Paradise Lost, 2 November 2009, Manchester Academy

Paradise Lost’s entrance was met with atmospheric excitement and heartfelt clapping. They broke into the first song without a word to the crowd. However, after their initial introduction to the fans the atmosphere started to take a down hill turn.

It felt like the crowd's deflated attitude started to affect the bands performance, with barely an audible word announced from the lead singer Nick Holmes, apart from a few shouts of "Manchester!" and to state that it was cold! This lack of interaction with the fans and the stiffness of the performance from some of the band members set the lacklustre mood for the rest of the night.

The only source of uplift for the fans was that the sound was near perfect for a small venue like the Academy three. The beautifully sharp guitar solo seemed to excite a portion of the crowd but this mood did not stretch to the people at the back, they seemed more interested in their pints!

On CD Paradise Lost are well recommended, based on tonight's gig I'm not bowled over by them live.

In all the performance seemed rushed with quick change overs and the seeming lack of atmosphere and interaction with the fans did not make many people feel like they had been to the best gig.

http://www.paradiselost.co.uk/

Words / Photographs: Jodie Stephenson

http://www.myspace.com/photographyjas

Little Boots, 27 October 2009, Liverpool Academy

Little Boots returned to Liverpool’s 02 Academy on Tuesday night, she had the gig in the larger Academy1 this time and there was just about enough space for everyone in this sold out performance. As the stage filled with smoke and to the military beat of a snare drum from one of the skeleton topped band, Little Boots shared centre stage with a giant glowing eyed black skull.

Little Boots launched straight into one of her top 5 hits, which got the audience bouncing and the energy didn’t stop with them. Little Boots exuded energy throughout the entire performance, which also saw her playing three different keyboards at various times and shaking her tambourine while dancing along to the electro infused beat for each song. Also finding time for audience interaction, she was obviously enjoying herself just as much as the audience, especially during the final song of the night, Remedy, which ended with her twirling a pair of polka dot boxers around her head after they had been thrown on stage.

The inevitable encore saw her return to the stage in her dressing gown and sitting at the piano tinkling the ivories and performing an impromptu little number which is the lost track of the album.
Little Boots is a must see live and it can’t be long before she is crowned the electro pop princess. A title she truly deserves.

http://www.littlebootsmusic.co.uk/

Words: Alison Lennon

Photographs: Tom Lennon

http://thomaslennon.blogspot.com/

Billy Talent, 26 October 2009, Manchester Academy

It was only four years ago when I stumbled across one of Billy Talent’s songs. From this I become a great fan of theirs and as I walked into the Manchester Academy I noticed that they are also adored by many other people. The atmosphere immediately hit me. When more and more people came into the Academy balloons started to appear from nowhere which caught everyone’s eye and people were franticly fighting to keep the balloons airborne, which was quite amusing. Although the mood was great there was still a feeling of division; the hardcore fans stood at the front and casual listeners who had come for a good night positioned at the back.

The first support band to take to the stage was a young band called Canterbury and as soon as they started to play their first song the crowd suddenly forgot about the balloons. Canterbury did very well in catching the crowd’s attention with a depth of content and style. After their set I couldn’t help but overhear the conversations around me, one conversation that caught my ear was about the band that was coming up next, Cancer Bats, one person said “ this is going to be mental”. From the band’s entrance I didn’t doubt that person for a second. The lead singer, Liam Cormier, came out and the crowd went crazy. The insanely loud heavy metal music certainly got the crowd’s adrenaline rushing because throughout the audience mosh pits started to form.

Chants started and not long after it was time for Billy Talent to enter the stage, the excitement peaked and the new sense of respect from the crowd was overwhelming. The crowd sang to every line of every song played and front man, Benjamin Kowalewicz played the crowd well. The set list went through different transformations; at one point the sound was similar to a heavier rock and roll band and then sounded reminiscent of an old punk/emo feel. All in all the vocals of Benjamin Kowalewicz were executed to perfection. Billy Talent stormed through the set and looked as though they pleased both old and new fans with songs ranging from their three albums. The star of the night had to be the lead guitarist and backing vocalist, Ian D’sa. Although he is the only guitarist, he had no problem playing the lead and rhythm section for the band, showing great guitar skills.

The band has been going for sixteen years it doesn’t look like the lads are going to be stopping anytime soon, and from how the night went I personally don’t think they should. I left feeling very satisfied and glad I witnessed such an event. All in all it was a memorable night and I hope they enjoyed it as much as I did and would consider coming to enthral the crowd of Manchester again.

http://www.billytalent.com/

Words: Sean Ahern

Photographs: Jodie Stephenson

http://www.myspace.com/photographyjas

Passion Pit, 24 October 2009, Manchester Academy

It was a quiet start to the night at Manchester Academy, with a sparse smattering of people stood half bemused by remixer Ben Jacobs, otherwise known as Max Tundra. He made some pretty unique and entertaining sounds from his mish-mash of instruments, enough to draw in a sizeable crowd for second act, The Joy Formidable. Dark but spangly, frontwoman Ritzy exudes an unshakeable attitude. Mouthy vocals and a zippy vox pack a big fist of attitude, with a meatier infrastructure than we’ve grown to know as the standard ‘indie support act’.

Having the helm of indie-rock thrust firmly into their hands on this year’s festival circuit, Passion Pit are affable and cute in their matching checks, shyly pushing their equipment around the stage for a while. The debut album Chunk of Change was originally by front man Michael Angelakos for his girlfriend as a Valentine present. Their style is representative; a fresh faced sound grizzled with awkwardness and the Massachusetts 5 piece could be sampling tracks in their bedrooms, or the science lab at college.

Angelakos and gang took a trip through a range of weird and wonderful effects throughout their set, ploughing their way energetically through Manners; the album that sent their music soaring out of Boston and into the ears of indie kids across the pond.

Along with crowd pleaser, Better Things, the most renowned (and brilliant) sample found of the night is in the form of Mary O’Hara’s Oro Mo Bhaidin, on Sleepyhead. The track makes an excellent encore, with poppy synths and an incredible, jagged bassline. Quietly confident and without an inch of swagger, we should anticipate an explosive 2010 for Passion Pit as their notoriety blooms further across the UK festival scene.

www.passionpitmusic.com

Words: Gill Ripley

Les Savy Fav, 23 October 2009, Manchester Deaf Institute

We were first treated to a half hour advertisement about the ATP festival. I overheard a lady who was standing behind the projector screen ask "Is it showing the same film on the back as on the front?" The film finished and workmen dismantled the projector screen and I drank. Some time died and then and Les Savy Fav came on with no support act.

Looking back at the crumpled, shabby and still moist piece of paper I made notes on, there was mostly nonsense. I had called Tim Harrington, Fav's front man an 'Effeminate Beardo'. The man did wear a beard and makeup. I'll describe him as a lumpy bearded version of Dwight Schultz in the television series 'The A-Team' (1983) complete with a bald head; except that Harrington's charisma doesn't have cancer. It's a wonderful phenomenon of our age that such people can front rock bands on the exclusive merit of their abilities and creativity (I'm claiming too much, I know, but its still nice). He struts around with panache and authority, sings his lines or misses them and we were happy to have all or nothing. He in fact scaled various staging and strutted around up and down along the girders holding the venue's roof up. The impact force of one hundred kilograms from that height on some gangly indie girl's malnourished frame would have been astonishing. I will apologise to the readers or more likely the editor for being morbid and obsessed with frames and lumps. I'll move on.

I often wonder at gigs about how I fit in. Do I belong to a relevant enough demographic or clique not to stand out or seem self conscious? How can I dance when people look at me like an idiot (or worse, don't look at me at all)? Well, Les Savy Fav really made everyone dance. I danced which will astound anyone who knows me. There was even a mosh pit towards the end, which is always funny when spontaneous and not obligatory. Fav were of solid musicianship and eager to play. Everything was just efficient. It was an efficient and lovely party.

For the closing song. the singer stage dived atop a single mattress and flew around asleep. He was REALLY asleep and this was relevant to the song I expect. Somehow he departed and I found myself stood alone inside a circle of people clutching the discarded sweaty rectangle. I was being looked at and their eyes to me were what the headlights are to the Deer. Suddenly, I thrust the mattress up into the air caught it at the bottom and launched it over the room with so much adept. I was sweating adept. Les Savy Fav had (without any hyperbole) enabled this latent, fearsome force within me. If you think this is stupid and benile and tedious then you better not let me catch you alone somewhere at night because I'll give you the fucking step.

Go and see Les Savy Fav because they are an efficient and lovely party.

www.lessavyfav.com

Words: Duncan Parker

The Delays, 23 October 2009, Manchester Night and Day

Anyone who has been to the Night and Day in Manchester will know how small it is. When I walked into the bar on Friday night to see The Delays who are currently on a UK tour, I couldn't believe how many people were in there. I have never seen it sold out before and I was sweating just standing there. The room was buzzing with excitement and chants of "Delays! Delays!" kept erupting after every song that was playing before the band got on.

When the band arrived on stage they made no hesitation before starting the set and the energy in the room rose with everyone dancing and singing along. The Delays are one of those bands that just fit together. Each member adds something to the group and they all have their own personality while up on stage. The tour comes along with the new album, Star Tiger, Star Ariel which is due to be released in early 2010 and they played a couple of songs from it which always goes down well to a crowd of fans. When the singer, Greg mentioned it was bass player Colin's birthday a few days previous the crowd immediately burst into song -belting out Happy Birthday to him.

The Delays really made an impression in Manchester. They are definitely an underrated band who should be heard more often. I look forward to seeing them again in the future and shall be on the lookout for that new album.

http://www.thedelays.co.uk/

Words/photographs - Katy Carter

www.flickr.com/photos/katycarter

Hijak Oscar, 22 October 2009, Manchester Roadhouse

Hijak Oscar live in a world of dark obscurity and acclaim unheard amongst the voices of the mainstream. As an unsigned band with two studio albums recorded, they have crafted a pedestal for independent music, negating institutional interference to conjure their own noise of soulful blues. They are an underground band, designed to play underground venues like the Manchester Roadhouse.
Costing usually nothing more than four pounds to enter, the Roadhouse is a small, darkly lit bar.

Security peaks with a piece of paper stuck to with tape a door saying ‘staff only’. I would estimate that there were around fourteen people at this performance, populated by true disciples of music in all its artistic forms ... and friends and family of course.

Two bands preceded Hijak Oscar. The first, Dismal Disillusion served cacophonous guitars with a really loud drum. One particular song called Extended Intro did not possess a hint of irony in the title. It was really, really, really long, intermittently finishing and starting up again as if the previous six minutes meant nothing to them. Sound management was too an issue, for their voices sounded flat and completely inaudible to the extent that lyrics seemed a pointless digression. Despite this, the band were the most charming and humble musicians working today and consciously knew that they were playing to fourteen people who, in such a sparse room was an audience with the confidence to muster only a smattering of applause.

The second act, Cut Glass Accent, was somewhat more tuneful, displaying heavy rock with a pop punk bent, especially in the lead singer’s voice, which was refined and sophisticated in range and delivery. The highlight was an out of the ordinary cover of the song Video Killed the Radio Star, conveying the band’s congenial sense of humour as the lead singer performed actions to a handful of the lyrics like a heavy rock children’s presenter manufactured by the BBC to scare children.

Finally to enter the scene is Hijack Oscar. In a long black coat and hat, the lead singer Tim Fox was dressed like a Northern England proprietor of the unfortunate aspects of life. The band’s music is much like the Roadhouse itself: soulful, cool and unreservedly dark, with a sound best described as Tom “Waitsian” blues resonating from the dark pits of hell, fronted by a heathen preacher preaching vehement antagonism towards their Christian God. Fox’s powerfully black address to the crowd is collaborated with Gaby Milner’s vocals, which were equally strong and displayed perfect harmony with the ensuing sounds of the blues. With such strong characteristics assisting, their music is undeniably transfixing.

The set was a showcase of highlights from their second album and a few from the first. Down in the Valley is a notable highlight, a tune in which Fox complains of tax rates (while allegedly living ‘down in the valley’) to some otherwise traditional harmonica and blues. The incendiary Social Immunity too provided some fortunate insight into Fox’s ability to deliver the world’s most maniacal laugh. Despite a short set, Hijack Oscar certainly concocts something unique and completely non-existent in popular music today.

The Roadhouse may not witness the droves of crowds larger venues enjoy, but it certainly welcomes bands possessing both originality and exemplary songs, Hijak Oscar of course being a fine example.

Dismal Disillusion: http://www.myspace.com/dismald

Cut Glass Accent: http://www.myspace.com/cutglassaccent

Hijak Oscar: http://www.hijakoscar.co.uk/

Words: Christopher Dias

Calvin Harris, 20 October 2009, Preston 53 Degrees

As he walks on to stage and holds his arms out to the screaming, sold out crowd you can forgive Calvin Harris for what appears to be a pretty grand gesture. He's had an amazing year - played all the top festivals, had number one singles and teamed up with some of the hottest talent around.

Supported tonight by Mr Hudson, dressed demurely in black, but with an amazing set of vocal chords and showcasing some brilliant new tracks, the crowd are out to party by the time Calvin is due on.

A musical intro builds up to his entrance, and he strides out, dressed conservatively in shirt and trousers, to greet his audience. He is almost Christ like as he extends his arms...and is then hit with a pint!

It's a bit of a come down, but goes un-noticed by the fans as The Rain kicks in and the dancing starts.

Tonight, pints in the face aside, Calvin is on form. The crowd don't stop moving for the entire set, Ready for the Weekend almost raises the roof as the entire audience jump in unison. The Girls also drives them crazy as they chant along with him.

Standing at well over 6 foot Calvin commands the stage in more ways than one, alternately behind his synths, or bouncing around the stage he doesn't tire, and neither do the crowd. They keep moving right up to the final notes, and I can't see anyone who doesn't have a smile on their face. Calvin Harris has completely won over Preston.

http://www.calvinharris.com

Words: James Smith

Photographs: Hannah Dornford-May

http://www.hdminfo.com

Eastpak Antidote Tour, 18th October 2009, Manchester Academy

There was already a large turnout for The Ghost of a Thousand; it’s rare that a room so full of pretty young girls would contain so many depressed looking boys. The Ghosts filled the stage with energy and electricity, playing well-sculpted fun-time hardcore punk with album-quality tightness. The mix of clean and shouted vocals isn’t a musical choice I am particularly a fan of, but the audience were less elitist than me, enjoyed every second and went wild in the wall of death.

Four Year Strong were a rather different kettle of fish. New-Found-Glory-esque American pop-punk with metalcore breakdowns is a blend of genres from Hell and I would’ve been embarrassed to be seen up front. They pogoed around like crazy, repeatedly told us they were ‘stoked’ to be here and made The Ghost of a Thousand seem like real undiscovered genius.

But their pogoing was put to shame by Anti-Flag’s Chris Barker, who I worried was having a seizure. I’d been looking forward to Anti-Flag but I expected disappointment – their last few albums have been wanting – and, alas, the set was almost entirely composed of new material. They preached a punk ideology of how we ‘all got together at this concert, opposed to racism, homophobia, islamophobia…’ and how everyone was a ‘brother united under punk’, and it was only not unbearably cheesy because it was hidden behind the cheese of the setlist.

It was a bit hard to take it as authentic. They did a good, show but they seem to be getting a bit old for it now; I got the impression they were going through the motions.

Alexisonfire were apparently the reason all the pretty girls showed up, with a sudden rush of jailbait to the stage. The audience were enraptured by them, running about and moaning into the microphone, but I found it all very irritating to the senses and spent their set drinking.

www.antidotetour.com

Words: Stefan Burke

Photographs: J Leadbetter

http://cliquephotography.co.uk

Sonic Boom Six, 17th October 2009, Liverpool Academy

After years of hectic touring, it’s fair to say Manchester’s Sonic Boom Six have become one of the hardest working bands on the UK scene. Following a summer which saw them take main stage slots at the Reading and Leeds festivals, they have returned to the club circuit with their Boom or Bust tour, joined by label mates The Skints.

East London outfit, The Skints are a band with a lot of potential. Blending punk, hip hop and dub influences with a strong reggae groove, they instantly manage to get the majority of the crowd moving. Lead by multi-talented front woman Marcia Richards, who as well as vocals, adds flute, saxophone, melodica and organ into the mix, their chilled out vibe is perhaps the perfect precursor to Sonic Boom's eclectic sound. With their first album and a headline tour coming in November, The Skints definitely seem to have won themselves a lot of new fans with the strength of their performance.

Sonic Boom Six burst onto the stage, and shake up anybody who was still trapped in the relaxed groove left by The Skints. Their unique brand of hip hop influenced ska/punk kick starting the pit, and set opener The Concrete We’re Trapped Within showing anyone in the crowd who isn’t familiar with their sound, exactly what they can expect from the rest of the set.

The band's reputation is built on its live show, and years of arduous touring have clearly paid off for them. Their onstage energy is second to none, but their sound still remains clear and tight. The chemistry between the band is fantastic, and flame haired front woman Laila K offers the crowd as much chance to participate as possible. They play a varied set, including older material, as well as songs from latest album City of Thieves, allowing everyone to grasp the full spectrum of their sound.

This tour however does have a sad note, as it represents founder member, guitarist and vocalist Ben Child's last with the band. The rest of the band leave the stage for Ben and Laila to perform an unaccompanied version of Floating Away, which gains warm appreciation from everyone in the audience.

Despite the event only being modestly attended, the band still throws absolutely everything into the set, making sure that those who did attend have nothing but positive things to say about the evening. And with a European tour with The Levellers and a US tour with Big D & The Kids Table on the horizon, plus having the freedom of their own record label rebel Alliance Recordings, things are looking very bright for Sonic Boom Six, definitely a band to watch.

www.sonicboomsix.co.uk

www.myspace.com/sonicboomsix

www.rebelalliancerecordings.com

Words: Adam Nash

Saint Etienne, 15th October 2009, Manchester Ritz

It’s a Thursday night in the Ritz and it’s packed to the rafters with thirty and forty something’s patiently awaiting the arrival of Saint Etienne on stage. It’s pretty fair to say that the majority of people here are males and given Sarah Cracknell is the lead singer this comes as no surprise.

Sarah was the wet dream fantasy of many young men in the early 1990’s. Their debut album Foxbase Alpha was recorded when Sarah was a tender 24 year old however she didn’t originally sing on their biggest hit Only Love Can Break Your Heart. This was because Saint Etienne were originally intended to be a dance/indie band with various guest vocalists, but Sarah Cracknell became a permanent fixture when she recorded the single Nothing Can Stop Us and then, as they say, the rest is history.

Now, at the age of 42, Sarah graces the stage in a sober looking grey suit but she still looks great for her age. The throng of males in the crowd are definitely appreciative and she’s certainly not lost any of her charm. The two keyboard players behind her look like twins dressed in shiny gold suits and wouldn’t look out of place in Spandau Ballet.

Tonight all the music is from the Foxbase Alpha album (which is particularly good for me as it’s the only St Etienne album I know). Sarah seemed nervous and stiff at first and her vocals were shaky. She began to get into her stride when she threw sweets in the crowd during Wilson. Wilson is purely sample based and so it seemed only right during this pause of Sarah’s vocals for her to be throwing sweets to the strains of ‘Would you like some sweets Willy? Come on Auntie we’ll miss the bus!”. After that we were treated to all the Foxbase Alpha gems including; She’s The One and Nothing Can Stop Us Now. She performed a rap during Filthy to which she read the lyrics out from a sheet. I was in two minds as to whether this was bordering on pretentious or if she genuinely needed a cheat sheet for this tune!

Either way, it was an enjoyable gig, but I think Saint Etienne’s Ambient House style can be described as just a tad too subdued for the live stage. If I hadn’t already been familiar with the album there may not have been enough life in the songs to hold my attention. Foxbase Alpha is the kind of album you listen to chilling out at home, with your feet up on the sofa, drinking a glass of wine. Having said that, this gig was a nice trip down a 90’s memory lane and I think the crowd agreed.

http://www.saintetienne.com/

Words/Photographs: Stephanie Farrell

http://www.stephaniefarrell.carbonmade.com

Enter Shikari, 12th October 2009, Manchester Academy

The arduous task of opening tonight goes to experienced three-piece dub step group True Tiger. With five years worth of work, and collaborations consisting of Kano and Sway, True Tiger certainly have the credentials to open. But with all but the hardcore standing and watching the show, it’s clear that they cannot cater for everyone’s needs tonight. Only offering dub step to a varied crowd such as tonight can be a major problem, as shown by the lack of interest from the motionless supporters at the back.

The Devil Wears Prada, second on up the list also suffer from the problem. And whilst the set performed from the Ohio metalcore 6-piece was impressive, the amount of bystanders standing, arms-crossed was disheartening at some point. The theory of choosing the seemingly complete different genres for their openers is perhaps to say that if you take metal core, and trance, you get Enter Shikari, or at least something like it. And with such a diverse and original band like Enter Shikari, it must be hard to find any bands that are similar, but I doubt there were many who enjoyed all three bands tonight.

But all qualms aside, Enter Shikari are, without a doubt, the band that everyone came to see tonight. Enter Shikari have to be the most surprising band of this modern age. Not only have they have been around for astonishing six years (and still remaining as youthful as ever), released two albums off the back of the quality of the live shows, and now selling out the 2,600 capacity Manchester Academy, will refuse to be confined by the safety of other bands.

And whilst the opening Common Dreads, and Solidarity produced a metered response from the crowd, by the time the infectious Step Up the crowd were in full swing of varying degrees of craziness. With a sea of fans jumping around, a multitude of circle pits, and an attempt at a human pyramid near the end of the set, an Enter Shikari gig breeds insane efforts from certain parts of the crowd, with the rest happy that they did.

With the set-list focusing around the recently released second album Common Dreads, with the only omissions being Wall and Antwerpen, they have seen fit to keep the set-list fresh. With the only complaint of the recent years being the lack of material, with the second album this is not only a problem. Whilst the slower songs of both albums lose out, as they simply would not work in a live setting, some first album anthems still remain, as it seems they can never get away without playing Anything Can Happen In The Next Half Hour, or Sorry You’re Not A Winner.

The only complaint set-list wise is with the acoustic start to Gap In The Fence, and the small number of instrumental songs. Neither can match the frantic nature of the rest of the set, and seem to fall flat amongst the quicker paced songs. Hopefully, by album three, a set-list can be produced that only features quick-paced songs, much to the crowd’s delight.

Enter Shikari were on fire tonight, they really were. They thrive on live sets, spurred on by selling out a large capacity venue such as Manchester Academy, much to ‘Rory’ Clemlow, “Its not often you get to fulfil your specific dreams, but selling 2600 tickets in Manchester was one of my dreams”.

With witty banter between all four members between songs, error-less playing, and expert crowd control from Rou Reynolds, Enter Shikari are among the greatest live acts in the world today. They leave you with a sensation somewhere near your first kiss, a shouting match and a great night with friends.

With the un-influenced public probably being put off by the teenage, glow stick clad and fringe sporting audience, let the music speak for itself. Those wanting a refreshing, and at times manic, live music experience, make sure to check them out anytime possible. And just for once, believe the hype.

http://www.entershikari.com/

Words: Daniel Winters

Photographs: J Leadbetter

http://cliquephotography.co.uk

The Metropolitans, 10th October 2009, Liverpool Academy

The venue for this gig was perfect, small but not too small, dark but not too dark and plenty of space at the side and the front of the stage to get as close to the band as you possibly could. The Metropolitans are a modest band, they have their own image and style which is a slight cross between The Strokes and The Kaiser Chiefs (the drummer Adam Caine bears an uncanny resemblance) and compared to the previous bands that played before them they were obviously more into the music than the underage girls screaming at them for the duration of the set. I liked that they had put effort into the way that they dressed and the image that they wanted to portray without coming across as arrogant and they looked like a band, rather than a group of kids playing guitars.

The Metropolitans’ set was enigmatic, filled with enthusiasm from lead singer Ferdinand Slater, as well as the audience who turned out in their funkiest outfits and fully equipped with their fake I.Ds. More so than any band on the bill before them, it was more quality than quantity with The Metropolitans as they played for half an hour, leaving everyone wanting more. During their set, I found my head bopping along and my hands clapping to the beat which for most songs was contagious. The Metropolitans have a gift for great riffs; in particular Black Gates has a beautifully romantic sound to it which then increases into a powerful angst-filled anthem by the end of the song. I must give credit to the writer of Golden Shivers as the heartfelt lyrics ‘I’m not your favourite son’ leave the audience with a sense of familiarity and empathy with the members of the band and their music.

Slater has an amicable air around him. His height indicated a kind of cute, sweet, shy lad but he showed us that this was no obstacle as he gave his all to the music and got the audience involved as well. He has a great voice for a lead singer as I could hear every word like he was whispering them into my ear, which is hard to say for some live performances I’ve seen in Academy 2. My only criticism is that the rest of the band didn’t seem to have as much enthusiasm as Slater, which often came across to the audience as boring. However, the band’s music did pay off as tune after tune satisfied the craving that the audience had that night and boy, do they have a big following. Modesty is not the best policy in the case of The Metropolitans; they have the potential and the look. All they need now is the passion.

www.myspace.com/metropolitansonline

Words: Sophie Crowther

Funeral For A Friend, 10th October 2009, Manchester Academy

This gig had been sold out for a long time proving that these guys are no small band. The gig was opened by The Telegraphs and Save Your Breath who did a great job of getting the crowd enthused but it was the headliners they were waiting anxiously for.

The tension mounted as the band left the crowd waiting longer than they should be and the stage hands also teased them further by playing with the lighting system. The stage hands got the crowd clapping as the band finally made their way to the stage. A huge chant for the band started to which lead singer Matthew Davies-Kreye screamed "MANCHESTER!"

The set started very strong with the crowd singing along from the start. With four albums to their names there were a lot of songs to get through! Funeral for a Friend stopped several times during the set to interact with the crowd, throwing them bottles of water, guitar picks and asking them if they wanted to hear their punk-rock kung-fu.

The rockers from Bridgend, Wales have been together since 2001 and after releasing four albums they have gathered a large following around the country. In 2003 they beat The Darkness to win the coveted ‘Best Newcomer Award’ at the Kerrang awards which was voted for by the public.

Academy 2 in Manchester may not be the biggest venue for a bands like this but that didn’t stop them putting on a great show and the fans loving every second. The crowd surfers were out in force with some going over more than twice and one girl also losing her shoe. The band ended the night with some of their biggest hits giving the crowd what they came for.

http://www.ffaf.co.uk/

Words: Ibrahim Aziz

Photographs: J Leadbetter

http://cliquephotography.co.uk

Nerina Pallot, 9th October 2009, Preston 53 Degrees

It was eight years ago that angelic singer/songwriter Nerina Pallot hit the scene with her first album. Now making it on her own record label, October 2009 has seen Nerina unveil her third studio album to the world, The Graduate, and it will have been some relief that critics appear to agree these are her classiest, most sophisticated and adventurous pop songs to date. Despite some industry recognition in 2007 with nominations at the BRITs and Ivor Novello Awards, commercial success has been a tough nut to crack for Nerina and tonight, for one night only, she finds herself showcasing her new songs at 53 Degrees, Preston.

Dedicated fans would already be well familiar with the new material, following a witty online campaign of acoustic renditions broadcast each week leading up to the album's release. On arriving at this already intimate venue it was surprising to hear that the pit had been pushed forward at the special request of the band for the audience to get as close as possible to the musicians, something that is unheard of at my usual haunts. The attendance was also far less than anticipated, but Nerina, who was in a talkative mood all night, suggested that this was because we were obviously a select group of intellectuals gathered to enjoy her live show and should she have known the turn out she could have baked us all fairy cakes – a policy all acts might consider to entice their sweet-toothed followers.

The three-piece band delighted fans with a beautiful set of piano-driven pop songs and the occasional guitar-led ballad; including the hopeful Everything’s Illuminated, the cheeky When Did I Become Such A Bitch, album bonus track God Of Small Things, old favourites Patience and chart success Everybody’s Gone to War, plus forthcoming single Real Late Starter. There are obvious comparisons to Sheryl Crow and Joni Mitchell’s sound, but Nerina’s captivating live performance is unique – and I was convinced she was singing every heartfelt lyric directly to me, only to look around and notice everyone else probably thinking exactly the same. Between songs Nerina joked with her loyal fans about politics, religion and shoes; her innocence, honesty and humorous nature only adding to her naturally enchanting stage persona.

The show closed with a popular toe-tapping Elton John medley including Bennie And The Jets / Saturday Night’s Alright (For Fighting) and then Nerina was cheered back on stage for one last time to play Sophia as a final solo send off.

As The Graduate looks set to hit the UK Album Chart, there is a genuine sense that this tour might indeed be a defining moment in Nerina’s turbulent career. We all left feeling warm and fuzzy inside, yet I suspect very slightly disappointed that Nerina had not worn that infamous white rabbit suit.

http://www.nerinapallot.com/

Words: Liam Carroll

Photographs: Zoe Taylor

http://www.ztphotography.co.uk/