly like champagne and orange juice, and they have an effervescence on stage that makes them impossible not to like. Their songs are sweet and fun, and tend to get stuck in your head for days (although fortunately not in a torturous Rihanna – Umbrella kind of way!). Their debut album is out now so try and get your hands on it if you can.
Peter the band slut from Fire through the Window basically just stayed on stage because next up was an acoustic version of Squeal, comprising Peter and the legendary Dave Birch. Given that Squeal was the band that initiated me into the wonders of South African music, I was very, very excited about this performance. Dave has a voice as smoky as a blues bar and as smooth as melted chocolate – there is no denying that this man is one of the best vocalists to ever come out of this country. It was brilliant to be swept away on the nostalgia of old Squeal hits like Runners and this was certainly my favourite performance of the evening.
The final act of the evening was Francois van Coke of Fokoffpolisiekar fame. Sigh. As far as I’m concerned, this man is just cool incarnate. I don’t really know what it is about him that makes this so, since he rolled into Burn in his trademark stovepipe jeans with his boxers hanging out at the back, unkempt hair and bloodshot eyes. If my friends’ opinions are anything to go by, he’s also not particularly endearing on stage. But then again, maybe that’s it in a nutshell – he is ‘bad boy syndrome’ all wrapped up in a rock star package. Whatever it is, when he steps onto the stage, he owns it, even when he’s playing unplugged. He made his thoughts on this issue quite clear, and I have to agree with him – there is just too much energy in his music to tame it into an unplugged set. My friends looked baffled as I sang along in Afrikaans – it must be my bilingual brain…I don’t even notice the difference. To me, it’s all about great, sardonic lyrics delivered by someone who patently doesn’t give a damn what anybody thinks about him and is just up there making thought provoking music rock. For all the people who were embarrassed to be Afrikaans after Bok van Blerk rode onto the scene…take heart, Francois is taking the power back!
And that was the end of the band portion of the day’s entertainment. The sensible woman would have gone to get some supper before hitting the dance floor but the great tunes just kept coming and once again the wheels came off. Oh well. I learnt some valuable lessons, such as it is in fact possible to spend 10 hours at Burn, and also that my friend Scott deserves an Oscar for his performance as fake boyfriend – the things us girls have to do to chase away the men that bite!
We arrived purposefully late, so as to avoid Clock Struck June, who were pretty horrible when we saw them at Sibaya. We’d also thought we would miss The Kiff but that wasn’t to be. They are too jazzy/funky for my taste and their nonsensical songs all start to sound the same after a while. They do have a kickass bass player though – I think when he leaves the band shortly it may be the end for them. Basically these guys just provided the background music as we settled in for the long night that lay ahead.
Next up were Bhora, legends of the Durban nu-metal scene. Unlike The Kiff, they adhered to the unplugged theme of the day, and I enjoyed them far more than I ever have before. Although all that nu-metal screamy stuff is not really my thing, Bhora are indisputably excellent at it. Unplugged, we were able to get more of an idea of the harmonies behind their songs and it made for a thoroughly enjoyable set.
The AK Massive took to the stage next and wowed the audience with their new material. I’m loving the indie feel of their latest songs and a bunch of us were up and dancing despite it being acoustic. These guys have notoriously bad luck and true to form the electricity tripped half way through their set. They handled it with characteristic humour and the crowd really seems to love interacting with this band.
What can I say about Fire through the Window that I haven’t already said? Sinead & Marc’s vocals just blend together perfectly like champagne and orange juice, and they have an effervescence on stage that makes them impossible not to like. Their songs are sweet and fun, and tend to get stuck in your head for days (although fortunately not in a torturous Rihanna – Umbrella kind of way!). Their debut album is out now so try and get your hands on it if you can.
Peter the band slut from Fire through the Window basically just stayed on stage because next up was an acoustic version of Squeal, comprising Peter and the legendary Dave Birch. Given that Squeal was the band that initiated me into the wonders of South African music, I was very, very excited about this performance. Dave has a voice as smoky as a blues bar and as smooth as melted chocolate – there is no denying that this man is one of the best vocalists to ever come out of this country. It was brilliant to be swept away on the nostalgia of old Squeal hits like Runners and this was certainly my favourite performance of the evening.
The final act of the evening was Francois van Coke of Fokoffpolisiekar fame. Sigh. As far as I’m concerned, this man is just cool incarnate. I don’t really know what it is about him that makes this so, since he rolled into Burn in his trademark stovepipe jeans with his boxers hanging out at the back, unkempt hair and bloodshot eyes. If my friends’ opinions are anything to go by, he’s also not particularly endearing on stage. But then again, maybe that’s it in a nutshell – he is ‘bad boy syndrome’ all wrapped up in a rock star package. Whatever it is, when he steps onto the stage, he owns it, even when he’s playing unplugged. He made his thoughts on this issue quite clear, and I have to agree with him – there is just too much energy in his music to tame it into an unplugged set. My friends looked baffled as I sang along in Afrikaans – it must be my bilingual brain…I don’t even notice the difference. To me, it’s all about great, sardonic lyrics delivered by someone who patently doesn’t give a damn what anybody thinks about him and is just up there making thought provoking music rock. For all the people who were embarrassed to be Afrikaans after Bok van Blerk rode onto the scene…take heart, Francois is taking the power back!
And that was the end of the band portion of the day’s entertainment. The sensible woman would have gone to get some supper before hitting the dance floor but the great tunes just kept coming and once again the wheels came off. Oh well. I learnt some valuable lessons, such as it is in fact possible to spend 10 hours at Burn, and also that my friend Scott deserves an Oscar for his performance as fake boyfriend – the things us girls have to do to chase away the men that bite!
The Springbok Nude Girls – Live at the Astoria (DVD)
I am officially in heaven. My cat, however, may never be the same again. Which is probably not such a bad thing since she was pretty twisted to start off with. The vision of her beloved owner dancing around the lounge and singing to the TV at the top of my lungs may have finally sent her over the edge. But I have always wished there was a live Nudies DVD on the market and when it finally arrived at my local post office thanks to the kind people at Kalahari, I was there before they could even send me the slippy thing to tell me it had landed. Not even the torrential downpour was going to keep me away from this much coveted and anticipated item.
Springbok Nude Girls – Live at the Astoria was filmed, as the name suggests, at the famed London Astoria on 20th May this year. And it is a masterpiece. The set list is a perfect combination of old and new songs, and they are performed with characteristic style and energy. The show opens with the stomach-clenching, adrenalin-fuelling Gang Gang and it is evident right from the start that the boys mean business. There’s not too much in the way of fancy filming on this DVD – it’s straight up footage of an astonishingly good band performing before a capacity crowd of adoring fans. I had to watch it twice in a row and the only thing that prevented a third viewing was the thought of an early morning start and the cat crying piteously in the corner. She likes her routine that one. The live performance itself contains 19 songs, about 90 minutes of pure bliss for a fan like me. There is no denying that Theo Crous is a god on that stage and he wields his guitar with almost frightening ferocity. It’s also really great to note that in this recording, his vocals come out quite clearly and it adds an extra dimension to a stellar performance. There is a synergy amongst the members of this band which tells the tale of their many years together and creates an atmosphere on stage which even via the television, raised the little hairs on the back of my neck. There are moments when you watch a band and simply know that this is the way music should be performed, and this DVD is packed to overflowing with such moments. Something else which makes this one special is that for once Arno Carstens is quite chatty on stage and jokes and laughs with his audience. His performance is as always unparalleled and the aura which surrounded SNG when they smashed their way onto the SA music scene in the 90’s is back in full force. Arno C undulates those hips while delivering the voice that made him an SA brand, Theo whips his guitar and his hair into a rock n roll frenzy, Adriaan shows us yet again just how multi-talented he his and proves that men can multi-task, even breaking into an air-guitar on the trumpet moment, Arno B is as ever the calm in the eye of the storm while he grinds that bass, and Francois is a crazed drumming demon. And all the while, the London crowd, many of whom may arguably have been in SA when this phenomenon was born, are going absolutely berserk. This is the only complaint I have about an otherwise incredible DVD – the crowd are patently going off….and you can’t really hear them. There is nothing quite like hearing a massive crowd sing along with the band they love but the audio on this DVD does not really seem to allow it. Nonetheless, from the writhing mass of people and the wealth of outstretched hands, it’s evident that that this band could do no wrong in the eyes of their audience. And when they wrapped up with that old moshpit favourite Bubblegum on my Boots, sheer mayhem broke out. There was even a guy in the front who I think may be my soul mate….he looked the way I feel at SNG gigs….as if he had been transported to some otherwordly place that was quite simply all about the sound of the Nudies.
As if 19 outstanding songs weren’t enough, there are also a few extras on the DVD. Two music videos for tracks from the band’s latest album are included, namely for Fallen and Illuminate. The former was surrounded by some controversy because it features scantily clad strippers performing the song in the place of the Nudies – a tongue in cheek dig at the fact that the band’s name often inspires false hope in the unknowing. It’s a funny concept and it’s carried off well. Personally, I prefer the video for Illuminate and not just because there’s only so many times I want to watch a bunch of girls in g-strings gyrating around a pole (the boys may feel otherwise of course). The video shows SNG rocking out the way they do best, but in an eerily atmospheric old building. Not exactly a novel concept but it suits the song and I’d rather watch the band give it horns than a bunch of strippers. Both videos are well produced and are a nice addition to the live performance. The other bonus feature on the DVD is a mini-documentary, lasting about 10 minutes, entitled The Build up to the Astoria. It’s a candid piece, including footage of the band being interviewed by various radio and television presenters, warming up for the show, and doing a spot of shopping in Camden. At this stage the guys appear pretty comfortable with a camera around, and we get to see their slightly strange senses of humour as well as getting a bit more insight into their hiatus (a very dark period in my life – I prefer not to talk about it…). It’s a lovely way to let fans feel they have a connection with the band.
All in all, with a total running time of 108 minutes, this little gem is definitely well worth the purchase. It eases the fact that we don’t get to see SNG in concert that often (well certainly not in Durbs anyway) and unfortunately for my neighbours and my cat means that from now onwards there’ll be a gig in my lounge every night.
Full tracklisting:
1. Gang Gang
2. Looking for Master
3. Spaceman
4. Supergirl
5. Illuminate
6. Fallen
7. Managing Mula
8. Peace Breaker
9. Baby Murdered Me
10. Pack the Punches
11. I Love You
12. 1 More Time
13. Giant Love Affair
14. Wolfmen
15. Little
16. Totally Committed
17. Genie
18. Blue Eyes
19. Bubblegum on my Boots
Springbok Nude Girls – Live at the Astoria was filmed, as the name suggests, at the famed London Astoria on 20th May this year. And it is a masterpiece. The set list is a perfect combination of old and new songs, and they are performed with characteristic style and energy. The show opens with the stomach-clenching, adrenalin-fuelling Gang Gang and it is evident right from the start that the boys mean business. There’s not too much in the way of fancy filming on this DVD – it’s straight up footage of an astonishingly good band performing before a capacity crowd of adoring fans. I had to watch it twice in a row and the only thing that prevented a third viewing was the thought of an early morning start and the cat crying piteously in the corner. She likes her routine that one. The live performance itself contains 19 songs, about 90 minutes of pure bliss for a fan like me. There is no denying that Theo Crous is a god on that stage and he wields his guitar with almost frightening ferocity. It’s also really great to note that in this recording, his vocals come out quite clearly and it adds an extra dimension to a stellar performance. There is a synergy amongst the members of this band which tells the tale of their many years together and creates an atmosphere on stage which even via the television, raised the little hairs on the back of my neck. There are moments when you watch a band and simply know that this is the way music should be performed, and this DVD is packed to overflowing with such moments. Something else which makes this one special is that for once Arno Carstens is quite chatty on stage and jokes and laughs with his audience. His performance is as always unparalleled and the aura which surrounded SNG when they smashed their way onto the SA music scene in the 90’s is back in full force. Arno C undulates those hips while delivering the voice that made him an SA brand, Theo whips his guitar and his hair into a rock n roll frenzy, Adriaan shows us yet again just how multi-talented he his and proves that men can multi-task, even breaking into an air-guitar on the trumpet moment, Arno B is as ever the calm in the eye of the storm while he grinds that bass, and Francois is a crazed drumming demon. And all the while, the London crowd, many of whom may arguably have been in SA when this phenomenon was born, are going absolutely berserk. This is the only complaint I have about an otherwise incredible DVD – the crowd are patently going off….and you can’t really hear them. There is nothing quite like hearing a massive crowd sing along with the band they love but the audio on this DVD does not really seem to allow it. Nonetheless, from the writhing mass of people and the wealth of outstretched hands, it’s evident that that this band could do no wrong in the eyes of their audience. And when they wrapped up with that old moshpit favourite Bubblegum on my Boots, sheer mayhem broke out. There was even a guy in the front who I think may be my soul mate….he looked the way I feel at SNG gigs….as if he had been transported to some otherwordly place that was quite simply all about the sound of the Nudies.
As if 19 outstanding songs weren’t enough, there are also a few extras on the DVD. Two music videos for tracks from the band’s latest album are included, namely for Fallen and Illuminate. The former was surrounded by some controversy because it features scantily clad strippers performing the song in the place of the Nudies – a tongue in cheek dig at the fact that the band’s name often inspires false hope in the unknowing. It’s a funny concept and it’s carried off well. Personally, I prefer the video for Illuminate and not just because there’s only so many times I want to watch a bunch of girls in g-strings gyrating around a pole (the boys may feel otherwise of course). The video shows SNG rocking out the way they do best, but in an eerily atmospheric old building. Not exactly a novel concept but it suits the song and I’d rather watch the band give it horns than a bunch of strippers. Both videos are well produced and are a nice addition to the live performance. The other bonus feature on the DVD is a mini-documentary, lasting about 10 minutes, entitled The Build up to the Astoria. It’s a candid piece, including footage of the band being interviewed by various radio and television presenters, warming up for the show, and doing a spot of shopping in Camden. At this stage the guys appear pretty comfortable with a camera around, and we get to see their slightly strange senses of humour as well as getting a bit more insight into their hiatus (a very dark period in my life – I prefer not to talk about it…). It’s a lovely way to let fans feel they have a connection with the band.
All in all, with a total running time of 108 minutes, this little gem is definitely well worth the purchase. It eases the fact that we don’t get to see SNG in concert that often (well certainly not in Durbs anyway) and unfortunately for my neighbours and my cat means that from now onwards there’ll be a gig in my lounge every night.
Full tracklisting:
1. Gang Gang
2. Looking for Master
3. Spaceman
4. Supergirl
5. Illuminate
6. Fallen
7. Managing Mula
8. Peace Breaker
9. Baby Murdered Me
10. Pack the Punches
11. I Love You
12. 1 More Time
13. Giant Love Affair
14. Wolfmen
15. Little
16. Totally Committed
17. Genie
18. Blue Eyes
19. Bubblegum on my Boots
Arno Carstens & Kasia – Society, 04.11.07
Every year Society hosts the Levis Vintage Sundays around this time and they always seem to be a roaring success. So much so that I had nightmares on Saturday night about whether I was going to get there in time to secure a good spot, given that I had to work on Sunday. You may think this is just one more piece of evidence in the case for my neuroses, but the previous two years saw us pinned in one position from 7pm onwards as the crowds thronged around us and made getting to the bar or bathroom an expedition worthy of screening on National Geographic.
I must admit I felt a little silly when we got to Society and there were maybe 20 people there. But clearly all the chilled out Durbanites were just getting off to a late start, because by the time Kasia took to the stage, the venue was teeming with people. I’ve seen Kasia’s name on the line up at Splashy and the like a couple of times, but I’ve never really made the effort to go and watch her. On this occasion she was accompanied by Dave Birch of Squeal legend, who is also responsible for recording her recently completed album. Kasia has loads of personality on stage and was relatively entertaining to watch. She also has a very pretty voice, well-suited to the folksy music she makes. In fact, she sounds as if she should be performing in theatres as the star of a musical, or in dimly lit piano bars, draped over the aforementioned instrument in a slinky cocktail dress. However, after a while, the songs started to get a bit samey & I was more entertained by her quirky performance than by her music. Of course, Dave Birch was, as ever, outstanding.
Next up was the reason everyone had dragged themselves out on a Sunday night (although it is always nice to drag the weekend out….even if you pay for it come Monday morning). Arno Carstens and Albert Frost took to the stage to show off an almost illegal amount of talent. While Arno may not play guitar in the Nude Girls, it is clear he is more than comfortable to be doing so during his solo efforts. And of course Albert Frost plays so well it leaves even the most blasé reaching for the asthma pump to catch their breath. The only downside of these gigs at Society seems to be that they are primarily attended by the pretentious ‘we’re only here because it’s cool to be here’ set, which leaves for a bit of a lacklustre crowd response. That being said, maybe I am being unfair because there was lots of raucous cheering and clapping between songs, I just find it impossible to sit perfectly still and watch with a blank face. It does take a certain kind of band to be able to hold that level of attention for over an hour, and Arno and Albert pull it off with effortless grace. Luckily for me, there was a pocket of zesty people where I was standing, who were also singing along and whoohooing their lungs out, and the guys on stage responded to this with enthusiasm. I might have been the only one dancing though. Ahem, anyway. Every time I watch Arno solo, it seems to me that the line between SNG & New Porn is growing more & more blurred. Gone is the dulcet toned, adult contemporary radio friendly style, and in its place are far more of the growls and screams that characterise the Nudies. Naturally, I love it! There is no doubting that the pair are having loads of fun on stage (not only because Arno keeps asking for shots of Jager!) – they stamp and whirl their way through their set with nuclear energy. Let me not forget to give Gavin Minter credit for playing drums using essentially his hands and a box. The first time I saw this I was transfixed – the man must be in agony by the end of the night! The band played a mix of material off their first and second album, as well as a new song, hopefully off a forthcoming album, and I have to say, I just enjoy them more and more each time I watch them.
So, all in all, it was a great evening – the perfect way to round off the weekend in fact. And well worth the sleepy head on Monday morning.
I must admit I felt a little silly when we got to Society and there were maybe 20 people there. But clearly all the chilled out Durbanites were just getting off to a late start, because by the time Kasia took to the stage, the venue was teeming with people. I’ve seen Kasia’s name on the line up at Splashy and the like a couple of times, but I’ve never really made the effort to go and watch her. On this occasion she was accompanied by Dave Birch of Squeal legend, who is also responsible for recording her recently completed album. Kasia has loads of personality on stage and was relatively entertaining to watch. She also has a very pretty voice, well-suited to the folksy music she makes. In fact, she sounds as if she should be performing in theatres as the star of a musical, or in dimly lit piano bars, draped over the aforementioned instrument in a slinky cocktail dress. However, after a while, the songs started to get a bit samey & I was more entertained by her quirky performance than by her music. Of course, Dave Birch was, as ever, outstanding.
Next up was the reason everyone had dragged themselves out on a Sunday night (although it is always nice to drag the weekend out….even if you pay for it come Monday morning). Arno Carstens and Albert Frost took to the stage to show off an almost illegal amount of talent. While Arno may not play guitar in the Nude Girls, it is clear he is more than comfortable to be doing so during his solo efforts. And of course Albert Frost plays so well it leaves even the most blasé reaching for the asthma pump to catch their breath. The only downside of these gigs at Society seems to be that they are primarily attended by the pretentious ‘we’re only here because it’s cool to be here’ set, which leaves for a bit of a lacklustre crowd response. That being said, maybe I am being unfair because there was lots of raucous cheering and clapping between songs, I just find it impossible to sit perfectly still and watch with a blank face. It does take a certain kind of band to be able to hold that level of attention for over an hour, and Arno and Albert pull it off with effortless grace. Luckily for me, there was a pocket of zesty people where I was standing, who were also singing along and whoohooing their lungs out, and the guys on stage responded to this with enthusiasm. I might have been the only one dancing though. Ahem, anyway. Every time I watch Arno solo, it seems to me that the line between SNG & New Porn is growing more & more blurred. Gone is the dulcet toned, adult contemporary radio friendly style, and in its place are far more of the growls and screams that characterise the Nudies. Naturally, I love it! There is no doubting that the pair are having loads of fun on stage (not only because Arno keeps asking for shots of Jager!) – they stamp and whirl their way through their set with nuclear energy. Let me not forget to give Gavin Minter credit for playing drums using essentially his hands and a box. The first time I saw this I was transfixed – the man must be in agony by the end of the night! The band played a mix of material off their first and second album, as well as a new song, hopefully off a forthcoming album, and I have to say, I just enjoy them more and more each time I watch them.
So, all in all, it was a great evening – the perfect way to round off the weekend in fact. And well worth the sleepy head on Monday morning.
The Kooks – Inside In/Inside Out
You may be wondering why I’m choosing to review a CD that’s been on the market for quite a while now. Well, frankly, I just couldn’t resist writing about one of my new favourite bands. I’ve had this disc in my car CD player for over a month now, and while I feel a little guilty because usually my car is a haven of local music, I just can’t seem to hit that eject button. I’m thoroughly and irretrievably addicted to The Kooks.
The Kooks formed in Brighton, UK in 2004 and Inside In/Inside Out is their debut full length album which was released last year. When their first hit single Naïve made its way to South African shores, I was instantly hooked. My friends and I were also introduced to the need for careful interpretation of the thick accent of Luke Pritchard (vocals & lead guitar), which adds a certain charm to their songs and allows for some highly entertaining misunderstandings – my favourite being one friend’s version of Naïve in which the singer claims he’s “not from Nowowski”…when what he says in actual fact is that he’s not fond of asking. We decided that Nowowski was somewhere in the wilds of Nebraska and never let her live it down. Listen to the song though and you’ll see how she came up with that priceless little mondegreen.
Although I fell in love with Naïve straight away (it’s even my alarm tone!), it took me a while to get around to buying the album. But another friend who generally has the same taste in music as me kept raving about it so eventually I abandoned my whole “try & only buy SA CDs” campaign and went to buy it. Only to discover it was sold out and I would have to wait while they ordered it. So either the store in question didn’t get much stock in, or everyone else figured out way before me what an awesome band this is. I’m open to either interpretation. In any case, it was well worth the wait. From start to finish, this disc is catchy without being cheesy, and has an irreverent, tongue in cheek humour that I love. They very kindly included the song lyrics in the CD sleeve so that not only could I go to my friend and say “see, its NOT Nowowski!!”, I can also sing along quite happily. And sing along is what this band implores you to do with their indie sound encompassing everything from ska to rock. There is a ‘laddishness’ about The Kooks that makes you feel like you could be mates with them, as evidenced in songs with titles like Jackie Big Tits and lyrics like “she pulled those panties down and loved me wetter…” – definitely giving the impression that they’d be quite interesting to hang out with at the bar! Their songs all invite you to sing along but they are diverse in their range from slower-paced ballads such as Seaside to my favourite, Matchbox, which never fails to make me want to drive faster, sing louder, and go out dancing as soon as possible…and if that’s not soon enough, I’ll do a little dance in my car!
So do yourself a favour if you haven’t already got this album – go out and buy it as soon as possible. You won’t be sorry and you won’t be able to stop listening for a very, very long time. Oh, and make sure you check out those lyrics in the CD sleeve before you go belting out any of the songs in public…you’d be surprised at what they really say….
The Kooks formed in Brighton, UK in 2004 and Inside In/Inside Out is their debut full length album which was released last year. When their first hit single Naïve made its way to South African shores, I was instantly hooked. My friends and I were also introduced to the need for careful interpretation of the thick accent of Luke Pritchard (vocals & lead guitar), which adds a certain charm to their songs and allows for some highly entertaining misunderstandings – my favourite being one friend’s version of Naïve in which the singer claims he’s “not from Nowowski”…when what he says in actual fact is that he’s not fond of asking. We decided that Nowowski was somewhere in the wilds of Nebraska and never let her live it down. Listen to the song though and you’ll see how she came up with that priceless little mondegreen.
Although I fell in love with Naïve straight away (it’s even my alarm tone!), it took me a while to get around to buying the album. But another friend who generally has the same taste in music as me kept raving about it so eventually I abandoned my whole “try & only buy SA CDs” campaign and went to buy it. Only to discover it was sold out and I would have to wait while they ordered it. So either the store in question didn’t get much stock in, or everyone else figured out way before me what an awesome band this is. I’m open to either interpretation. In any case, it was well worth the wait. From start to finish, this disc is catchy without being cheesy, and has an irreverent, tongue in cheek humour that I love. They very kindly included the song lyrics in the CD sleeve so that not only could I go to my friend and say “see, its NOT Nowowski!!”, I can also sing along quite happily. And sing along is what this band implores you to do with their indie sound encompassing everything from ska to rock. There is a ‘laddishness’ about The Kooks that makes you feel like you could be mates with them, as evidenced in songs with titles like Jackie Big Tits and lyrics like “she pulled those panties down and loved me wetter…” – definitely giving the impression that they’d be quite interesting to hang out with at the bar! Their songs all invite you to sing along but they are diverse in their range from slower-paced ballads such as Seaside to my favourite, Matchbox, which never fails to make me want to drive faster, sing louder, and go out dancing as soon as possible…and if that’s not soon enough, I’ll do a little dance in my car!
So do yourself a favour if you haven’t already got this album – go out and buy it as soon as possible. You won’t be sorry and you won’t be able to stop listening for a very, very long time. Oh, and make sure you check out those lyrics in the CD sleeve before you go belting out any of the songs in public…you’d be surprised at what they really say….
Jo’burg Day – Randburg Sports Stadium, 15.09.07
Okay, so obviously I am not from Jo’burg, meaning that lots of the ‘rah rah we love Jo’burg’ patriotism of this show was lost on me, but I am a sucker for a good gig, so I had to catch this one. The line up was kind of weird with really amazing bands interspersed with truly hideous ones, but it was the kind of event where you could relax on your blanket and do your best to block the badness out if necessary, so we weren’t too phased. There were loads of acts packed into the day, so I’m just going to give the briefest of details. Well, as brief as possible, being me.
First up were NKD, some kind of amalgamation of Idols performers I’m told. We had actually aimed to miss this lot but found parking much easier than we had anticipated. Fortunately we still had to find somewhere to sit as it seemed all 15 000 people who bought tickets got there before us, so it was relatively easy to tune them out. Think covers and synchronised dance moves with lots of hair flicking. Yawn.
Next up was Jamali, another Idols spin off. The best moment of this performance for me was when I realised that the people we’d been laughing at earlier at the petrol station for their hideous outfits were in fact the girls from Jamali. There is no reason why anyone should ever wear jeans with the front and back seat area cut out a’la cowboy chaps, with bikini pants underneath. EVER. And that was about as much of an impression as they made. More yawning.
I’m not even going to get into the ‘surprise’ performance by Kurt Darren or the fact that the crowd was singing along. It hurts too much. Maybe it’s ‘cos I’m from Durban – I just do not get it.
Anyway, next on the bill was my main attraction, Wonderboom. By this point we had of course wiggled our way to the front so that we could jump around and enjoy one of our favourite bands. The shoes came off and the whoohoos came out. It was great, and the band was filled with their trademark energy. I initially felt like they had been a bit cheated by getting such an early slot, but as the day progressed and I saw that some of the crowd left long before sundown, I think maybe they actually scored in a way. Either way, Wonderboom really captured the spirit of the day with their quintessentially South African sound, and the crowd quite happily sang along under the glaring sun. I’ve said it before and I’ll say it again – Africa at an outdoor event with the crowd chanting in harmony is quite possibly one of the most sublime things I have ever experienced. It rolls up love for my country, for SA music, and for this band in particular into a tight ball of warm and fuzzies, and makes me break out into a grin every time. Beautiful.
Another strangely early slot was handed out to The Parlotones, who of course performed with their usual style. We had wandered back to our blanket to regroup and rehydrate after some vigorous gig jumping during Wonderboom, but nonetheless it was another enjoyable performance from a band I suspect is going to become our top export. Certainly it was one of the best performances of the day.
After that was Denim. More covers, more synchronised dance moves, only this time with boys. I don’t really understand why you would have a band that plays only covers at what should be a celebration of South African music, but I guess that’s just one of my weird notions raising its ugly head again. Whatever.
I think Danny K was next, though I may have got the order scrambled in my attempt to block this horror from my memory. Excruciating is one way of describing this individual’s ‘performance’…and I use that term loosely. Basically he sounds as if someone has kicked him in the balls. And all I could think throughout his set was how unfair it was that I didn’t get a chance to do it first.
Mango Groove had not played in South Africa for about 10 years, so there was a lot of anticipation surrounding their performance. They definitely did not disappoint. Like Wonderboom, they have a sound which is undeniably South African and are legendary amongst those who love South African music. They performed all their old hits and the 15 000 strong audience was singing with all their might and jumping and dancing in the parched earth. Definitely another highlight.
Another round of covers was delivered by Dr Victor and the Rasta Rebels, who I’m told has a reputation as the original party band. Well yeah, I guess there was something of the wedding band about it all. This was of course enhanced by the fact that they started off with Pretty Belinda, a song I must have heard at least 3 times at my own 21st, never mind the 21sts of other friends/boyfriends. Sigh. Anyway, they were kind of fun, and certainly injected their covers with a lot more enthusiasm and spark than the other wannabe-girl/boy bands.
Is there anything I can say about Watershed that won’t have me being held up for libel? Hmmm. One thing I do find highly entertaining is the furore that was created a little while ago when the lead singer came out in the press saying that he was the sole driving force of Watershed, the band would be nothing without him, the other musicians are just session background noise musos etc etc. What I couldn’t understand is why the other guys in the band were upset. I mean, if dear Craig wants to take full responsibility for the soulless, mechanical disaster that is Watershed, I say leave him to it! Anyway, some people love them, god knows why, so they had some fans singing along while they wanked away on stage and vomited out their mind-numbingly bland songs. Cringe.
One band I was really looking forward to was Freshlyground, as this was the first opportunity I had to see them. By this point we were back in front, in what had turned into an absolute dust bowl, which allowed us to appreciate the atmosphere created by this band. My only complaint was the people with kids on their shoulders who literally shoved us out of the way to get closer to the front. I am whole-heartedly behind the idea of growing young fans of SA music, but I do think a little consideration could be exercised. Firstly, if you have someone on your shoulders, no matter the age of that person, you need to stand behind every one else, or it just isn’t fair. Secondly, if you insist on moving to the front, please don’t use your child as a battering ram – I don’t care how cute she is in her little princess tiara, if you shove her into me, I’m going to use language you don’t want her to hear. And lastly, it may be fun for both of you when you flail around and in so doing fling your child into the people behind you, but the rest of us are trying to watch the band too and that’s just annoying. Damn breeders. Anyway, that still couldn’t detract from a majestic outpouring of song and dance by this richly talented group. There is a reason why they won an MTV Music Award and we should be damn proud of them. Yet despite this lofty accolade, it still brought huge grins to their faces when the crowd poured their heart into singing along to my favourite song of theirs, I’d Like, so much so that the band could not be heard over the voices of the audience. Spine tingling stuff.
The last spot of the evening was reserved for guaranteed crowd pleasers, Prime Circle. Luckily the breeders scampered away at the prospect of the very energetic leaping around that usually accompanies a Prime Circle show, so we weren’t getting kicked in the faces by toddlers anymore. The energetic leaping did, however exacerbate the dust bowl situation, and there were moments when my friends and I were doubled over gasping for breath, and not just out of excitement. Nevertheless, their show was as exhilarating as always and allowed us to end the evening on a high note. Some may wonder how I can be such a fan of Prime Circle, and so anti-Watershed, when the criticism of being middle of the road is often levelled at both bands. My take on it is that listening to Prime Circle’s songs still makes me feel connected to the band – there is emotion, sincerity, and a certain humility there, no matter how radio friendly they may be. The same cannot be said for the very lacklustre Watershed. No matter – the sterling performance by the boys of Prime Circle managed to wipe the memory of less pleasant bands from the slate, and although some families may have left before their show, the area in front of the stage was charged with a special energy that could have come from a crowd 10 times the size, such was the love for this band.
All in all, it was a wonderful day, and my friends and I really enjoyed rocking out during the great bands and chilling out during the hideous ones. Hopefully I’ll make it again next year…and hopefully next time I’ll remember to put sunblock on my back before it’s too late. Ouchy.
First up were NKD, some kind of amalgamation of Idols performers I’m told. We had actually aimed to miss this lot but found parking much easier than we had anticipated. Fortunately we still had to find somewhere to sit as it seemed all 15 000 people who bought tickets got there before us, so it was relatively easy to tune them out. Think covers and synchronised dance moves with lots of hair flicking. Yawn.
Next up was Jamali, another Idols spin off. The best moment of this performance for me was when I realised that the people we’d been laughing at earlier at the petrol station for their hideous outfits were in fact the girls from Jamali. There is no reason why anyone should ever wear jeans with the front and back seat area cut out a’la cowboy chaps, with bikini pants underneath. EVER. And that was about as much of an impression as they made. More yawning.
I’m not even going to get into the ‘surprise’ performance by Kurt Darren or the fact that the crowd was singing along. It hurts too much. Maybe it’s ‘cos I’m from Durban – I just do not get it.
Anyway, next on the bill was my main attraction, Wonderboom. By this point we had of course wiggled our way to the front so that we could jump around and enjoy one of our favourite bands. The shoes came off and the whoohoos came out. It was great, and the band was filled with their trademark energy. I initially felt like they had been a bit cheated by getting such an early slot, but as the day progressed and I saw that some of the crowd left long before sundown, I think maybe they actually scored in a way. Either way, Wonderboom really captured the spirit of the day with their quintessentially South African sound, and the crowd quite happily sang along under the glaring sun. I’ve said it before and I’ll say it again – Africa at an outdoor event with the crowd chanting in harmony is quite possibly one of the most sublime things I have ever experienced. It rolls up love for my country, for SA music, and for this band in particular into a tight ball of warm and fuzzies, and makes me break out into a grin every time. Beautiful.
Another strangely early slot was handed out to The Parlotones, who of course performed with their usual style. We had wandered back to our blanket to regroup and rehydrate after some vigorous gig jumping during Wonderboom, but nonetheless it was another enjoyable performance from a band I suspect is going to become our top export. Certainly it was one of the best performances of the day.
After that was Denim. More covers, more synchronised dance moves, only this time with boys. I don’t really understand why you would have a band that plays only covers at what should be a celebration of South African music, but I guess that’s just one of my weird notions raising its ugly head again. Whatever.
I think Danny K was next, though I may have got the order scrambled in my attempt to block this horror from my memory. Excruciating is one way of describing this individual’s ‘performance’…and I use that term loosely. Basically he sounds as if someone has kicked him in the balls. And all I could think throughout his set was how unfair it was that I didn’t get a chance to do it first.
Mango Groove had not played in South Africa for about 10 years, so there was a lot of anticipation surrounding their performance. They definitely did not disappoint. Like Wonderboom, they have a sound which is undeniably South African and are legendary amongst those who love South African music. They performed all their old hits and the 15 000 strong audience was singing with all their might and jumping and dancing in the parched earth. Definitely another highlight.
Another round of covers was delivered by Dr Victor and the Rasta Rebels, who I’m told has a reputation as the original party band. Well yeah, I guess there was something of the wedding band about it all. This was of course enhanced by the fact that they started off with Pretty Belinda, a song I must have heard at least 3 times at my own 21st, never mind the 21sts of other friends/boyfriends. Sigh. Anyway, they were kind of fun, and certainly injected their covers with a lot more enthusiasm and spark than the other wannabe-girl/boy bands.
Is there anything I can say about Watershed that won’t have me being held up for libel? Hmmm. One thing I do find highly entertaining is the furore that was created a little while ago when the lead singer came out in the press saying that he was the sole driving force of Watershed, the band would be nothing without him, the other musicians are just session background noise musos etc etc. What I couldn’t understand is why the other guys in the band were upset. I mean, if dear Craig wants to take full responsibility for the soulless, mechanical disaster that is Watershed, I say leave him to it! Anyway, some people love them, god knows why, so they had some fans singing along while they wanked away on stage and vomited out their mind-numbingly bland songs. Cringe.
One band I was really looking forward to was Freshlyground, as this was the first opportunity I had to see them. By this point we were back in front, in what had turned into an absolute dust bowl, which allowed us to appreciate the atmosphere created by this band. My only complaint was the people with kids on their shoulders who literally shoved us out of the way to get closer to the front. I am whole-heartedly behind the idea of growing young fans of SA music, but I do think a little consideration could be exercised. Firstly, if you have someone on your shoulders, no matter the age of that person, you need to stand behind every one else, or it just isn’t fair. Secondly, if you insist on moving to the front, please don’t use your child as a battering ram – I don’t care how cute she is in her little princess tiara, if you shove her into me, I’m going to use language you don’t want her to hear. And lastly, it may be fun for both of you when you flail around and in so doing fling your child into the people behind you, but the rest of us are trying to watch the band too and that’s just annoying. Damn breeders. Anyway, that still couldn’t detract from a majestic outpouring of song and dance by this richly talented group. There is a reason why they won an MTV Music Award and we should be damn proud of them. Yet despite this lofty accolade, it still brought huge grins to their faces when the crowd poured their heart into singing along to my favourite song of theirs, I’d Like, so much so that the band could not be heard over the voices of the audience. Spine tingling stuff.
The last spot of the evening was reserved for guaranteed crowd pleasers, Prime Circle. Luckily the breeders scampered away at the prospect of the very energetic leaping around that usually accompanies a Prime Circle show, so we weren’t getting kicked in the faces by toddlers anymore. The energetic leaping did, however exacerbate the dust bowl situation, and there were moments when my friends and I were doubled over gasping for breath, and not just out of excitement. Nevertheless, their show was as exhilarating as always and allowed us to end the evening on a high note. Some may wonder how I can be such a fan of Prime Circle, and so anti-Watershed, when the criticism of being middle of the road is often levelled at both bands. My take on it is that listening to Prime Circle’s songs still makes me feel connected to the band – there is emotion, sincerity, and a certain humility there, no matter how radio friendly they may be. The same cannot be said for the very lacklustre Watershed. No matter – the sterling performance by the boys of Prime Circle managed to wipe the memory of less pleasant bands from the slate, and although some families may have left before their show, the area in front of the stage was charged with a special energy that could have come from a crowd 10 times the size, such was the love for this band.
All in all, it was a wonderful day, and my friends and I really enjoyed rocking out during the great bands and chilling out during the hideous ones. Hopefully I’ll make it again next year…and hopefully next time I’ll remember to put sunblock on my back before it’s too late. Ouchy.
The Black Hotels and Wonderboom – The 88 Lounge, 14.09.07
Back to JHB for more gigs…all I can say is thank god for low cost airlines and Visa. I think the debt counsellors may be after me soon though – I’ll just tell them what I keep telling myself…you only live once! How many times do you get to say that before it is rendered meaningless I wonder? Anyway, I was looking forward to seeing my JHB girls, and definitely to watching this gig. Unfortunately for the bands, Friday night was not only Jewish Sabbath, but also Rosh Hashanah, and since this club is generally frequented by a Jewish crowd, the gig was not that well attended.
This was my first time seeing The Black Hotels and I was really keen to check them out. I have heard pretty good things about them from the JHB girls, and quite like their current single on 5fm. They definitely did not disappoint, and I was well impressed with their tight performance. They did fall prey to my pet hate, looking bored on stage, but it actually works for them. They have a very Brit-pop, indie thing going on, and remind me of bands like The Kaiser Chiefs and Frans Ferdinand, who also have that whole deadpan look while on stage. I enjoyed them and will certainly try and catch them again.
I think by this stage everybody knows how I feel about Wonderboom, the trick is to find new ways in which to say it! There was a time when if I got to see them play once a year, it was a lot, and the excitement that surrounded such gigs was indescribable. Now, not only do I venture up to JHB more frequently than Visa would recommend, they also seem to be spending a lot more time in the KZN region than they used to. Score for me. Because even though now I may get to see them once a month instead of once a year (and sometimes even twice in one weekend), the excitement is still the same. I know I am going to hear songs that I love, and I know that this band will never put on a performance that is anything less than whole-hearted. The crowd may have been small on Friday night but they were dancing and singing along to a band who once again showed us why they have managed to last this long in a music scene that has taken other bands, chewed them up and spat them out. Incredibly talented, incredibly passionate, Wonderboom are what makes SA music great.
We didn’t stick around too long after the show – headaches, tequila overload, the usual stuff – but we had an awesome time, and left secure in the knowledge that when Wonderboom took to the stage at Jo’burg Day the next day, we’d get to have an awesome time all over again.
This was my first time seeing The Black Hotels and I was really keen to check them out. I have heard pretty good things about them from the JHB girls, and quite like their current single on 5fm. They definitely did not disappoint, and I was well impressed with their tight performance. They did fall prey to my pet hate, looking bored on stage, but it actually works for them. They have a very Brit-pop, indie thing going on, and remind me of bands like The Kaiser Chiefs and Frans Ferdinand, who also have that whole deadpan look while on stage. I enjoyed them and will certainly try and catch them again.
I think by this stage everybody knows how I feel about Wonderboom, the trick is to find new ways in which to say it! There was a time when if I got to see them play once a year, it was a lot, and the excitement that surrounded such gigs was indescribable. Now, not only do I venture up to JHB more frequently than Visa would recommend, they also seem to be spending a lot more time in the KZN region than they used to. Score for me. Because even though now I may get to see them once a month instead of once a year (and sometimes even twice in one weekend), the excitement is still the same. I know I am going to hear songs that I love, and I know that this band will never put on a performance that is anything less than whole-hearted. The crowd may have been small on Friday night but they were dancing and singing along to a band who once again showed us why they have managed to last this long in a music scene that has taken other bands, chewed them up and spat them out. Incredibly talented, incredibly passionate, Wonderboom are what makes SA music great.
We didn’t stick around too long after the show – headaches, tequila overload, the usual stuff – but we had an awesome time, and left secure in the knowledge that when Wonderboom took to the stage at Jo’burg Day the next day, we’d get to have an awesome time all over again.
Fire through the Window, The City Bowl Mizers & Martin Rocka and the Sick Shop – Burn, 12.09.07
Even now, almost a week later (yes, yes, I’ve been too busy to write the review), looking at the line up makes me quiver with excitement. I mean, really, it’s not that often that I get to see three of my favourite bands in a row on one night. And like the smart little puppy I occasionally (um, very occasionally) am, I had taken the next day off work so I was all set for a big night out.
Unfortunately, due to logistical difficulties (i.e. no one being ready on time), we missed the beginning of Fire through the Window. Nonetheless, I really enjoyed what I did see and so did every one else I chatted to. The sound was not great, so once again Sinead’s vocals got somewhat lost in the rockier songs, but given the venue and clientele, it was definitely necessary to play these. All in all, I think this is a band that is just going to keep going from strength to strength, with their strong melodies and pretty lyrics. I’ll certainly keep making the effort to watch them.
The City Bowl Mizers have impressed me on the other occasions that I have seen them, and they were once again well-received on Wednesday night. Strangely, they were not as ebullient as when I had seen them previously, which is really part of their charm, and I heard others commenting that they had seemed a bit flat. Nonetheless, they are still a very talented band, and one of my favourites in Durban, so I still enjoyed them. After all, every one is allowed to have an off night, and their off nights are way better than the ‘on’ nights of some of the bands I was forced to endure on the weekend!
Martin Rocka and the Sick Shop are just entirely in a league of their own, both in terms of talent and pure entertainment factor. They played quite late, and it was after all a school night for all those other suckers, so the crowd had dwindled slightly. Those who stuck around were jiving all over the dance floor and yelling along to the lewd lyrics. James was of course once again without his double bass (kinda tricky to fit on a plane when you think about it), but I am starting to come to terms with this deprivation. They all do incredible things with their instruments, but it is the masked filthmonger, Rocka, who raises the temperature of the room exponentially with every vicious stroke of his guitar. Even if rockabilly is not your shot of tequila, there is no escaping the remarkable expertise displayed by this trio and no way of watching them without having a riotously fun time. The best news is that they’ll be back in November.
Besides the incredible performance by the boys of the Sick Shop, the highlight of the night for me was probably watching the boy who had minutes previously mocked my cat facing over shooters, throw his own shooters up all over the floor. Not exactly what you want to look at, but it seemed kind of like justice. Who’s the girl now big boy?! Hah!
Unfortunately, due to logistical difficulties (i.e. no one being ready on time), we missed the beginning of Fire through the Window. Nonetheless, I really enjoyed what I did see and so did every one else I chatted to. The sound was not great, so once again Sinead’s vocals got somewhat lost in the rockier songs, but given the venue and clientele, it was definitely necessary to play these. All in all, I think this is a band that is just going to keep going from strength to strength, with their strong melodies and pretty lyrics. I’ll certainly keep making the effort to watch them.
The City Bowl Mizers have impressed me on the other occasions that I have seen them, and they were once again well-received on Wednesday night. Strangely, they were not as ebullient as when I had seen them previously, which is really part of their charm, and I heard others commenting that they had seemed a bit flat. Nonetheless, they are still a very talented band, and one of my favourites in Durban, so I still enjoyed them. After all, every one is allowed to have an off night, and their off nights are way better than the ‘on’ nights of some of the bands I was forced to endure on the weekend!
Martin Rocka and the Sick Shop are just entirely in a league of their own, both in terms of talent and pure entertainment factor. They played quite late, and it was after all a school night for all those other suckers, so the crowd had dwindled slightly. Those who stuck around were jiving all over the dance floor and yelling along to the lewd lyrics. James was of course once again without his double bass (kinda tricky to fit on a plane when you think about it), but I am starting to come to terms with this deprivation. They all do incredible things with their instruments, but it is the masked filthmonger, Rocka, who raises the temperature of the room exponentially with every vicious stroke of his guitar. Even if rockabilly is not your shot of tequila, there is no escaping the remarkable expertise displayed by this trio and no way of watching them without having a riotously fun time. The best news is that they’ll be back in November.
Besides the incredible performance by the boys of the Sick Shop, the highlight of the night for me was probably watching the boy who had minutes previously mocked my cat facing over shooters, throw his own shooters up all over the floor. Not exactly what you want to look at, but it seemed kind of like justice. Who’s the girl now big boy?! Hah!
Fire through the Window & Cito – Zack’s Windermere, 08.09.07
My friends and I had been eagerly anticipating this gig for what seemed like aeons and finally we could stop counting the sleeps. A restaurant may not seem like the ideal venue for a gig but given that Cito’s solo act is not really Burn material, and given the lack of other venues in the city, it was pretty cool that the owners of Zack’s came to the party and hosted Cito for two shows. Given that it was also a good friend’s birthday celebration, the evening was bound to be a heap of fun!
First up was Fire through the Window, once again playing with full band, although they have a new drummer since Adam went back to the UK. The sound seemed a lot crisper this time compared to when I saw them at Vacca Matta, and it was much easier to hear Sinead’s vocals even during their rockier songs. This show cemented my earlier thoughts that this band is really one to watch out for. Sinead’s confidence seems to be growing and her vocals are simply beautiful, and well complimented by Marc’s harmonies. They are releasing their debut album later this month, and I think it will definitely be one to add to the wishlist. For those who enjoy pretty love songs with a rock twist, Fire through the Window comes highly recommended.
In case you’ve been living under a rock somewhere in a far flung land, let me explain why we were so excited to see Cito solo. An incredibly talented musician who has also started to make a name for himself in the world of theatre, Cito has been a force to be reckoned with in the local music scene for well over a decade. He is most renowned for his role as the frontman of SA supergroup Wonderboom – we all know how I feel about them so it really should come as no surprise that I was as excited as I was for this show. I’d also been lucky enough to see Cito perform solo last year, so I knew we were in for a treat. Cito’s solo show is not the adrenalin-raising rollercoaster rock of Wonderboom, it is a far smoother, more languorous ride – ‘dark chocolate and red wine’ as he describes it. His set consisted of some of his own original material, including a heart rending song written for one of his sons, some Wonderboom classics pared down to beautiful simplicity, and a number of his favourite covers such as Radiohead’s High and Dry, and an absolutely spine-tingling version of Leonard Cohen’s Hallelujah. The essence of what makes Cito’s solo show so good is not simply his accomplishment as a vocalist and guitarist, as impressive as this is. It is the emotional depth of his performance which captures the attention of his audience and gives you goose bumps – you feel as if he is laying his soul bare when he steps up on stage. It must take a lot of courage to do this without the backing of a band, and I found it endearing that such a talent would admit to being incredibly nervous when he opened up the show. The crowd responded with evident enjoyment and everyone I spoke to afterwards said they absolutely loved it.
The next day Cito played at another of the Zack’s restaurants, this time on Wilson’s Wharf. Unfortunately the timing wasn’t ideal since he was timed to go on as the Springboks kicked off their opening World Cup match against Samoa. He took all this in his stride and opted to play the bulk of his set after the match was over. It may not have been the perfect situation, but the people who stuck around after the match were once again transfixed by a magical performance. And I of course was in heaven because I got to hear my all time favourite Wonderboom song, Bang, not once, but twice in a weekend. What more can a girl ask for.
First up was Fire through the Window, once again playing with full band, although they have a new drummer since Adam went back to the UK. The sound seemed a lot crisper this time compared to when I saw them at Vacca Matta, and it was much easier to hear Sinead’s vocals even during their rockier songs. This show cemented my earlier thoughts that this band is really one to watch out for. Sinead’s confidence seems to be growing and her vocals are simply beautiful, and well complimented by Marc’s harmonies. They are releasing their debut album later this month, and I think it will definitely be one to add to the wishlist. For those who enjoy pretty love songs with a rock twist, Fire through the Window comes highly recommended.
In case you’ve been living under a rock somewhere in a far flung land, let me explain why we were so excited to see Cito solo. An incredibly talented musician who has also started to make a name for himself in the world of theatre, Cito has been a force to be reckoned with in the local music scene for well over a decade. He is most renowned for his role as the frontman of SA supergroup Wonderboom – we all know how I feel about them so it really should come as no surprise that I was as excited as I was for this show. I’d also been lucky enough to see Cito perform solo last year, so I knew we were in for a treat. Cito’s solo show is not the adrenalin-raising rollercoaster rock of Wonderboom, it is a far smoother, more languorous ride – ‘dark chocolate and red wine’ as he describes it. His set consisted of some of his own original material, including a heart rending song written for one of his sons, some Wonderboom classics pared down to beautiful simplicity, and a number of his favourite covers such as Radiohead’s High and Dry, and an absolutely spine-tingling version of Leonard Cohen’s Hallelujah. The essence of what makes Cito’s solo show so good is not simply his accomplishment as a vocalist and guitarist, as impressive as this is. It is the emotional depth of his performance which captures the attention of his audience and gives you goose bumps – you feel as if he is laying his soul bare when he steps up on stage. It must take a lot of courage to do this without the backing of a band, and I found it endearing that such a talent would admit to being incredibly nervous when he opened up the show. The crowd responded with evident enjoyment and everyone I spoke to afterwards said they absolutely loved it.
The next day Cito played at another of the Zack’s restaurants, this time on Wilson’s Wharf. Unfortunately the timing wasn’t ideal since he was timed to go on as the Springboks kicked off their opening World Cup match against Samoa. He took all this in his stride and opted to play the bulk of his set after the match was over. It may not have been the perfect situation, but the people who stuck around after the match were once again transfixed by a magical performance. And I of course was in heaven because I got to hear my all time favourite Wonderboom song, Bang, not once, but twice in a weekend. What more can a girl ask for.
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