Catrin Finch and Seckou Keita - Acapela, Pentyrch 27/10/21

Image Copyright Steve Johnson

This gig had been postponed and rearranged on at least one occasion, so it was nice to see it finally take place.

The duo has played at the Acapela several times previously, so it was effectively a homecoming gig. That is especially the case for Catrin Finch, irrevocably associated with the development of this welcoming, atmospheric venue.

We turned up stupidly early, in order to secure a downstairs table with a prime view. Seckou was still sound checking, as we settled into our seats with pints of local beers and the requisite, rustic pizzas. I’m glad we were so early, as It was pleasurable to watch the venue slowly fill, as the levels of expectancy grew, pre-gig.

A Finch/Keita performance is a real treat, especially on their home turf. Keita is a warm, smiley, jocular character whilst Finch has an arid, self-deprecating sense of humour. They complement each other so well and clearly love playing together.

They are both, of course, sublime musicians, virtuoso harpists. Catrin plays the classic Welsh version and Seckou has the West African equivalent, the Kora. One of the most entertaining parts of the evening was when the audience was told all about the design of his West African harp. We were told that the soundhole was a receptacle for tips.

Shortly after this an audience member duly obliged, to Seckou Keita’s obvious delight! This duo is an aural treat, wonderful musicianship, great stories, and beautiful tunes. They bounce off each other brilliantly and make for a great live music experience.

Make sure you grab a ticket when they return to the Acapela, as they inevitably will.

Review and image by Steve Johnson

Review - Level 42 - St David's Hall, Cardiff

Arguably the best bass guitarist on the planet, Mark King was again in the Welsh capital to thrash out the hits of Level 42.

A regular to the City with his household funky-jazz band that hit the early 80s and 90s is still got the notes both in voice and that trademark bass sound.

The high energy evening was set by Johnny Hates Jazz, who went down a storm with the audience that were looking for a good night out, and yes most of the guys had grey hair.

And for a 35 minute set a near full crowd were ready and waiting for the main act to arrive to take the evening to the next level.

The theme of sirens, sounds with blue/white flashing lights were taken up a couple of notches as King and his 6 piece band were ready to rock the hall.

The more classics tunes came towards the end third of the gig, Something about you, To be with you again, Lessons in Love, It’s Over, The Sun goes down, The Chinese Way, Hot Water and Running in the family     

With 6 top ten hits under their belts King belted them out admitting that he was tired during his 1hr 40 stint/, ‘I’m knackered, I’ve been doing this for the last 40 years,’ he joked. 

But as long as King keeps producing this magical 80s production and tempo he can go on for another 40 years.   

By Mark Bloom

REVIEW: Nadia Sheikh at the Moon

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‘The Moon’ has a history of letting exciting new talents onto their stage and on Wednesday night it was Nadia Sheikh’s turn. 

The half Spanish, half English singer-songwriter returned to the Cardiff stage - a long way from her home town of Alcora, just north of Valencia - to headline her first show post pandemic with support from Inland Murmur, Ragsy and Yasmine and The Euphoria.

Despite still being relatively new to the music seen, she has already made a name for herself and has even supported the Stereophonics on their 2020 tour.

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Listening to Nadia’s first EP before I attended the gig, it was clear that this she was a talented musician. Her smooth yet ernest voice gives off country vibes, complemented by the soft melodic riffs of her guitar. But hearing her Wednesday night, it was clear Nadia has come long a way; defining her sound with a little more edge and a rocky overtone that transcends onto the stage.

Her band - Harry Acreman on guitar, Rowen Davies on bass and George Gardiner on drums – has certainly helped produce a sound that teeters on the periphery of indie grunge. 

On hearing the opening number “Detrimental Paradise,” it was clear we were dealing with a different performer than had first been encountered. It was here she staked her claim to the stage and made it clear as to why she’d been placed on top of the bill for the evening.

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Nadia’s opening performance set the tone for what was to come as the further she got into her set, the more she took it to a new level. The deep nineties grunge reverberated around the room and championed her presence as more rock chic than country chick. 

It’s not that her original sound wasn’t toe-tappingly delightful, but, for the realisation that maybe venues like The Moon attract crowds who are more akin to the heavier sounds of an electric guitar, than the softer picking of an acoustic. 

There wasn’t a much better example of this than hearing the opening riff to her latest single, ‘IDWK (I Don’t Wanna Know)’. An her hypnotic vocals crash amongst crescending indie-rock instrumentation, the endearing and powerful cut finds Nadia deep in conversation with herself, acknowledging some of the personal problems many of us tend to brush aside; filing the venue flawlessly, and invigorating the crowd in tow. The lead guitar giving it an upbeat tempo, head bopping feel.

After ending her set with ‘Get Away,’ it was clear the crowd weren’t done with Nadia just yet and wanted more; so she returned for an encore, performing ‘Fire Away’ and a track that I can only describe as a piece of indie music magic, ‘Toxic.’ 

Having proven she really understands how to blend rock and pop to great effect, the finished result is a vibrant and pulsating track set to leave listener craving more of the same.  

There is something special about this performer. Undeniably talented, her modesty on stage, her talent and her desire to make things happen will ensure a bright future for Nadia Sheikh. You can catch Nadia in her upcoming gigs and keep tabs on her on Facebook and her website.

Review by: Olivia Grist for Keep Cardiff Live

Villagers Live Review

Image Collette Johnson©

My wife (Collette) is a music obsessive and an avid gig-goer. She often plays stuff that I’m not familiar with. Recently, she played a number of tracks from yet another band that was previously unknown to me. She asked me if I liked the sound. I told her that I did , in particular, the singer’s voice, as it reminded me of Conor Oberst ( Bright Eyes) and Conor Deasy (The Thrills). She was pleased, as she then revealed we were off to see them, as a slightly early wedding anniversary treat. So, off we went, to Bristol, to see ‘Villagers’ play live.

This was my first gig in Bristol for a good number of years and the venue was one I’d never been to before. The ‘Marble Factory’ is somewhat unusually based on an industrial estate, about 20 minutes’ walk from the city centre. It is a quirky venue that somehow fits in well with the somewhat bohemian vibe of Bristol. With a capacity of 1600 people, its closest comparative Cardiff venue would probably be the ‘Tramshed’. It has a similar cosy feel, allowing for an intimate gig experience.

Led by the fascinatingly enigmatic and diminutive Conor O'Brien, fellow ‘Villagers’

(Danny Snow, Cormac Curran, Gwion Llewelyn and Mali Llewelyn) strolled on to stage at 8:30 pm, to be warmly welcomed by a healthy turnout of eagerly expectant Bristolians. It was to be a sublime performance…

Image Collette Johnson©

From the off, I was struck by the ability of Conor O’Brien to evoke emotional responses from those present. He has a captivating and compelling stage presence and his well-honed stagecraft pulls you into his world. He plays what appears to a three quarter size, gut-string guitar and has a fragile, fairly high vocal range. The beauty of this is that you need to listen fairly closely to what is going on, evoking a delightful intimacy and emotional connection.

Twice Mercury-nominated, ‘Villagers’ are fine musicians and deliver the well-crafted songs with aplomb. There is a real sense of light and shade to the set with plenty of dynamics and changes in mood. Perhaps the most dramatic moments were when Conor O’Brien occasionally shifted from acoustic guitar to trumpet. The audience reaction was truly a joy to behold!

It was during ‘A trick of the light’ that I first noticed just how captivated and mesmerised the audience actually were, silently mouthing the lyrics and slowly grooving along, in unison. Up until the final song in the set, every song had been fairly mellow and acoustic guitar based. That all changed dramatically with the powerful ‘Circles in the firing line’. For the only time all night, O’Brien turned to his Telecaster, to, out of nowhere, play a manic, visceral electric guitar solo. It was a stunning and powerful change of mood, a hugely effective climax, as the band left the stage.

Image Collette Johnson©

Clearly an encore was inevitable and they duly re-emerged to play ‘My Lighthouse’ and the beautiful ‘Courage’ before ending the night with the anthemic and moving ‘Nothing Arrived’. What a pleasure it was to bask in the sound of an enthralled and delighted audience singing ‘I guess I was busy’, repeatedly, as directed by Conor O’Brien.

Thank you, Collette. It was an unforgettable gig and ‘Villagers’ are a wonderful live act.

Gig reviewed by Steve Johnson

REVIEW: A melodious marvel with angelic acoustics– Laura Marling is a master of her craft

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A sold-out venue is a very good sign with a concert, hence why I anticipatedly arrived with such eagerness to Cardiff’s Tramshed on the evening of Wednesday 13th.

I was excited with the hope of basking in an evening of sublime song and breath-taking vocals by one Laura Marling. I was not disappointed. 

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A newbie to Marling’s repertoire, I wasn’t quite sure what to expect from her show. Some lovely acoustic songs from a small band on stage perhaps. But no, Marling carries her shows solo, and what a job she does.

Opening the set with a four-strong salvo of songs from her 2013 album ‘Once I Was An Eagle’, the 15-minute compilation, of which she playfully remarks to the audience “I thought I’d ease you in with a short 15 minute song”, set the tone for the rest of the evening, in that Marling has no problems with commanding a stage and playing as if she were joined by others.

Her soulful singing along with her exquisite guitar playing made for the most beautiful music. From a rampage of stumming with ‘Take the Night Off’s’ to the witty lyrics and biting from ‘I was An Eagle’, there was clearly a lot of thought behind starting with these songs. Setting a scene for the audience, the music established what many in the crowd already knew, that this was a show of spectacular intimacy with a very talented woman, taking us on her journey through song. 

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The faultless vocals and mesmerising music made you feel no loss by having no-one else on stage with her. You’re simply entranced by her presence. I couldn’t get my head around how quickly each song seemed to go by. Not due to their shortness, but simply because I found myself so positively lost in the music that nothing else in that moment seemed to matter, and I could immerse myself in the show.

‘Master Hunter’ was a personal favourite of mind, with the slightly edgier guitar and notes creating a darker and more haunting effect. ‘Song for Our Daughter’ was another that stood-out for me, with her lyrics written to a fictional daughter about, as Marling puts it herself, “all the confidences and affirmations I found so difficult to provide myself”, providing a striking and heartfelt setting.

 Laura’s stagehand deserves a special mention from the night, as she revealed herself that he had to lend an extra helping hand with putting her guitars over her shoulders due to an unfortunate fall in the woods days prior, which resulted in her putting her back out, making twisting for guitar straps an uncomfortable affair. 

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The blistering heat of the Tramshed seemed irrelevant, as no matter how hot and flustered I may have been getting, the distraction of Laura’s performance was enough to help me leave those troubles behind. How she kept so in time, so in tune and so consistent with her playing whilst making it seem simply like second nature to her boggles the mind and left me simply in awe- with a hint of jealousy that my 4-chord wonder songs would never amount to quite her level.  

A stage presence to capture a room, a talent that will leave you wondering how she does it and a sharp wit, it’s hard to find fault. Laura Marling is truly a master of her craft, with a painstakingly beautiful show, this is an artist you must try and see live at least once. 

 Review by Gabriela page for Keep Cardiff Live

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Setlist:

1.     Take the Night Off

2.     I Was an Eagle

3.     You Know

4.     Breathe

5.     Strange

6.     Master Hunter

7.     Hope In The Air

8.     What He Wrote

9.     Hope We Meet Again

10.  The End of the Affair

11.  Your Girl

12.  Sophia

13.  Salinas

14.  Once

15.  Daisy

16.  How Can I

17.  Held Down

18.  Goodbye England (Covered in Snow)

19.  Wild Fire

20.  Fortune

21.  Song for Our Daughter

22.  For You

REVIEW: Corsets, Charisma and Classics- Erasure Had It All

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Fans of Erasure will know they never do things by halves, with their first post-pandemic tour being no exception.

The British synth-pop duo, consisting of Andy Bell and Vince Clarke, landed at Cardiff’s Motorpoint Arena on Tuesday 12th with their dazzling array of lights and dramatics to glitz-up the Welsh Capital, and they certainly made up for lost time.

Going into the show, I knew my 20-year-old self would likely bring down the average age of the audience, but with the 80’s being my favourite genre, this didn’t faze me in the slightest.

Myself and my boyfriend’s fabulous mother were ready for a dance, and as we surveyed the crowds around us, it looked like everyone else was as-well. My expectation of some dazzling outfits was met, with feather boas, sequins, light-up clothing and jewellery aplenty. We were in good company for a party. 

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When singer Andy Bell strutted out onto the stage, I think it’s safe to say I wasn’t the only one who had Rupert Bear spring to mind. His striking yellow chequered trousers remarkably resembled the cartoon characters’, although admittedly his bright blue compact corset made the complete look a little different. 

His below-the-nipple contraption looked about as comfortable as having a rock for a pillow, but comfort to Bell is likely his last thought when considering his wardrobe. Clarke on the other hand stuck to a more formal grey suit, pairing perfectly with his notorious deadpan expression, broken occasionally with a wry smile often caused by Bell.

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Striking lights graced the stage in reflection of the tour’s name: ‘The Neon’, with additional glows and graphics flashing to light up the arena. In true Erasure style, the techno-beats and electronic music were as lively as ever and kept audiences on their feet as they partied the night away to the dance anthems.  

Kicking off the 23-song setlist, the band opened with their 1991 hit ‘Chorus’ to set the upbeat tone for the evening. The duo were accompanied on stage by two brilliant backing singers, Valerie and Emma, who appeared in flamboyant fur coats before ditching them for neon dresses to cool down- their vivacious fashion very fitting for the show. 

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New songs from the album accompanied hits such as ‘Sometimes’, ‘A Little Respect’, and ‘Blue Savannah’ well, and was proof that this was more than a greatest hits tour. The superb new singles cemented Erasure’s status as being as fresh and current now as they were in the 80’s and 90’s. 

Ever the showman, Andy made sure to connect with his audience as well as perform for them, engaging in conversation with people in the front row as well as reaching out to the whole arena. The only problem I, and no doubt others, found with this was that often the sound didn’t balance out quite right, and his words were a little lost. 

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I think we all breathed a sigh of relief on Behalf of Andy, when Vince cut him free from his corset halfway through the show, breaking free from his restraint and opting for a cheeky yellow vest with a monkey on instead. ‘This is the monkey who took a selfie. I have him on a top’, he proudly informed the arena, with the cheeky photo perhaps reflecting his own personality. 

A show dazzled with lights, extravagant fashion and pop classics that just kept on coming, what wasn’t to love? A packed Motorpoint saw thousands dancing and singing the night away, loving every minute of the show. It’s safe to say we all enjoyed ourselves that night, and Erasure have still got it. 

Review by: Gabriela Page for KCL

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Setlist:

1.     Chorus

2.     Hey Now (Think I Got a Feeling)

3.     Fill Us With Fire

4.     Sacred

5.     The Circus

6.     Who Needs Love Like That

7.     Nerves of Steel

8.     Blue Savannah

9.     Chains of Love

10.  Turns the Love to Anger

11.  Careful What I Try To Do

12.  Sometimes

13.  Save Me Darling

14.  Shot A Satellite

15.  Love to Hate You

16.  Love Is a Stranger (Eurythmics cover)

17.  Drama!

18.  Always

19.  Stop!

20.  Push me Shove Me

21.  Victim of Love

Encore:

22.  Oh l’amour

23.  A Little Respect

Review - Groan Ups @ The New Theatre Cardiff.

Mischiefs theatre’s return to the stage was always going to have some rather large shoes to fill. With an impressive run of shows such as ‘The show that goes wrong’ theatregoers who know their work will be sat in their seats waiting with the anticipation that can only come from knowing you’re going to proper belly laugh for the next couple of hours.

It must be a huge relief then, that their new show about a group of kids growing up is as outstandingly hilarious as advertised. 

The show starts with the announcement that a group from year 2 (that’s around six years old) will be doing a presentation about their weekends. When an ensemble cast of adults make their way up onto the stage your mind is in two places, will this be great or will this be cringe-worthy adults playing children, the former is certainly true in this case. As soon as the cast begins, the auditorium is filled with contagious energy as they skip and bounce their way through the first scene of the play introducing us to the different characters. 

As the play goes on we are taken from one outrageous childhood scenario to another as the cast grows up through the various school years. Including awkward teen flirting and kissing. 

The cast is simply sublime, with comic timing that delivers each joke, punch line, and physical gag with the same expertise as expected from any world-class comedian. 

The dynamic this ensemble has is truly enchanting from start to finish, Matt Cavendish’s portrayal of the awkward and lonely Simon is definitely not one to miss. The same can be said of any of the cast as their energy carries you through the next two hours and twenty minutes, without once taking your eyes off of them. 

The stage design is spectacular with the perspective being manipulated to make the actors look like small toddlers and shrinking as the play travels through the years. 

As things come to a head, the characters have more emotional strings to pull at and when those moments are exquisitely delivered they affect you even more. 

A truly outstanding piece of theatre that I would be extremely happy to purchase tickets for again. 

Reviewed by - Robin Hannagan-Jones 

Review: The last hurrah- Genesis rock their final tour

In a digital world where trends seemingly change every minute, new singers and bands coming onto the scene every day, it can be easy to have a short-lived career in the industry. Most artists can only dream of having a career that spans 54 years, Genesis have done just that though.
With over half a century of recording music and performing to crowds, it’s no surprise they wanted one final tour before ailing band members and old age gets in the way and they pack it in for good.

The Last Domino? Tour has seen the band tour for the first time in 14 years, covering North America, the UK and Ireland. The first in 14 years, the last forever, this tour carries significance in not only giving the band closure and the chance to play together once again, but for fans to experience them live one very last time. 

Phil Collins’ poor health is no secret and was evident as he walked out onto the stage, taking a seat in the centre with his visible frailty apparent to the 15,000-strong crowd. This didn’t stop him from bringing his talent and humour to the show though, as his vocals and dry wit rang out through the arena for all to enjoy.

As he perched on his chair, he was accompanied by the rest of the band, which included his 20-year-old-son Nicholas on drums. The show took off with the 1980 instrumental ‘Duke’s End’, transitioning into ‘Turn It on Again’, to build up the sound whilst luring the crowd into the performance.

If anyone was doubting Collins’s ability to front the band still, those doubts quickly melted away once he started singing. Sure, his vocal range wasn’t quite the same as it was in the 80’s, but the power projected from Collins voice and his sincereness from the singing, along with a natural charisma, entranced the crowd.

Arguably, things wouldn’t have sounded quite the same if Nicholas Collins hadn’t of inherited and practised the ability to play his dad’s parts with such precision. You’d be forgiven for thinking it was Phil himself. Clearly the natural talent running through his DNA along with years of hard work and dedication have paid off, as even Phil couldn’t help but look on with pride at his sons masterful drumming. 

Founding members Mike Rutherford and Tony Banks, along with long-time touring guitarist Daryl Stuermer, all showed they’ve still got it, all carrying the weight of the show between their talented fingers. 

The band’s decision to also have two backup vocalists on stage was the right one. Daniel Pearce and Patrick Smyth aided Collins with some of the higher notes which aren’t quite as reachable in his is older age, whilst remaining unobtrusive and appearing infrequently, proving that Collins clearly doesn’t need much help.

When Collins promised at the start of the show that this tour, which was supposed to kick off in November 2020, was going to be a fun one, he wasn’t kidding. 

Bringing hits such as ‘Land of Confusion’ (my personal favourite), ‘Invisible Touch’ and ‘No Son of Mine’ to name a few, along with concert classics like ‘Home By the Sea’ and ‘Domino’, created a perfect setlist for fans to dance, sing and rightly have fun to. 

The bands acoustic diversion after their first set meant saying goodbye to the keyboard and anything else with a techno beat or vibe, even leaving Nicholas Collins with noticeably smaller drumming utensils. Stripping down ‘That’s All’, ‘The Lamb Lies Down on Broadway’ and ‘Follow You Follow Me’ was certainly a good choice and felt a rather personal touch from the band to the audience.

The almost sombre, thought-provoking tone reflected how this would be the band’s last string of live rendezvous together, with them wanting to create something magical to leave fans with.  

The on-stage graphics and designs were quite a marvel- nothing new as Genesis have long been renowned for their stage design since the Peter Gabriel days. A movable lighting rig imitating giant dominoes, large screens across stage and plenty of animations to accompany, but not intrude, on the songs was the icing on the cake for this show.

As Collins’ pointed out, a currently particularly topical song, ‘Land of Confusion’, was the perfect illustration of how the bands songs have moved with the times and are as current now as they were then. Masked animated figures patrolled over cities and land in graphics on screen- another sign perhaps of how Genesis’s songs will forever remain relevant. 

Should miracles be scarce, or Peter Gabriel have a sudden longing to perform with the group again, this is Genesis’ farewell. Collins has made it clear he has no intention of playing with the band after this tour, and that this would be goodbye.

For life-long fans and newbies alike, this tour provides the perfect farewell. A magnificent spectacle as the final curtain prepares to fall on Genesis performances forever.

Setlist:

Set 1:

Behind the Lines / Duke's End

Turn It On Again

Mama

Land of Confusion

Home by the Sea

Second Home by the Sea

Fading Lights

The Cinema Show

(second half; with "Riding The… more)

Afterglow

Acoustic

That's All

The Lamb Lies Down on Broadway

Follow You Follow Me

Set 2:

Duchess

No Son of Mine

Firth of Fifth

I Know What I Like (In Your Wardrobe)

(with "Stagnation" snippet)

Domino

Throwing It All Away

Tonight, Tonight, Tonight

Invisible Touch

Encore:

I Can't Dance

Play Video

Dancing With the Moonlit Knight

(1st verse)

       The Carpet Crawlers

By Gabriela Page