Paul Weller - 66
Remarkably, the three years between Paul Weller’s last record (Fat Pop Vol.1) and this seventeenth solo outing is one of the longest breaks the iconic musician has taken between studio albums.
Of course, being Paul Weller in that time he has released a B-sides compilation, some one-off singles and toured both that and the previous album On Sunset (released in mid-2020), more than most other acts of the same generation can muster in their busiest periods.
Yet in promotional interviews, Weller has indicated that it may be time to start slowing down, a suggestion that the title of this record (his age at the time of release) and some of the lyrics included seem to corroborate.
Of course, ‘slowing down’ is relative, so we can probably expect his eighteenth album by Christmas 2025, but there is an undeniably reflective tone to 66, even if Weller has outsourced much of his lyric writing.
Interview - Frank Turner
Image by Lukas Rauch
Interesting fact: the world record for most gigs in different cities in one day is currently held by American singer-songwriter Hunter Hayes, who travelled across the state of New England on May 10th 2014 to hit the milestone over 24 hours.
As you may have read in the press this week, next month our very own Frank Turner is going to attempt to smash that record, with 15 shows across England on May 4th to 5th (fortunately, for him and the punters, the next Bank Holiday). When speaking to CLASH last week, it’s fair to say the musician has mixed feelings about the prospect.
“It’s going to be an horrendous fucking nightmare, but it was my idea and therefore it’s my fault, goddammit.”
“It’s worth noting I did 24 shows n 24 hours once, but that was all in London and the current record is 10 shows in different cities,” he explains. “Free Now – the cab company – are helping out and providing transport which is very good of them. They do a lot of work for the Music Venue Trust as well, which is great.”
https://www.clashmusic.com/features/still-undefeated-clash-meets-frank-turner/
Interview - John Robb
Image by John Middleham
Last year, author, journalist, musician and all round polymath John Robb released a book of select interviews accumulated over 40+ years working in (or more specially, around) the music business.
Its title? Do You Believe In The Power Of Rock & Roll?.
A matter of minutes in his company provides a comprehensive affirmative. A human encyclopedia, Robb doesn’t so much know about Rock & Roll, but is steeped in it.
We meet at Bristol Folk House, approximately midway through an extensive tour in support of Do You Believe In The Power Of Rock & Roll?, yet it’s a tour with a twist: the first half features John Robb rattling through how punk rock ‘ruined’ his life, while the second comprises an interview with a local creative artist.
The first hour flies past, Robb barely drawing for breath as he regales the audience with tales of his early dalliances with glam rock, how punk rock informed his outlook on life, through to encounters with Nirvana and Oasis.
The Zutons - The Big Decider
The return of The Zutons should be quite A Big Deal.
Twenty years ago, their fine debut album Who Killed…The Zutons? made a respectable impact, riding the crest (like many of their contemporaries) of the post-Libertines wave, when British guitar music was very in vogue, supported by some classic singles.
Two years later, follow-up album Tired Of Hanging Around (belatedly) made an even bigger cultural impact, with Valerie taking on a whole new life of its own after being covered by Amy Winehouse.
Third effort You Can Do Anything failed to consolidate their success in 2008 and, after being dropped by Sony, The Zutons quietly disbanded the following year.
Bassist Russell Pritchard joined Noel Gallagher’s High Flying Birds (where he remains), late recruit Paul Molloy went on to join The Coral while drummer Sean Payne worked with Miles Kane, among others.
Fontaines D.C. - Starburster
It’s all been leading to this.
Across their three albums to date, Fontaines D.C. have not so much evolved as taken cosmic leaps forward, from recognisably indie fare to the more experimental corners of 2022’s Skinty Fia. Three distinct albums have been reflected in their rise up the bill at festivals both in the UK and abroad.
Although the group relocated from Dublin to London some years ago, the traces of their home country were seeded throughout their third album. In contrast, new single ‘Starburster’ is an apt soundtrack to life in England’s capital; a multitude of genres and sounds all fighting for superiority amidst the chaos.
https://www.clashmusic.com/reviews/on-returning-fontaines-d-c-starburster/
Johnny Marr/Gaz Coombes - O2 Academy, Bristol - 11th April
Image by Gary Maher
Well, this was quite the double-header.
An artist of Johnny Marr’s stature would be enticing enough, but for his tenth anniversary tour (commemorating last year’s Best Of, Spirit Power) the legendary Mancunian has pulled out all the stops.
Not least with his choice of support act: Gaz Coombes could probably fill Bristol’s biggest venue (capacity 1600) on his own but, freed from such pressures and obligations for his last album, the Supergrass frontman takes the opportunity to present his own, esteemed solo career.
Through necessity, Coombes’ six-piece band squash together at the front of the stage for his ten-song set but it matters naught, with a relaxed energy and comfortability reflected by the singer, a man clearly comfortable with his place in the world.
From the clanging, driving one-off single ‘Salamander’ (featuring some raucous saxophone), there’s a noticeable ease and positive vibe emanating from the stage.
James - Yummy
Tim Booth has never been one to shy away from The Big Themes.
Since James’ reformation, he and his bandmates have taken Donald Trump, populism and the devastating effects of climate change to task, most specifically on their two most recent albums, Living in Extraordinary Times (2018) and 2021’s All The Colours Of You.
Sadly, the state of the planet isn’t looking much better and thus, on this eighteenth album, the despair continues. Here, Booth finds space to ruminate on what comes next, filtered through that joyful James lens of positivity and – as always – love.
Celestial disco anthem ‘Better With You’ reflects on floating alone in the world while positing that global Armageddon and the subsequent post-human regeneration of the planet would be beautiful to behold, and even better with company (‘drink in the Northern Lights as the planet reboots’). The heavenly soundscapes and Booth’s voice are excellently complemented by Chloe Alper, radiating beauty amid an apocalypse romance.
The Black Keys - Ohio Players
After being a cult band for the first decade of their career, the Black Keys blew up with the success of sixth album Brothers in 2010, consolidated by the earth-devouring El Camino two years later. The latter was itself spearheaded by ‘Lonely Boy’; a track impossible to ignore for a few years.
Despite being anything but an overnight success, the universal praise the albums received seemed to take Dan Auerbach and Patrick Carney by surprise and – arguably – they’ve yet to recover from it. Until now.
After a comparatively muted response to their output of the last decade (albeit as they became an arena band) Delta Kream rejuvenated them in the way that covers albums so often do; relinquished from the pressure of writing songs, the pair seemed to rediscover the joy of simply playing. Dropout Boogie (2022) received two Grammy nominations and Ohio Players finds the duo expanding their palette to accommodate several guest appearances, where they were once a closed shop.
https://www.clashmusic.com/reviews/the-black-keys-ohio-players/
The Stanford Family Band - For Your Listening Pleasure
This is an unexpected treat.
Brighton four-piece The Stanford Family Band unveil their debut EP For Your Listening Pleasure just in time for the changing of the season.
Sounding unlike anything else in alternative music right now, the tracks sound charmingly out of their time.
While other acts claim to be influenced by the great acts of the 1960s (or at least used to), The Stanford Family Band’s music is steeped in the decade.
Most prominent are the lush, Beach Boys-esque harmonies around Elliot Stanford’s lead vocals, including on opener Your Chair where they are front and centre.
The track conjures up evocative images of the group stood together accompanied only by a battered old piano before the full band kicks in. Ever-so-slightly psychedelic, it’s a warm welcome to their world.
The Libertines - All Quiet On The Eastern Eplanade
About time too.
For too long now, The Libertines have been behaving like a nostalgia band. Part of that is understandable given their impact back in the early part of the century, but given their prolificity first time around their back catalogue is disconcertingly light.
Since their full reformation in 2014 (after a false start in 2010), Carl Barât, Peter Doherty, Gary Powell and John Hassall have toured consistently, with only one album (their third) released in that time.
You’ll likely know that a substantial amount of The Libertines’ time (and money, presumably) has been spent on developing their boutique hotel The Albion Rooms (also a studio, in fairness) in Margate. Fine for them and their more well-moneyed fans, but no substitute for new music.
Thankfully, All Quiet On The Eastern Esplanade has been worth the wait. All the elements that made The Libertines mythological are here, and more besides.
https://www.live4ever.uk.com/the-libertines-all-quiet-review/
Brits & Pieces - Volume IV
After a two year-hiatus, the Brits and Pieces compilation series returns.
Inspired by the classic compilation albums of the 1990s, Marc Rossiter (@BritsPieces) took on the challenge of matching the impact of those compilations but with a twist: each Brits And Pieces album to-date has showcased Britain’s up-and-comers, the bands who have yet to signed.
Previous Brits And Pieces volumes included Spyres and Megan Wyn, both of who built on the foundation, and this new collection is once again mastered by Nick Brine, who can credit Oasis and Ash on an impressive CV. With all the proceeds going to the acts included, it’s very much a labour of love for Rossiter.
While the first three Brits And Pieces volumes were very much band-oriented, Volume IV includes several solo artists, which speaks to the state of grassroots music in 2024: the dearth of bands.
The reasons are understandable: bands are notoriously hard work, while solo artists have the capacity to record every instrument themselves in their bedroom.
https://www.live4ever.uk.com/brits-and-pieces-volume-iv-review/
Liam Gallagher + John Squire - Kentish Town Forum, London - 26th March 2024
Liam Gallagher + John Squire in London - Credit Unknown
Those who criticise the Liam Gallagher + John Squire project don’t appear to have been paying attention.
Some questionable lyrics aside, the album is a solid blues/rock/pop effort with some outstanding musicianship, much like every other John Squire effort since The Stone Roses.
As for this tour, the most common criticism is that the runtime of the set is too short given the high ticket prices (upwards of £65).
Liam Gallagher has publicly stated that he can only operate at his maximum – given the punishment his larynx undertakes – for an hour or so which, conveniently, is just shy of the length of the album. Throw in their now infamous cover of ‘Jumpin’ Jack Flash’ and, boom.
There’s also the small matter of Jake Bugg as the support act who, once upon a time, was a Glastonbury Other Stage headliner.
https://www.live4ever.uk.com/liam-gallagher-and-john-squire-london/
Ride - Interplay
Has there been a reformation of a much-loved 90’s band which has gone so well as Ride’s second act?
With the exception of Blur, no-one else from their generation (or even the one after) has produced new work so effectively.
Both Weather Diaries (2017) and This Is Not A Safe Place (2019) built on the legacy of Ride’s seminal debut Nowhere and the equally-as-influential Going Blank Again, for which the likes of DIIV, bdrmm and Just Mustard owe some debt.
The title of Interplay – Ride’s seventh studio album – references the band’s chemistry and is described as a ‘survivor’s record’, referencing the travails they endured during its gestation, including an ugly litigation case with an old manager and, of course, lockdown. As a result, it’s a triumph over adversity.
Yard Act - O2 Academy, Bristol - 23rd March 2024
Yard Act at Hammersmith Apollo - Credit Unknown
Much has been made of Yard Act’s new direction, with the four-piece freely admitting that post-punk was a useful (and cost-effective) vehicle for their early work. A form that was easily translated to the live stage, it served both its purpose and the band well.
But with new album Where’s My Utopia? broadening their sonic palette, what are Yard Act now? The second collection threw a wealth of different genres into the mix, including hip-hop and smatterings of electronica, which suggested that translating it into performance may be a challenge.
Not a bit of it: the new improved Yard Act experience is brighter (a dazzling, perpetually changing light show), brasher (backing dancers) and louder (every song).
Sadly – as documented on last year’s one-off single ‘The Trench Coat Museum’ – frontman James Smith has sacked the mac, with he and his band-mates colour coordinated with an orange motif, including a natty denim jacket.
The Jesus And Mary Chain - Glasgow Eyes
A big year lies ahead for The Jesus And Mary Chain. To commemorate their 40th anniversary, the Reid brothers (William and Jim) are releasing a documentary, a book and are (at the time of writing) about to embark on a celebratory tour.
However, nostalgia sits ill with the East Kilbride duo, and so eighth album Glasgow Eyes seems a more fitting acknowledgement of four decades in music, taking the best elements of their catalogue while also adding a frisson of new ideas.
That said, in Jim’s own words, don’t expect ‘The Jesus And Mary Chain go jazz’ (even if the spectre of Miles Davis can be felt); opener ‘Venal Joy’ is sweaty, motorik electro, still raucous but with a touch of femininity as provided by Rezillos’ Fay Fife on backing duties. Elsewhere, ‘Silver Strings’ is built around a simple but smacked-out, full-of-dread motif that would be befit a David Lynch movie.
https://www.clashmusic.com/reviews/the-jesus-and-mary-chain-glasgow-eyes/
Bill Ryder-Jones, Thekla, Bristol - 17th March 2024
Bill Ryder-Jones in Brighton - Credit Unknown
Unusually for an artist about to enthrall an audience for ninety minutes, Bill Ryder-Jones gets the niceties out of the way early on.
As he and his six-strong band take to the stage, he immediately thanks those who purchased recent album Iechyd Da before getting down to business, acknowledging that they have a lot of songs to get through.
With a steadily burgeoning back catalogue to choose from that’s no surprise, even if tonight’s set consists of tracks from three of his six studio albums (albeit Yawn & Yawny Yawn covering the same ground), yet there is no shred of arrogance or even confidence, as he has to jokingly (one assumes) reassure himself, muttering, ‘This is a totally normal thing to be doing on a Sunday night, it’s fine’.
In contrast to support act Brooke Bentham, whose soaring vocals filled the venue (even with a depressingly chatty crowd), Ryder-Jones’ hushed tones add to the intimate and reverent vibes, even with a packed stage.
https://www.live4ever.uk.com/bill-ryder-jones-thekla-review/
Interview - Buzzard Buzzard Buzzard
Image by Charlie Harris
Unlike other guitar bands of their generation, Buzzard Buzzard Buzzard are neither post-punk nor that Oasis-influenced, lads band, tales-of-the-streets thing (thank goodness). Their references are more varied, their attitude is more tongue-in-cheek and they have a sense of humour: shortly after the release of recent single ‘National Rust,’ the band tweeted: ‘David Byrne hasn’t called yet so I think we’re in the clear.’
Yet the Welsh quartet take their work very seriously and are far from frivolous. Forthcoming album Skinwalker tackles singer and songwriter Tom Rees’s mental health struggles and is based – loosely – around a concept of tackling them, as he explains to CLASH: “The whole idea for the record was I had this idea: imagine if you were walking through a fairground and there was a guy who was like, ‘Come on this ride, take a trip through your own mind,’ and you’d be like, ‘Yeah! That sounds class.’ Then as you go into the elevator, each door opens on each floor and everything becomes more horrific as you go down.”
“You have the realisation that you’re not as chill as you thought you were and everything is a mess. It focussed the record on self-exploration. I was suffering a lot from depression and anxiety before writing the record, and I went into therapy and got through. The process of doing that was great but I thought the guy was going to fucking slap me on the arse; ‘You did it kid, you’re all cured,’ at the end. But it’s not that, it keeps going.”
https://www.clashmusic.com/features/on-returning-buzzard-buzzard-buzzard-take-their-next-step/
Interview - Master Peace
Image by Toast Press
“I genuinely believe this album is the most honest and authentic piece of work from anyone in my pay grade at the moment, in terms of sonics, songwriting and hooks. I don’t think anything else comes close. But the way the game works, people get praise for minimal stuff but then you get people like me who are the underdog. If you guys actually paid attention, you’d realise I’m on to something here. You can’t reference me an album that sounds like it.”
So says Peace Okezie (better known as Master Peace), the brains behind How To Make A Master Peace. Stacked with anthems-in-waiting, his debut album sees the young man putting the best elements of indie sleaze, electro-pop, and rock music into a blender, garnishing it with his own force of personality to create an eclectic body of work that stands apart from the crowd
It’s been a long time coming, as Peace tells Clash in our exclusive chat, with debut single ‘Night Time’ now half a decade old: “We’ve definitely seen a lot! There’s been a lot of moments; highs, lows, super-highs, and super-lows! It’s definitely a relief because a lot of artists don’t get the chance to drop their debut album. I’ve managed to make music consistently since ‘Night Time’, so I’m very grateful, for sure.”
The time has been used effectively, allowing Peace the time to diversify both his sound and the lyrical content. “I feel like the early stuff was definitely based on one scenario and on one relationship and one vibe,” he explains. “It was the only thing I knew, because when you’re at that age (18/19) that’s all you ever know, really. You can only write about what’s currently going on in your life.”
https://www.clashmusic.com/features/how-to-make-a-debut-album-master-peace-interviewed/
Yard Act - Where’s My Utopia?
Remember post-punk?
It was the sound of the second half of the last decade, and during the pandemic you couldn’t move for heavy guitars and shouted lyrics.
Yet, as is proper, its main proponents have moved on: Fontaines D.C. (whom the title never sat comfortably with) accepted being defined by post-punk until it stopped being useful (namely album two), while recent collaborators LCD Soundsystem and Nigel Godrich influenced IDLES’ current output, both of who operate in different stratospheres to metallic riffage.
Yard Act were latecomers to the game but were savvy enough to realise the genre’s uses (cheaper, easy to understand) while simultaneously cocking a snook at it.
Like the scene’s other key players, the Leeds band have moved on and broadened their sound and influences, with second album Where’s My Utopia? throwing numerous other influences into the mix while still sounding inimitably like themselves.
Simple Things Festival 2024, Bristol
SCALER by Sandra Ebert
After a long break, the Simple Things Festival returns to Bristol in a new slot.
Where previously the festival took place in October, due to the city’s now bulging music schedule (Ritual Union, Outer Town and Dot2Dot are slated for the preceding months) it’s now found a new home in February.
It’s a shame the event has had to make way, for its rich heritage alone deserves better: the last iteration included sets from A Certain Ratio, Squid, Big Joanie and a certain Andrew Weatherall.
Taking place across six distinct locations, the 2024 version spans the genres. Local band Spectres fill the SWX with their incessant, brooding doom rock; all feedback and delays, like a grizzled version of The Jesus And Mary Chain. Abstract music full of nihilistic despair, it’s a gloomy but vital way to start proceedings.
Over in the main room of the recently reopened (and renamed) Bristol Beacon, Wu-Lu’s offerings are more frenetic, if equally as punk.
https://www.live4ever.uk.com/review-simple-things-festival-24/