fri 19/04/2024

New Music Reviews

Reissue CDs Weekly: The Bevis Frond

Kieron Tyler

 

The Bevis Frond: MiasmaThe Bevis Frond: Miasma

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Caro Emerald, Brighton Centre

Thomas H Green

Towards the end of her set Caro Emerald performs “History Repeating”, a hit song from 1997 that revived Shirley Bassey’s cool quota when she sang it with successful big beat duo, the Propellerheads. It’s perfect for Emerald, just the right ratio of hip electronic touches and classic showbiz pizzazz. This is where she lives, musically, dipped in swing-era vintage, but lathered in modernist sonic frolics.

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Bebel Gilberto, Barbican

Peter Culshaw

Bebel Gilberto seemed very tentative when she first appeared onstage; dressed in semi-Goth black, she kept saying how nervous she was. “Calm down, Bebel. It’s only the Barbican,” she muttered and we did get a sense of the terror and exhilaration of performing live to a big crowd. Her shambolic approach is in some ways, though, preferable to some slick operators who have their stage patter timed to the second. There’s a problem with a wire, she goes off-stage.

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Stacey Kent, Ronnie Scott's - 'sublime miniaturism'

Matthew Wright

“Were we leaving Rio, or were we in New York?” Stacey Kent sings in “The Changing Lights”, the title song of her latest album, before moving on seamlessly to “Les Invalides, or Trafalgar Square”. The prosperous, wistful ennui that some of her recorded songs exude, propelled by her impeccable enunciation and glistening tone, is cosmopolitan with a slightly laminated, departure-lounge sameness. It can feel a little bit like a global franchise in polite enervation.

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Reissue CDs Weekly: Oasis

Kieron Tyler

 

Oasis: (What’s The Story) Morning Glory?Oasis: (What’s the Story) Morning Glory?

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Goat, Concorde 2, Brighton

Thomas H Green

This is what Goat look like: There are seven of them, five band members and two front-women, the latter constantly whirling about the stage like dervishes. One of the guitarists and the bassist are clad in dark attire with black cowls over their heads akin to those worn by nomadic Arabic riders in the Sahara – but also a little like hangmen.

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Transgressive Records 10th Anniversary Concert, Barbican

Heidi Goldsmith

Transgressive is a bold statement for a record label's tin and, on their 10th anniversary celebration last night, there appeared instead a Caucasian calm to the events. From optimistic William Blake lyric loops in the foyer, to the persistent professions of love from the audience for anyone under the limelight.

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Andrea Motis / Joan Chamorro Quintet, Pizza Express Jazz Club

Matthew Wright

Amy Winehouse, Esperanza Spalding, and Roberto Fonseca were the names tossed and bandied after a London debut of extraordinary charm and maturity from the 19-year-old Spanish singer and multi-instrumentalist Andrea Motis. While a modest Soho crowd was dwarfed by the audience at the Barcelona Jazz Festival where she became, in 2012, the youngest performer to headline, there was a communal tingle of recognition, that we’d witnessed the start of something big.

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Vance Joy, Institute, Birmingham

Guy Oddy

Vance Joy does not pull in the kind of crowd that you might imagine would be wowed by a ukulele or an acoustic guitar. In fact, at the Birmingham date of his sold out UK tour, the place was rammed with fresh-faced teenagers and 20-somethings who were not only unlikely to know any of arch-folkie Richard Thompson’s tunes but also unlikely to have heard of the bloke at all.

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Sahara Soul, Barbican

Heidi Goldsmith

Exoticisation, at an event named "Sahara Soul", was perhaps inevitable. With Tuareg jewellery and souvenirs in the foyer, there was a touristic expectation last night that these genuine desert-dwellers would bring the burning spirit of the Saharan blues along with their glinting necklaces. Indeed the first set was the diamond display of an all-star ensemble, brought together exclusively for this performance as part of the Barbican’s Transcender Festival.

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