Dekker in Clwb Ifor Bach Cardiff: 16/11/2023

Third night into the UK leg of his 2023 tour, Brookln Dekker arrives in Cardiff Clwb Ifor Bach for an intimate show full of storytelling and reflection.

A simplistic stage setup is laid out before the audience, only instruments for both warm-up and Dekker on stage, and a singular prop of a hanging sign stating his name above.

The crowd files in, choosing to place themselves in booths, sitting on the venue steps or leaning around the room. All appear relaxed while anticipating the night of music to come.

Warming up the crowd, Low Girl walks onto the stage. Only half of the members are present, Toby on keyboard and effects, and Sarah on guitar and vocals, but despite the whole band not being on stage, their presence is undeniable. Their music is beautiful and, at times, has bright pop elements, yet it always has a sense of sorrow behind either the melodies or the lyrics, creating juxtaposing feelings for the crowd to wallow in.

Starting his set, Dekker appears wearing his signature oversized woven hat, almost entirely obscuring his face, adding an element of mystery to his performance. Acoustic guitar in hand he begins, plucking out intricate chords as Stefan Wittich joins him with a subtle rhythm on drums, keeping the momentum moving. Dekker’s vocal prowess is clear, as he regularly jumps into falsetto sections with control, capturing the audience’s attention for more passionate moments in his lyrics.

Songs such as ‘Let’s Pretend’ show off Dekker’s lower register yet still has talented runs and decorations scattered throughout the enchanting song. Addressing the crowd, Dekker asks, “Can I tell a few stories tonight?” and is met with a cheer of support.

He goes on to tell tales of his family and their influence on his life between songs, as well as lyrically transport the audience through struggles he has faced. ‘Maybe October’ addresses sobriety and responsibility, while still establishing a catchy hook getting the audience to sway along with the somber folk-pop music. His set is hypnotic, and the music seems to move between feeling soothing and haunting without warning.

He finishes the show while joking with a tiring Wittich, both playing with more passion and increasing ferocity on guitar and drums. The end is met with a wave of cheers, as they both nod and wave to the support crowd in front of them.

Review - Tom Robinson - Acapela Studio - 16/11/2023

One of the punk/new wave’s heroes made a return to the wonderful Acapela Studios and another sellout evening on a chilly Thursday evening.

Robinson is a real unsung icon of his generation and a devoted and very vocal opponent of everything wrong in this spiralling world. A pioneer for gay rights and a critic of the abuses of power, Robinson’s songs have been inspirational to many.

Whether it be with a full band in tow or like this evening, close and personal with just his guitar and keyboard to accompany himself, he never fails to entertain or inform in what can be extremely passionate performances of some of his era defining songs.

All Images Copyright KCL

It’s not that he’s rested on his laurels and still writes poignant songs that hit the nerve, sometimes uncomfortably so, but also with humour and occasional sadness. His last song of the evening, a newer song and a personal favourite of his, written for his children and about living in the moment called “Only The Now” demonstrates that at 73, he still has the musical chops and and still touch the heart of his listeners.

Just as his Radio Six presenting career will testify, Robinson is a good raconteur and during the performance tells candidly about his career, the ups and some depressingly downs, woven effortlessly through his songs.

Songs like “Too Good To Be True” a favourite of his band’s talented and sadly now passed away guitarist Danny Kurstow proved a lovely tribute whilst his ‘comeback’ song, the hit “War Baby” written after fleeing to Hamburg, Germany after the breakup of his band and heavily in dept allowed Robinson to return from what was undoubtedly a very tough period in his life.

Sadly it was over too quickly and Robinson left the stage to rapturous applause acknowledging the crowd and his love for the venue. Always a supporter and promoter of new music Robinson’s support for the evening was local Splott singer/songwrier Adjua who delighted the audience, and Tom Robinson, to some soulful and well-crafted songs and certainly one to watch for in the future. Well done Tom !

Tony Woolway

Lisa O'Neil - Oisin Leach - The Gate - Cardiff 27/10/23

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‘I am thinking of going to this gig, at The Gate’ said my wife, Collette, as she played me some music from Lisa O’Neill, an artist that I’d never previously heard. Suffice to say, I was immediately entranced and tickets were rapidly purchased. So, gig night arrived and we travelled down for the show. The Gate is a gorgeous venue. It is a grade 2 listed, former Presbyterian church and one of the best mid-sized live music venues, in the capital city. It was (as expected) tricky to park, so bear that in mind for future gigs. This was especially the case for this sell-out show but, as outlined below, so worth the effort.

Armed with stout and wine, we took our seats for the evening’s performances. We resisted sitting in a ‘pew’ and sat a few rows back from the stage, where we had an excellent view. Just after 8 pm, the bespectacled figure of Oisin Leech ambled on and went on to regale us with songs that reflected on life in and around Navan and the surrounding area. Oisin is a subtle, gentle performer and has a charming, warm personality.  He is also a witty and very likeable character. His ‘travelogue’ about journeying from Halifax to Cardiff, via most of the midlands by train, bus and foot was hilarious! He went down really well with the Cardiffians and seemed to very much enjoy the experience. His current single, ‘October Sun’ is getting airplay and is well worth checking out. Unfortunately for everyone else there, a late arrival made a noisy entrance into the arena during this intimate set. Ignorantly shouting out to the artist, in such a beautiful venue was highly disruptive, rude and irritating.  If you come to gigs, especially for acoustic performers, try shutting up, sitting down and showing some respect for the performers and the rest of audience. That might make you more popular and welcome at future events...

After a short break and a trip to the bar, to replenish our supplies of (very nice) stout and red wine, we sat back and had a short wait for Lisa O’Neill, to take the stage. She initially did so, alone, armed with just her guitar. It is a really strong way to start a gig, in my opinion, allowing for the other musicians to augment the sound, as they enter the fray.  In this case, we were able to applaud two fine musicians, Brian Leach (dulcimer) and Joseph Doyle (Double bass/cello) as they emerged. I’d enjoyed the few songs that my wife (Collette) had played me but this is one of the gigs when you needed to be there, to really appreciate quite how special it was.  The whole thing was incredibly intimate, moving and captivating.  In football parlance, Lisa leaves ‘nothing in the changing room’. She very much wears her heart on her sleeve, evoking an emotional and engaged connection with the audience.  Just as she came on, we were told to avoid flash photography and filming. Between songs this was fluently rationalised. Lisa is a fascinating raconteur and the spoken content between songs were very much an integral part of the experience. Essentially, her antipathy, is towards the trend of sitting there taking photos and live streaming, as it destroys the intimacy of the exchange between performers and audience. Each performance at every venue for all performers, is a different lived experience, depending on who’s there, how they react and the mood of the room. She’s essentially alluding here to phenomenology; the experience of being there, in the moment.  That spirit really comes across in her songwriting, body language and interaction with the audience.

I don’t have a set-list, nor have I heard enough of Lisa’s material to be able to name-check all of the songs. Instead, I’ll mention a few key moments, during which our senses (me and my wife) were sent spinning, out of control, as we were totally caught in the moment. I’m no scientist but bear with me, this is about us, as human beings and our senses and feelings.  A lot of Lisa’s songs generate an almost  hypnotic mood through the use of what I’ll call a drone, often being played on a miniature Indian instrument, possibly a harmonium, I think. This brilliantly sets the scene for everyone in the room. I looked at people in front of me, nodding in time, as if entranced and others, around us, obviously totally spell-bound. Lisa O’Neill is clearly a deep thinker and has a very warm, honest and highly engaging style.  I’m adamant that the Gate, is THE PERFECT VENUE for Lisa O’Neill to play in Cardiff. As a small, former church, the building helps to engender a spiritual experience that is special and unforgettable. I’d like to think that Lisa felt the same and would want to recreate this evening, rather than head for a larger venue, on return to Wales.

Here are three (for us) totally magical moments from the evening. The first song my wife had played me was called ‘One Note’, a recent single. I’d liked it, as a piece of music but had no idea what it was about. Lisa introduced it and explained that is was about how there is an often ignored musicality that is all around us, always but  goes un-noticed. Talking about the sounds of wind blowing through the gate, a tin can being blown along a pavement and the soft sounds of feathers fluttering along, she beseeched us to take account of our senses, as human beings and to be more conscious of the aural beauty that surrounds us. She talked of how she’d loved comments that she’d overheard from her young niece, as she played by her side and how that influenced her writing ‘Old Note’. The live performance of this song moved me beyond words. I’ve been a university lecturer for more than twenty years, specialising in the realm of radio, podcasting, non-visual story-telling and (above all) sound. The live performance of this song totally resonated with me. Towards the end, Lisa mingled with the audience members, as she shook tiny little bells near their ears. She was, to my mind, using sound to reinforce the infinite beauty of sound. As the song concluded, the recordings of the innocent comments made by her niece played on the P.A. I was overcome with emotion and as it ended, gave a one-man standing emotion. As I sat down, Collette looked at me and stroked my arm, tenderly. She could sense that I had been profoundly moved. 

Later in the performance, Lisa’s fellow musicians sat amongst us, as they left her to perform a few solo songs. As she started to sing, the microphone suddenly went dead. Oops! She did not flinch but instead asked the sound guys, if it might be a good idea to do an acapella version of a song. ‘That would be a very good idea’ was the shouted response from the back of the venue! Lisa proceeded to stand at the front of the stage and sing ‘The Galway Shawl’ with absolutely no accompaniment, no microphone and no fancy stage lighting. You could have heard a pin drop and it brought the house down. It was another assault on our senses and a reminder of just what an accomplished performer she is.

Towards the end of her set, there was one cover song. It was a beautiful, soulful and emotive version of Brothers in Arms by Mark Knopfler. Lisa is shortly performing at a fundraiser for the civilians whose lives are currently being devastated by war and the song contextualised her thoughts on the matter. As I looked to my left, it was my turn to comfort my partner, as she was in floods of tears...

The trio were joined on stage by Oisin Leech for the last couple of songs and that was a nice touch. Finally, all four Irish musicians left the stage, to a tumultuous and heart-felt ovation. There was a full moon in the Cardiff sky that Friday night and that was coincidentally replicated by the minimalist stage lighting.  As Lisa O’Neill said, she ‘brought the full moon inside for the night’. Thank you for visiting my home city, Lisa. Please come back and also, please always play exclusively at The Gate and ignore the larger venues. Finally, thank you Collette. This was one of the most beautiful gigs that I’ve ever been to, a perfect and very special night.

Review - China Crisis - Acapela Studio - 05/11/2023

Acapela Studios is proving a good venue for China Crisis. Their regular visits guarantees a sell out, whilst those lucky few quick enough to secure tickets, do so certain in the knowledge that, in Gary Daly and Eddie Lundon, their evening is certain to be a joyful and musically rewarding experience.

Whilst they have a back catalogue to be die for, the band are far removed from the current retro 80’s gang plodding through a few hits to the delight of nostalgic dewy-eyed punters. The band sound fresh and in Daly, a front man who can charm the birds from the trees and quite the comedian, with his tales and reminiscing.

Certainly they play their hits (10 top 50 singles) but also much loved and seldom heard album tracks of which the choice is endless.

Aided and abetted by regular bandmates, keyboard player (Jack Hymers) and saxophonist (Eric Animan) they beautifully create powerful soundscapes that complement both Lundon’s fine guitar work and Daly’s subtle vocals.

Early songs about girlfriends, family and friends, their first dabble with songwriting was discussed as they explained the rapid change in their circumstances. One minute Kirby, the next criss-crossing America and the recording of “Arizona Sky” and the broadening of their horizons, both musically and culturally.

With so much chatter and sublime music the evening flew and with the night closing ever so near the curfew, Daly was shocked and keen to push on and squeeze in a few more numbers, one being the wonderful “Christian” to top off a quite stunning evening.

Tony Woolway

Review - Haircut 100 - Tramshed Cardiff

Copyright TC Photography

Having imploded 40 years ago at the height of their popularity Haircut 100’s sad demise following numerous hit singles and a stunning debut album Pelican West was one as bizarre as it was sad.

The reasons have been discussed and is pretty well documented over time by all parties but must have rankled somewhat after Heyward’s resurgence as a solo artist a year later with some degree of success and critically acclaimed work.

It’s not that the rest of the band disappeared into the ether. Bassist Les Nemes had a stint with the ever youthful Rick Astley, guitarist Graham Jones had brief flirt with pop stardom with the massively underrated Boys Wonder whilst, most impressive of all, drummer Blair Cunningham hit the skins for some notable artists like Paul McCartney and The Pretenders, to name but two.

The catalyst for this reunion was the anniversary of Pelican West and its reissue last year leading to two celebratory gig’s early this year, the success of which led to this full blown tour, the first since 1982.

So it was no surprise to see a full and enthusiastic audience pack into the Tramshed to witness the band’s long overdue return to the Capital and maybe recall a little bit of their youth as their recently reformed heroes blasted out tune after tune with their brand of funk-infused pop.

Sadly missing Blair Cunningham due to illness an able deputy was found with Faithless drummer Andy Treacy providing the powerful back-beat to Heyward’s quirky tunes and hit followed hit with Pelican West songs a big feature in a punchy, fast-paced set.

Obviously Fantastic Day, Love Plus One and Favourite Shirt got the biggest cheers and still sound as fresh as the day they were recorded but surprisingly two new songs were included, both of which, but especially Songbird sounded fresh and new but given the full Haircut 100 band treatment.

With Heyward announcing that there are more songs in the pipeline and a new album around the corner, the band seem happy and reconciled and a real unit moving forward making light of their 40 years in the pop wilderness.

Letting rip to finish with 12 inch mash-up of Favourite Shirt, the band left to rapturous applause with the band looking somewhat touched by the mighty Cardiff welcome. And boys, it was very much deserved.

Tony Woolway

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The Velvet Hands -The Moon Club – 2/11/2023

Photo Copyright Emily Powell-Chandler

Embarking on their second album tour ‘Sucker Punch’, The Velvet Hands play at The Moon Cardiff, displaying their skill, passion, and innovation within indie rock – a promising future for the genre.

Between the cosy underground feeling of The Moon and the punk themed merchandise on sale with handwritten prices, the atmosphere is that of anticipation to see the upcoming musicians in action. Before The Velvet Hands could take the stage, two Swansea based support bands warmed up the crowd.

Subterania opens the night, melodic vocals and classic rock inspired guitar solos effortlessly embellish their model indie rock setlist, encouraging their close fan base to sing along with their original songs. The attitude and swagger of the four-piece group are reminiscent of Britpop bands such as Oasis, with Dylan Cai (frontman) draping himself over the mic stand, while the band sports 2000s-inspired bucket hats, shaggy hair, and soft shells.

At times, their antics involve the lead guitarist and vocalist nursing lollypops mid song, appearing to be unbothered and happy while performing. A slight tonal change occurs when The Fiends take to the stage. The five-piece band could still be categorised as indie rock, however, the more sombre downcast lyrics combined with raspier vocals create a grunge feel with punk like shouts in the choruses. While different from the other act, their music still clearly resonates with the crowd, as fans scream along with the intense lyrics.

Despite The Moon not being at capacity, The Velvet Hands’ professionalism and enthusiasm shone through, as they took to the stage yelling “Hello Cardiff! How are you all doing?!” addressing the audience as if they were thousands.

The band’s indie rock music is tight and tidy, regularly switching between perfectly timed group shouts in the chorus, to only vocals and drums in the verse of ‘40 Up 40 Down’ all while bouncing in unison with instruments in hand, appearing as a seamless unit. While their music tends to fit into the indie rock genre, songs such as ‘Curtains Closed’ off their first album has a bluesy ballad element, slowing down their set and allowing audiences to focus on the relaxing melody.

While most of the vocals are performed by frontman Toby Mitchell, lead guitarist Dan Able and bass player Sam Hilder sing backing harmonies for many songs, Able even taking the lead on the single ‘Star’ to shake up their set. The Moons’ smaller stage allows for the band to use their entire environment for the show, with guitarists able to strut across the stage to perform solos or dance together.

During more aggressive punk songs, such as ‘Fallout’, Toby Mitchell is able to grip the ceiling and lean and sway, adding further drama to the music while Louis Mitchell attacks the drumkit. Keeping the energy high, the band’s penultimate song is their biggest hit ‘This Feeling’, punchy power chords hitting the crowd, followed by a singular cry of the title, the band keeping the silence sharp and the vocalists alternating who will shout the next line out creating a playful dynamic on stage.

Before their final song ‘Party’s Over’, Mitchell leads a practice sing along, preparing the crowd to join in for the last lines of their set - ‘I don’t wanna be your friend no more’ - challenging them to sing louder each time. Their set finishes and they thank Cardiff, promising to ‘be back!’. Despite the show being over, they do not stop, as they take time to personally sell and sign merchandise, chat and take photos with fans, proving themselves to be not only talented musicians but kind and appreciative of their fanbase. A promising band for the future of indie rock music.

Set List: 1. I Don’t Mind 2.40 Up 40 Down 3.Holiday in My Head 4. I wanna Be there 5.Star 6.Curtains

Closed 7.Fallout 8. Sucker Punch 9. Sick Of Living 10.Emotion 11. This Feeling 12.Party’s Over

Review - Barbara - Tramshed - 02/11/2023

All Photos Copyright TC Photography

Every so often a group comes along that grabs your attention from the get go. Barbara are one of those bands. From your very first viewing, they hook you in with their finely crafted songs, lush harmonies and quirky tunes that dazzle and leave you with a smile on your face and feet furiously tapping.

Led by brothers Henry and John Tydeman, the band are achingly good with a punchy driving rhythm section and ringing, buzzing guitar, whilst all but their drummer provide faultless harmonies reminiscent of the American West Coast bands of the 60s and 70s.

I’m judging that their influences are many varied. There were certainly elements of Glam rock, especially in the way the guitar riffed giving their contemporary compositions an unexpected retro feel from the glitter age whilst lyrically there was a British-ness that brought visions of country estates and afternoon tea.

Frontman John Tydeman is the obvious focal point of the band, a charismatic cross between Spark’s Russell Mael and Oscar Wilde he looked like he had stepped out of Brideshead Revisted. Quickly endearing himself to the very receptive Cardiff audience they became putty in his hands as he dashed his way around the stage cajoling his audience with good natured banter.

It’s been many years since I’ve seen a band that gripped me instantly with so much talent and hope they quickly find the vast audience that their music so dearly deserves and like the majority of the crowd at Tramshed, hope for a speedy return.

Tony Woolway

HENGE - Live at Clwb Ifor Bach Cardiff: A Cosmic Escape 12/10/23

All Photographs Copyright Emily Powell-Chandler

“This strange, beautiful planet in a place called Cardiff – Am I pronouncing that right?” intergalactic explorer Zpor jokes with the cheering crowd, before inviting them to join his team on a cosmic journey, experienced through their music and energetic stage presence.

As you enter Clwb Ifor Bach, enthusiasm for HENGE is clear as day, as fans decked in glittery head boppers, alien beanies, and full chromatic outfits, crowd the front of the room. The back of the room is draped in acid trip tie-dye t-shirts and extraterrestrial accessories, tempting newcomers to join in, with the alien dress-up.

Before HENGE, can take the stage, their warmup act Dogshow prepares the audience for an evening full of absurdity. A neon synthesiser rig is wheeled to the centre of the crowd by the two-piece act, dressed as dogs in sunglasses and costume jewellery. Their hypnotic synthesised loop tracks contrast with upbeat rave anthems, successfully exciting the crowd for the evening to come.

HENGE’s set opens with drama, as fog obscures the stage allowing for a smooth entrance for the intergalactic crew. Zpor (Matthew Whitaker) on electric guitar and vocals, decked out in plasma ball hat and light-up staff; Goo (Peter Turner) on bass and synth bass in full alien prosthetics; Grok (Roy Medhurst) on synth, the only human of the group matching the band in otherworldly robes; and Nom (Sam Draper) on the drums also in full alien prosthetics.

They break into their first song ‘Alpha Test 4’, the title track of the album they are currently touring since its release earlier this year in May. HENGE’s setlist dabbles in a variety of musical genres, the band themselves describing their genre as ‘Cosmic Dross’. The song ‘Get A Wriggle On’, is a cross between fast-tempo rap music and bouncy synth hooks, creating an irresistible groove. While the song is upbeat, it simultaneously warns of Earth’s climate crisis - the alien crew citing their own extinct planets as evidence of the issue, the band showing full commitment to their alien alter egos.

While they maintain the extraterrestrial narrative in their music, their other songs tend to centre around science and novelty for the most part. A less cautionary song focuses on the woes of a robot in ‘Self Repair Protocol’. The song keeps the emphasis on synthesised melodies but adds special effects to the vocals mimicking a classic robot voice and creates a catchy dance track, strobe lights adding to the techno atmosphere. Tapping into prog rock in a noticeable genre change, the song ‘New Planet’ from their second album slows down their set, with the rock anthem encouraging the audience to sway along and marvel at the elaborate and commanding performance before them.

For the final part of their journey, before the crowd “return to earth”, HENGE unify the crowd by singing ‘Demilitarise’ from their first album ‘Attention Earth!’, once again their humane wishes shining through their alien personas.

As Zpor walks through the crowd, embracing fans, a message of peace and inclusivity is evident, as all chant the chorus acapella, ending the show as an inclusive and optimistic community.