Live Music Review: Jen Cloher

Jen Cloher performed at The Lexington, London on 25^th September 2017

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en Cloher steps on stage and plucks a lone, melancholy guitar riff. As she begins to sing her soul-stirring lullaby, this seems like the exact antithesis of Cable Ties, our fantastically fervent post-punk opening act. Her bandmates join her with haunting, overlapping vocals as the song gradually swells to an aching crescendo. The intimate, sold-out audience realise that even her tender tunes are every bit as powerful as the most impassioned punk rock.

This opening number is Hold My Hand (from Cloher’s 2013 album In Blood Memory). It is a hard-hitting tale of two ageing lovers, recounting a conversation Cloher overheard between her parents. While Cloher cared for her Alzheimer’s disease suffering mother in the final years of her life, she heard her father movingly describe to his wife how they met, only for her to forget moments later. Cloher echoes her mother’s words as she movingly sings “how did we meet again?” This song sets a precedent that will continue into the evening. With a beguiling blend of heart-rending lyrics, powerful guitar and rock star swagger, we will watch on as the Australian singer-songwriter bares her innermost anxieties and passions on stage.

Jen Cloher – whose debut album, 2006’s Dead Wood Falls saw her nominated for Best Female Artist at the 2006 ARIA Music Awards – has enjoyed critical acclaim throughout her career. Yet only with the release of her latest record has she firmly established her international success. Surprisingly, this is her first ever European tour; and for this, we feel her gratitude and relief. “Most of us don’t make it this far” she tells the audience, adding “it only took me four fucking albums and 12 years!”

Jen Cloher at The Lexington

Naturally, a huge chunk of Cloher’s set is derived from this breakthrough self-titled album. Seeing its tracks performed before us with such vigour only verifies its status as an uncompromisingly candid masterpiece. Tonight, we are introduced to a lyricist informed equally by her disillusion with the music industry and a yearning ardour for Rock and Roll. We move into the burning homage to Rock music that is Kinda Biblical, “I don’t wanna / I don’t Think so” she growls, in a brazen reference to Sonic Youth’s Kool Thing. Although Cloher will venture through moments of folk bliss tonight, her songs have a simmering, unfeigned anger which wouldn’t be out of place on an early PJ Harvey album.

A prominent theme explored in Cloher’s new record is that of being overshadowed by her younger partner, the globally popular, indie sensation Courtney Barnett. Given this, one feels almost dirty for mentioning Barnett in a review of Cloher’s gig. But Barnett – who joins Cloher on stage as guitarist and backing singer – plays a role beyond the real-life love and jealousy she instils in her partner. Her slacker rock guitar shredding powerfully underlines the brutal honesty of Cloher’s song writing. This combination works fantastically in Shoegazers, a delightful exercise in hip-swinging cynicism, which has Cloher snarling the opening line “Indie rock is full of privileged white kids / I know because I’m one of them” over Barnett’s loose, bluesy guitar.

Courtney Barnett joining Cloher on stage

It is hardly surprising, that following the release of such an evocative album, the night is a politically charged one. With the Australian postal vote on same-sex marriage approaching, Cloher uses her music to voice the absurdity of this $122 million advisory ballot. “Take a plebiscite / To decide / If I can have a wife”, she sings in Analysis Paralysis; glancing longingly at her life partner beside her. The song culminates in a disjointed thrash of battling guitars – the evening truly feels like a cathartic release for Cloher.

The righteous vehemence comes to a head with Strong Woman, a track with such blistering feminism it resonates like a refined Bikini Kill song. It is only appropriate that the members of Cable Ties join Cloher on stage to scream along with the song’s rallying refrain; “This world it wasn’t made for woman / you know even before you’re bleeding / I’m sorry, can’t you hear me speaking? / How is it now, now that I’m screaming?” We are witnessing an exquisite songwriter unleash her frustration with explosive effect.

Returning for an encore, Cloher ends her set with Name in Lights – a song which traverses gracefully between the light and dark of poetic folk and primal rock and roll, culminating in a cacophony of sound that leaves us all entranced.

Cloher commands the stage, distilling her emotion, the rich imagery of the Australian zeitgeist and a life spent wallowing in art into a performance that is slick and effortlessly cool. It has been a privilege to watch a true master contribute to the great song writing tradition.

Cloher sings “We’re all from down under, where no-one hears out thunder” in Great Australian Bite – well, tonight we heard it loud and clear.

Live Music Review: John Carpenter

John Carpenter performed on October 23 at Colston Hall, Bristol, concluding the Simple Things Festival 2016

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ith Netflix’s Stranger Things resurrecting spooky synth music for new audiences, now seems like the perfect time for ‘The Horror Master’ himself, John Carpenter, to bring his haunting scores to the stage for his first ever tour. The 68-year-old director-actor-producer-editor-writer-composer — whose filmography includes genre-defining chillers like Halloween and The Thing — took to the stage one cold October night at Bristol’s Colston Hall.

Carpenter has gathered an undying cult following during his career, and this owes as much to his use of stomach-churning visuals as it does to his eldritch backing music. This reverence is evidenced as he walks on stage, the horror fans welcoming him with beholden applause. The drums beat, and euphoria erupts through the crowd as they recognise the pulsating opening bars of Escape from New York’s main theme. We are instantly transported to the dystopian future of 1997, as the New York skyline — rendered in retro graphics — materialises on the screen behind the stage.

Carpenter’s synthesiser leads a six-piece band, including his son, Cody, on second keyboards. Three guitarists and a drummer provide a heavier, prog-rock edge not present in Carpenter’s original scores — the electronic compositions ominously unfolding like Mike Oldfield’s Tubular Bells. As we creep into Vortex — the opening track from his first non-movie album, Lost Themes (2015) — the delightful, 80’s disco vibes are retained and intensified by the neon pink-blue flicker of the stage lighting. While the moustached, long-haired Carpenter bops along to the music, it’s hard not to view him as some kind of messiah. His eccentricity makes him seem like a character straight out of one of his own movies.

“For most of my career I composed music for scary movies, thrillers …ghost stories” Carpenter tells us, the stage filling with dry ice for The Fog’s score. It’s clear that intense cinematic nostalgia grips the audience, and indeed, in the periods where Carpenter performs material from his studio albums, the accompanying projected film clips are markedly absent. It should be noted, however, that this show is not just an exercise in sentimentality. Carpenter looks forward by performing impressive material from his recent studio albums, including the guitar shrieking tracks Wraith and Distant Dream, compositions which — while bearing Carpenter’s signature uncanny atmosphere — have an unmistakable rock ‘n’ roll energy.

As the band puts on sunglasses to perform music from the irreverently anti-capitalist They Live, it’s easy to see why Carpenter’s films have such enduring appeal. Slogans from the 1988 film fill the stage — “OBEY”, “MONEY IS YOUR GOD”, “BUY”, “CONSUME” — and this performance makes the film’s message seem urgently pertinent.

“In 1982 I made a movie called The Thing”, Carpenter announces to thunderous applause. The Thing’s score was the result of a collaboration between Carpenter and legendary Italian composer Ennio Morricone. Performed in Morricone’s honour, the theme is comparatively minimalist in its gradually escalating dread, but footage from the film provides a gruesome animatronic backdrop that sustains the audience’s excitement.

"I direct horror movies. I love horror movies. Horror movies will live forever” says Carpenter, before we hear the striking piano melody we’ve all been waiting for — the theme from Halloween.

John Carpenter has forged a musical aesthetic that has become synonymous with horror. While his music is defined by bleakness and discord, witnessing it performed live is intoxicating and thrilling. Carpenter has proven tonight that he is not only the master of the horror genre, but a legitimate musician in his own right.

Live Music Review: WHITE at The Bodega Social Club

WHITE performed at The Bodega Social Club in Nottingham on 27^th of February 2016, with support by Lowrie and Twin Kidd

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efore WHITE rip onto the stage with the power and rock ‘n’ roll ostentation of super group heavyweights, we don’t know what to expect. Entering the intimate venue, a bespectacled man sits behind a merchandise table. He thanks people for coming, and modestly hopes the show will meet their expectations – the man is Lewis Andrew, WHITE’s bassist. The crowd gather tentatively. A young man, with a bushy mop of hair steps on the stage and opens a laptop. This isn’t the sound technician, it is the first support act, and he calls himself Lowrie.

“I decided to get with the times and get a laptop. I’m not regretting it. It’s a lot of fun.” After a brief introduction, the Nottingham local and former acoustic artist begins to perform. He delivers an engulfing sound that demands our attention. His primal, heartfelt wails fill the stage more than one man should be capable of, vibrating the headline act’s drum set behind him.

His new direction has clearly been informed by his acoustic background, and the resulting music is often experimental – “out there” in his words – giving the impression that it has been shaped by countless days spent messing around with sound in his bedroom. Through his live sampling, he seems to create a symbiotic relationship with his equipment, moving his hands like a classical composer, the music flows through him, and the result is quite captivating.

Lowrie’s blend of classical piano sounds, modern synth and echo-enhanced vocals is a spectacle to behold. There is a personal resonance here, and it has the sparse crowd engrossed – his aching falsetto voice evokes a less-refined Thom Yorke. He earnestly sings of love and regret, and his lyrics have a reflective maturity. “I’m try’na make it big in a world full of arrogance” – he sings in the standout song, For Reasons Unknown – as if his words are a memoir based on his perception of the music industry. The show is off to a good start.

The next act, the Alternative Pop trio Twin Kidd, also hail from Nottingham. This gig marks their live debut. Although they use more traditional instruments, with the aid of a few laptops, they are able to complement Lowrie’s indie-vibes with mellow, free-spirited fun. Front women Stef Williamson commands the band. Her soulful, Lorde-esque vocals over the keyboard and guitar of Rich Lyon and the drums of Sam Davies keep the standard high.  Their sound is at once dreamy, soothing and funky – a curious blend of electronica backing tracks and subdued pop melodies.

Understandably, their stage presence is of a fresh-faced band not yet quite sure of their ability. But what these newcomers lack in confidence, they more than make up for in their highly adept delivery of catchy songs. Influenced by the foot-tapping Pop Rock of HAIM, and underpinned by electronic beats, channelling bands like Gorillaz and Chvrches, Twin Kidd unravel a pleasing collage of chirpy tunes.

As Williamson tentatively picks up the guitar, her harmonies seem to melt into the purple hues of the stage lighting. The crowd unwind, Twin Kidd succeed splendidly in easing us into the coming experience.

Twin Kidd perform at The Bodega Social Club

Enter: WHITE. The Glaswegian headline act ignite the stage, immediately picking up the tempo with their hot off the press song One Night Stand Forever – their delivery is explosive and dancing is inevitable. Although this marks their first headline tour, their effortless coolness and flawless delivery gives the impression that they are seasoned performers – and indeed they are. Three of the band are former members of the folk-rock outfit Kassidy, before the band spit (their lead singer leaving the group, to be in Los Angeles with his then girlfriend, Lana Del Rey.) Guitarists Hamish Fingland and Chris Potter, drummer Kirstin Lynn and bassist Lewis Andrew are joined by lead singer Leo Condie – a former member of another disbanded Glaswegian group, Low Miffs.

Perhaps ironic – considering the band’s name – the pink neon tubes on the stage match the colourful electronic funk sound the band delivers. Condie’s voice is exceptional – an eclectic fuse of Jarvis Cocker and the post-punk energy of Franz Ferdinand’s Alex Kapranos. Wearing a flamboyant red leather jacket, he playfully dances with the microphone stand – belting out songs with the self-assured authority of a true rock star. The band firmly wedge their foot in the door, their dazzling prowess is even more remarkable coming from a band yet to release their first album. They certainly make a good first impression.

WHITE continue to perform expertly crafted songs throughout their set, delivered with studio-polished expertise. The audience are enthralled – this band is a force to be reckoned with. While Lynn pounds the snare drum with momentous energy, the guitarists’ dexterous execution of sensational hooks and pounding basslines are a match for the spectacle of Condie’s powerhouse vocals. The band draw inspiration from the pulsing dance beats of LCD Soundsystem to create an enticing combination of guitar-driven punk that is relentlessly groovy.

Halfway through their set, they launch into the phenomenal Living Fiction, and their tunes are firmly imprinted into our minds. Their song Blush couples taut, guitar smacking rhythm with a hair-raising chorus, allowing Condie to reach his shrieking vocal zenith.

Channelling the best of 1980’s pop through a distinctly modern mouthpiece, they close the show with their hit debut single Future Pleasures. The poppy, yet other-worldly anthem exhibits the group’s annihilating, euphoric spirit.

WHITE, Lowrie and Twin Kidd have gained at least one fan tonight.

New biggest fan: Me with WHITE front man Leo Condie

Do make sure to 'like' WHITE, Lowrie and Twin Kidd on facebook, and follow them on twitter! (@calledWHITE, @FrazerLowrie and @TWIN_KIDD_)