Katie Fitzgerald's, 187 Enville Street, Wollaston, Stourbridge,
West Midlands, DY8 3TB
Welcome to Katie Fitzgerald's website. There is a full programme of events and live music throughout the year - Song Writers, Roots, Irish, Folk & Blues and Rock - of which this site will keep you informed.
Telephone or email for enquiries.
01384 374410
enquiries@katiefitzgeralds.co.uk
DON'T FORGET all of our Thursday, Saturday and Sunday night music events are completely FREE of charge.
Oh yes, and we're still the best venue in town!!!
Hope to see you soon!
Trina & Eddy
Beers generally available
Three Tuns XXX
Three Tuns Clerics Cure
Three Tuns Scrooge
Wye Valley Butty Bach
Wye Valley HPA
Pictish Alchemist
Pictish Little Gem
Woods Shropshire Lad
Woods Wonderful
woods Fireside
Hobsons Mild
Hobsons Town Crier
Hobsons Old Henry
Sadlers
Enville Ale
Enville Ginger
Abbydale Absolution
kelham Island Easy Rider
Bazens Blue Bullet
Beer Works Demon Drink
Now available in bottles we have
Three Tuns Clerics Cure
Westmalle
Chimay
Leffe
Hoegardden
Erdinger
White Wine
Cambio 7 Sauvignon Blanc, Valle Central Chile
Tantalising tropical fruit aromas overlay a solid base of citrus and herbaceous characters. Young, fruity and refreshing with well balanced acidity.
The Gumnut Chardonnay, Australia
Benchmark Aussie chardonnay - sunshine in a glass. Ripe tropical fruit flavours punctuated with a touch of refreshing citrus.
Conti Rossi Pinot Grigio Provincia di Verona Italy
Proper, grown up Pinot Grigio is hard to find but we've struck gold here with a brilliant example of just how good it really can be. Pears and apples go head to head and can only be separated by a squeeze of lemon.
Furious Boar Chardonnay, California
Fresh and full bodied Chardonnay with plump Golden Delicious apples, pineapple and lime, all perfectly blended together.
Valdivieso Sauvignon Blan, Chile
Chilean Sauvignon is at the top of its game at the moment, taking the fight to France and New Zealand. This great example is a lean, mean drinking machine with passion fruit, gooseberry and lime leading the way.
Argento Chardonnay/Viognier, Argentina
Concentrated flavours of apple, peach, and pineapple are brought to a close with a refreshing finish.
Chablis, Francois Chauvenet, France
A good quality Chablis from the boys at Bouchard. Golden delicious, honey dew melon and a limey streak running through it.
Red Wine
Cambio 7 Merlot, Valle Central Chile
Spices, plums and black cherries in a bottle, lovely stuff.
The Gumnut Shiraz, Australia
Bursting with bags of blackcurrant and cherry flavours and a touch of savoury black pepper on the side.
Montepulciano d'Abruzzo, Italy
Montepulciano is a cracking red grape from Italy's Abruzzo region that
packs a punch of spicy red and black fruit and just loves Mediterranean food.
Furious Boar Merlot, California
This Californian Merlot has tantalising aromas of plum and dark berry fruits to kick off which are then followed up with black cherry and vanilla with a silky soft finish.
Valdivieso Cabernet Sauvignon, Chile
This wine is a faithfull descendant of the original character of Chilean Cabernet Sauvignon, full-bodied and bursting with rich, ripe fruit and soft sweet tannins.
Argento Malbec, Argentina
A rip roaring Malbec from the best in the business. Chock full of blackberries, chocolate and sweet Christmassy spices.
Crozes-Hermitage, France
Sinfully rich, with bundles of spicy black fruit and a length that seems to go on forever.
Champagne & Sparkling
Conti Neri Bis Bis Raboso/Glera Rosé Frizzante, Italy
Light cherry in colour, this Italian lightly sparkling wine is an attractive blend of strawberry and raspberry flavours finished off with a citrus twist.
Tenimenti Prosecco di Prosecco, Italy
A delicious alternative to Champagne, this Prosecco has a lighter and fruitier style making it incredibly moreish! A bright straw yellow colour with lovely aromas of pears and wildflowers that burst right out of the glass.
Laurent-Perrier Brut Champagne
Pale gold in colour with fine & effervescent bubbles. Delicate, fresh aromas of citrus & apple tingle on the palate delivering a rounded toasty finish.
Moet & Chandon Brut Imperial Champagne
Distinctive aromas of brioche and crunchy green apples with a crisp acidity on the palate.
Veuve Clicquot Ponsardin Yellow Label Brut Champagne
Veuve Clicquot's famous Yellow Label is one of the best loved and best selling Champagnes in the UK, famed for its rich, biscuity aromas and smooth, full-bodied taste.
Laurent-Perrier Cuvee Rosé Brut Champagne
An iconic Rosé Champagne. From the distinctive and beautifully designed bottle to the subtle red berry fruit, vivacious bubbles and gorgeous salmon-pink colour, it is a richly deserved reputation.
Rosé Wine
Cambio 7 Rosé, Valle Central Chile
A vibrant deep pink colour, a nosefull of summer fruit flavours and strawberries, red cherries and cream to finish.
Furious Boar Zinfandel Rosé, California
There's a reason why this is one of our top sellers, its simply a cracking wine for the price. Ideal for the new generation of wine drinkers or those that like their wines a little sweeter. Raspberry ripple in a glass.
Valdivieso Rosé, Chile
Deep pink colour. Lovely sweet aromas and flavours of strawberries and raspberries. Refreshing on the palate, deliciously balanced
Opening Times
We open Monday to Friday at 4.00 p.m
Saturday at 12.30 p.m
Sunday 6.30 p.m
tel 01384 374410
Reviews
SUZANNE VEGA / EDDY MORTON CASA ALIANZA BENEFIT CONCERT BIRMINGHAM TOWN HALL
My first visit to the refurbished Town Hall and a visit for a great cause too. Casa Alianza is a charity for the street children of Nicaragua, Honduras & Mexico ( HYPERLINK "http://www.casa-alianza.org.uk" www.casa-alianza.org.uk), which Eddy Morton has supported for some 10 years or so, and the legendary Suzanne Vega was more than happy to headline the event. So, to Eddy himself, a performer I’ve seen many times either as part of a band, duo, or solo acoustic. Tonight, however, it’s an electric performance which I haven’t witnessed before, and a set-list full of surprises too. Opening with ‘Beautiful World’ and ‘Babes In Arms’, it’s obvious that Eddy has kind of tailored his set to suit the subject matter of the event, to make us go home with thoughts in our head as well as songs in our hearts. It’s an uplifting set, though, including ‘The Queen Of Stourbridge Town’ from his current ‘Stourbridge Town’ album, and ‘What It Is To Be Human’, yet to be properly recorded and easily my favourite of his repertoire. Just stunning. Donning a harmonica for last song ‘It’s Easy’, Eddy finishes with a ‘wang’ on the tremolo arm to a hall of applause (and a few cheers from Trina & the girls!), and does make it seem very easy indeed. After a (very) short interval, it’s time for Suzanne Vega, an artist I obviously remember from the mid to late 80’s, but, to be honest, have not followed since she fell off the commercial radar. But, the faithful were all there, so I thought ‘Go on then, impress me’. Opening with ‘Marlene On The Wall’, one of her best known tracks & biggest hits, and following with ‘Small Blue Thing’, another single from her debut album, I thought ‘brave’ and honestly expected the set to drag a little with unfamiliar songs of the same ilk. But, it was genuinely a set full of turns & surprises that saw Suzanne almost take on different personas & styles that were constantly interesting. Backed by electric bass & guitar (the latter with added effects & loops on a couple of tracks), Suzanne switches from acoustic to lead vocal depending on what is required of each track, the bassist & guitarist also leaving the stage at different intervals, giving the songs space when required. ‘Left Of Center’ is given just vocal & bass treatment & was a personal highlight. Ms. Vega has also recently contributed to a Sparklehorse/Dangermouse album with a track called ‘The Man Who Played God’, performed tonight & perfectly fitting in to the set, such is its diversity. It may have surprised some of her audience, but she did give her full approval to the DNA version of ‘Tom’s Diner’ all those years back. In fact, Suzanne performs that version tonight instead of her accapella original. There are also moments of ‘Cabaret’ style torch song which wouldn’t be out of place in a P.J. Harvey set. That’s how surprised I was, I never thought I’d be writing that. A thoroughly enjoyable night with two top class artists, all for a good cause in a great venue, and the sound was crystal clear too. Beat that. Bryan/KFFM.
THE VOLUNTARY BUTLER SCHEME / TIMOTHY PARKES KATIE FITZGERALD’S, STOURBRIDGE, DECEMBER 2008
Firstly, it was cold (of course), but for those of you who made it down on that Christmas Monday, I’m sure you’d agree it was lovely & warm in Katie’s with music to warm even the coldest of cockles. Starting proceedings was the ever-improving Timothy Parkes. Not that there was anything wrong with the old model of course (see my previous reviews), but taking the opportunity to introduce us to his new three piece line-up (Stevo on drums & our own Eddy Morton on bass & backing vocals), tonight’s set was tight, taut, in fact, terriffic. Concentrating on the well loved songs from his solo performances like ‘Come Out Tonight’ & the perennial (pity, given its subject matter) ‘Looks Like Rain’, the extra ‘oomph’ of the three piece kicks in immediately, these familiar tracks given extra dimensions by the expanded line-up. ‘Witchcraft’ really does sound eerie & demonic tonight, a sharp contrast to the stunning ‘All The White Horses’ and ‘Holes’ that follow – understated & both beautiful. Even personal favourite ‘Calm The Lovers’ gets the new treatment tonight & works wonders and with ‘Goodbye’, for tonight they’re gone. I’ve longed to see Timothy with the ‘right’ backing of musicians for a long time & he’s finally got it sussed. Stevo’s favourite drummer is Stewart Copeland and he’s damn near in that league if you ask me. Light & shade, the lot. Bravo boys, bravo. Following that would have been daunting for anyone not confident in their abilities, so it was no problem whatsoever for The Voluntary Butler Scheme whose charm, charisma & simply wonderful songs ooze out of every pore effortlessly. Kicking in with the insanely catchy ‘Multiplayer’, the single to be released in March, the new expanded ‘Scheme immediately capture the eyes & ears of the faithful & uninitiated present this evening. I said in a previous review that the VBS songs have ‘hit’ written all over them, and I’m still absolutely confident of their chart success – it can only be ‘round the corner with tunes of this calibre. Following (fffollowing?) with the Motown-esque ‘Fffoolish’, this new line-up with Rob on guitar & keys, John on double keys & percussion, and Damo on drums harmonise beautifully & importantly, genuinely seem to be having this thing called ‘fun’. It’s really hard not to smile when songs such as ‘Laundry’ and ‘Trading Things In’ are performed, etching their way into your brain with their sun soaked harmonies. Think Beach Boys, Byrds, Beatles (and then move on in the alphabet), to get an idea. But, I hasten to add, no song is a ‘soundalike’, Rob’s style is unique, certainly around this area. Playing ‘The Eiffel Tower & The BT Tower’ with John on trumpet (it was Rob on kazoo last time I saw them) and continuing with newie ‘Lemon Squeeze’ before finishing with ‘Tabasco Sole’ (the big single in the waiting, that one), the ‘Scheme leave to an audience wanting more, more, more. They do return to do ‘Multiplayer’ again, but then it’s over. An amazing night, already history. The reaction to Timothy & The Voluntary Butler Scheme after the gig was simply the most positive I’ve heard after any of the KFFM nights so far. Maybe it was in part Christmas spirit, but I think people know when something is THAT good they simply have to talk about it. Stourbridge is seriously cooking up great music at the moment, remember where you read it first. Bryan/KFFM.
NOW ASSASSIN / MICHAEL A. HUNTER
KFFM LIVE NIGHT, KATIE FITZGERALD’S, STOURBRIDGE
APRIL 2009
This was the first time I’d witnessed Michael A. Hunter of Chevron (now subtly re-named The Chevron Band) play solo acoustic & knowing what an awesomely powerful trio they are, I was wondering how some of the tracks would translate to the one man & his guitar format. Well, it’s easy if you’re talented I suppose, as Michael worked his way through the set with ease. Opening with “All About You”, one of the most memorable of Chevron tracks with it’s “You know, you know” refrain immediately lodging in the brain, it becomes apparent that stripped of their powerhouse of a rhythm section, one focuses on Michael’s voice. If I hadn’t seen it myself, I could have sworn there was someone else on backing vocals at some points in the set, such is Mr. Hunter’s range & confidence. “The Runner” too becomes a different beast with this treatment & after playing a couple of tracks not performed solo previously, plus new track “The Giant”, Michael’s gone for now. But, he does play solo at Katie’s often & The Chevron Band are regulars at The Dark Blue Boogaloo, so promise me you’ll see them, yes? Truly one of the greatest bands I’ve ever seen in the area. Now Assassin are also one of my favourites that have ever played at Katie’s & I couldn’t wait for them to play one of my nights. And, of course, they simply didn’t disappoint. Once seen, you never forget Now Assassin. Whether it’s vocalist/bassist Andy King’s striking appearance & haircut, Dickie Bingo’s wonderful drumming, the interplay of Martin’s guitar & Katie’s keyboards (sometimes it’s hard to tell who’s exactly playing which part) or GT Almighty, standing front of stage, hands clasped behind his back, eyes closed, nodding to the rhythm in silent approval (and occasional manic use of the megaphone), there’s definitely enough musically & visually to mark them out from many other acts. Yes, they have the style for sure, but boy they have the substance too. I may get criticised for this (go easy on me), but at times, they do sound like a mid 80’s/early 90’s band sometimes. Now hold on there chart pop fans. I don’t mean the crap peddled in the “I Love ..” programmes, I’m talking about the inventive, left of centre acts that I’ve always been fond of. “You Do The Math” for instance has a slap bass line in the chorus that could have been on “Ashes To Ashes” (1980, I know), & other tracks have hints of Blur/classic Britpop about them. But, Now Assassin do ultimately have their own agenda & sound as tracks like “Come Home” and “I Love San Francisco” prove – listen to them! With “Snakes” they have a hit single in the making & in “Johnny Is A Runt”, a perfect set closer that would leave a festival audience stunned with it’s squall of feedback ending. Indeed, I would love to see how they work on a big stage which I feel is where they belong. Great night chaps. Usual closing piece – check out MySpace for tracks & info. and please go & see these bands I’m writing about. “Stourbridge Has Got Talent” will be coming to your screens shortly. Well, one can but dream. Ta-ra a bit. Bryan/KFFM.
This was the first time I’d witnessed Michael A. Hunter of Chevron (now subtly re-named The Chevron Band) play solo acoustic & knowing what an awesomely powerful trio they are, I was wondering how some of the tracks would translate to the one man & his guitar format. Well, it’s easy if you’re talented I suppose, as Michael worked his way through the set with ease. Opening with “All About You”, one of the most memorable of Chevron tracks with it’s “You know, you know” refrain immediately lodging in the brain, it becomes apparent that stripped of their powerhouse of a rhythm section, one focuses on Michael’s voice. If I hadn’t seen it myself, I could have sworn there was someone else on backing vocals at some points in the set, such is Mr. Hunter’s range & confidence. “The Runner” too becomes a different beast with this treatment & after playing a couple of tracks not performed solo previously, plus new track “The Giant”, Michael’s gone for now. But, he does play solo at Katie’s often & The Chevron Band are regulars at The Dark Blue Boogaloo, so promise me you’ll see them, yes? Truly one of the greatest bands I’ve ever seen in the area. Now Assassin are also one of my favourites that have ever played at Katie’s & I couldn’t wait for them to play one of my nights. And, of course, they simply didn’t disappoint. Once seen, you never forget Now Assassin. Whether it’s vocalist/bassist Andy King’s striking appearance & haircut, Dickie Bingo’s wonderful drumming, the interplay of Martin’s guitar & Katie’s keyboards (sometimes it’s hard to tell who’s exactly playing which part) or GT Almighty, standing front of stage, hands clasped behind his back, eyes closed, nodding to the rhythm in silent approval (and occasional manic use of the megaphone), there’s definitely enough musically & visually to mark them out from many other acts. Yes, they have the style for sure, but boy they have the substance too. I may get criticised for this (go easy on me), but at times, they do sound like a mid 80’s/early 90’s band sometimes. Now hold on there chart pop fans. I don’t mean the crap peddled in the “I Love ..” programmes, I’m talking about the inventive, left of centre acts that I’ve always been fond of. “You Do The Math” for instance has a slap bass line in the chorus that could have been on “Ashes To Ashes” (1980, I know), & other tracks have hints of Blur/classic Britpop about them. But, Now Assassin do ultimately have their own agenda & sound as tracks like “Come Home” and “I Love San Francisco” prove – listen to them! With “Snakes” they have a hit single in the making & in “Johnny Is A Runt”, a perfect set closer that would leave a festival audience stunned with it’s squall of feedback ending. Indeed, I would love to see how they work on a big stage which I feel is where they belong. Great night chaps. Usual closing piece – check out MySpace for tracks & info. and please go & see these bands I’m writing about. “Stourbridge Has Got Talent” will be coming to your screens shortly. Well, one can but dream. Ta-ra a bit. Bryan/KFFM.
The Arcane Parade / The Southern Cradle
KFFM Live NIght, Katie Fitzgerald's January 2009
A KFFM double-header this time, after all, it's pretty damn impossible to separate these two bands. They share gear, rehearsal space, gigs, (let's hope for girlfriends' sake that's all) and they're equally as good as each other too, as anyone witness to this gig would testify. The Southern Cadle were up first, launching into their high octane set with 'Anchoring Aquarius', drummer James' elastic arms powering the rhythm section, held down by Salmon's rock solid bass (rock, Salmon, geddit??), topped off with the twin guitar attack of Stephen and singer Nick, the latter completing it all with his Jake Burns style rasp (Stiff Little Fingers in case you were wondering). What The Cradle lack in subtlety is made up by their sheer attack, old favourites like 'Mind Is A Deceitful Friend' being played with the passion usually reserved for a new song. Their all too short set continues with single 'Won't Leave A Scratch' (their split 7" single with, yup, you've guessed it, The Arcane Parade), ending with 'An Uncategorizable Wealth', possibly their most fully formed song (and my personal favourite), leaving the crowd mentally drained. I've seen The Southern Cradle at Katie's many times now & they're quite simply consistently great. Sometimes there's nothing wrong with that & there certainly wasn't anything awry with this performance. Great stuff. The Arcane Parade are a slightly different beast, just the one guitar of Craig doing all the tunework, Anthony the quiet one at the back anchoring everything effortlessly & Carl the singing drummer leading the three from behind the kit. I've never quite understood why a drummer should complicate things further by being the lead vocalist too. In fact at this moment I can only think of two others (The Eagles & Jellyfish - he stood up too, the damn fool!), but Carl seems totally at ease with the set up. Hitting into 'World's Apart', it's obvious that if there's been any shift in The Parade over the last year, it's that they've toughened up. Not that they've lost any melody in the process, see 'Way We Were' and 'Footnotes' in particular as evidence, the latter being my personal highlight, but oldie 'Bang' almost sounds primitive in comparison. Indeed, as much as I love 'Memories (For The Sake Of Memories)' it wasn't played tonight & it simply wouldn't have fitted in to the set. Wise move. Finishing with the mighty 'Come Home', it's time to go home, The Arcane Parade leaving us all with smiles on our little faces. Nice one. Both The Southern Cradle and The Arcane Parade are regulars at The Dark Blue Boogaloo, Katie's Friday night showcase for new acts, so look out for them in the gig guide. You also can't do any wrong by getting your hands on the aforementioned split single too, check both bands on My Space for info. Another great KFFM night, back next month. Ta-ra a bit. Bryan/KFFM.
A KFFM double-header this time, after all, it's pretty damn impossible to separate these two bands. They share gear, rehearsal space, gigs, (let's hope for girlfriends' sake that's all) and they're equally as good as each other too, as anyone witness to this gig would testify. The Southern Cadle were up first, launching into their high octane set with 'Anchoring Aquarius', drummer James' elastic arms powering the rhythm section, held down by Salmon's rock solid bass (rock, Salmon, geddit??), topped off with the twin guitar attack of Stephen and singer Nick, the latter completing it all with his Jake Burns style rasp (Stiff Little Fingers in case you were wondering). What The Cradle lack in subtlety is made up by their sheer attack, old favourites like 'Mind Is A Deceitful Friend' being played with the passion usually reserved for a new song. Their all too short set continues with single 'Won't Leave A Scratch' (their split 7" single with, yup, you've guessed it, The Arcane Parade), ending with 'An Uncategorizable Wealth', possibly their most fully formed song (and my personal favourite), leaving the crowd mentally drained. I've seen The Southern Cradle at Katie's many times now & they're quite simply consistently great. Sometimes there's nothing wrong with that & there certainly wasn't anything awry with this performance. Great stuff. The Arcane Parade are a slightly different beast, just the one guitar of Craig doing all the tunework, Anthony the quiet one at the back anchoring everything effortlessly & Carl the singing drummer leading the three from behind the kit. I've never quite understood why a drummer should complicate things further by being the lead vocalist too. In fact at this moment I can only think of two others (The Eagles & Jellyfish - he stood up too, the damn fool!), but Carl seems totally at ease with the set up. Hitting into 'World's Apart', it's obvious that if there's been any shift in The Parade over the last year, it's that they've toughened up. Not that they've lost any melody in the process, see 'Way We Were' and 'Footnotes' in particular as evidence, the latter being my personal highlight, but oldie 'Bang' almost sounds primitive in comparison. Indeed, as much as I love 'Memories (For The Sake Of Memories)' it wasn't played tonight & it simply wouldn't have fitted in to the set. Wise move. Finishing with the mighty 'Come Home', it's time to go home, The Arcane Parade leaving us all with smiles on our little faces. Nice one. Both The Southern Cradle and The Arcane Parade are regulars at The Dark Blue Boogaloo, Katie's Friday night showcase for new acts, so look out for them in the gig guide. You also can't do any wrong by getting your hands on the aforementioned split single too, check both bands on My Space for info. Another great KFFM night, back next month. Ta-ra a bit. Bryan/KFFM.
DEAD LETTER OFFICE / DAN WHITEHOUSE
KFFM LIVE NIGHT @ KATIE FITZGERALD’S, STOURBRIDGE.
AUGUST 2008
Yet another night where both acts exceeded all expectations. Making his Katie’s debut on this Bank Holiday Monday was Wolverhampton’s Dan Whitehouse, teasing us with gentle opener ‘This Burning Thing’ before introducing us to the other musicians on the stage, playing piano, violin & cajon. The first track on his currently available cd sampler ‘Somewhere I don’t Want To Go’ was just the first highlight this evening, with John, Tom & June adding sympathetic flourishes, never overplaying their welcome. Dan changes moods effortlessly with each track, ‘Were You Lying’ & ‘Raw State’ being personal favourites (he even asks (and actually gets!) a second round of applause for the former, but that was only because he messed it up at the previous gig), both also featuring on his cd. He’s planning to release 3 e.p.’s soon, ‘The Balloon’, ‘The Bubble’ and ‘The Box’, the latter coming in a box to store all three. On this performance, labels should be queuing up to put them out for sure. Even though he sings ‘There Is No End In Sight’, unfortunately there is, and after ‘You Can’t Give Me Anymore’, he can’t give US anymore & the band leave the stage to a warm reception. He’ll be back again, no doubt about it. Making a welcome return to Katie’s tonight were Dead Letter Office. From Kidderminster, but often sounding like they’ve stopped off in Seattle a few times, DLO rip through highlights of last year’s ‘Complications’ album, also playing both tracks from their new double ‘A’ side for good measure. Opening with the Sonic Youth-isms of single ‘Chairkickers’, they set a pace & intensity that doesn’t slide throughout their stormer of a set. ‘Paper Aeroplane Pilots’ from the album (“a song about not wanting to grow up” – I can relate to that one) ends in swathes of white noise before the band launch into a cover of ‘In Heaven’, the last band I saw perform the track being The Pixies. I hope that gives you some kind of clue to the band’s dynamic. Getting them back on stage for one more, DLO run away with the privilege & treat us to the epic last track on ‘Complications’, ‘Prisoner’, one of those “it’s ended, I’ll start clapping, no it hasn’t, now I’m really embarrassed” tracks that one simply doesn’t want to finish. A stunning climax to this all too short performance. Nice one chaps. You’ll be back too! So, to wrap up, two to watch out for when you’re perusing this gig guide in the future. Check them out on MySpace, you won’t regret it. Adios for now. Bryan/KFFM. HYPERLINK http://www.myspace.com/kffmstourbridge www.myspace.com/kffmstourbridge Photos by Johnty HYPERLINK http://www.myspace.com/thecoldlightofday www.myspace.com/thecoldlightofday
Yet another night where both acts exceeded all expectations. Making his Katie’s debut on this Bank Holiday Monday was Wolverhampton’s Dan Whitehouse, teasing us with gentle opener ‘This Burning Thing’ before introducing us to the other musicians on the stage, playing piano, violin & cajon. The first track on his currently available cd sampler ‘Somewhere I don’t Want To Go’ was just the first highlight this evening, with John, Tom & June adding sympathetic flourishes, never overplaying their welcome. Dan changes moods effortlessly with each track, ‘Were You Lying’ & ‘Raw State’ being personal favourites (he even asks (and actually gets!) a second round of applause for the former, but that was only because he messed it up at the previous gig), both also featuring on his cd. He’s planning to release 3 e.p.’s soon, ‘The Balloon’, ‘The Bubble’ and ‘The Box’, the latter coming in a box to store all three. On this performance, labels should be queuing up to put them out for sure. Even though he sings ‘There Is No End In Sight’, unfortunately there is, and after ‘You Can’t Give Me Anymore’, he can’t give US anymore & the band leave the stage to a warm reception. He’ll be back again, no doubt about it. Making a welcome return to Katie’s tonight were Dead Letter Office. From Kidderminster, but often sounding like they’ve stopped off in Seattle a few times, DLO rip through highlights of last year’s ‘Complications’ album, also playing both tracks from their new double ‘A’ side for good measure. Opening with the Sonic Youth-isms of single ‘Chairkickers’, they set a pace & intensity that doesn’t slide throughout their stormer of a set. ‘Paper Aeroplane Pilots’ from the album (“a song about not wanting to grow up” – I can relate to that one) ends in swathes of white noise before the band launch into a cover of ‘In Heaven’, the last band I saw perform the track being The Pixies. I hope that gives you some kind of clue to the band’s dynamic. Getting them back on stage for one more, DLO run away with the privilege & treat us to the epic last track on ‘Complications’, ‘Prisoner’, one of those “it’s ended, I’ll start clapping, no it hasn’t, now I’m really embarrassed” tracks that one simply doesn’t want to finish. A stunning climax to this all too short performance. Nice one chaps. You’ll be back too! So, to wrap up, two to watch out for when you’re perusing this gig guide in the future. Check them out on MySpace, you won’t regret it. Adios for now. Bryan/KFFM. HYPERLINK http://www.myspace.com/kffmstourbridge www.myspace.com/kffmstourbridge Photos by Johnty HYPERLINK http://www.myspace.com/thecoldlightofday www.myspace.com/thecoldlightofday
JAZZ THRASH ASSASSIN / JIMM ZOMBIE
KFFM LIVE NIGHT @ KATIE FITZGERALD’S MAY 2008
Another KFFM Live Night at Katie’s, with two acts so extreme to each other, I was wondering if it was going to work at all. And, I booked the bleedin’ thing. But, it is testament to the acts & audience alike, that both were received more than enthusiastically. The striking presence of Jimm Zombie was first to the stage armed with his acoustic, his immaculate picking style putting one immediately in mind of the Nick Drake school. His smoky English voice (he pronounces ‘forgoTTen’, not ‘forgo’-‘un’ for instance), does go somewhat at odds with the man’s name, but it is a pleasant surprise rather than an unpleasant shock. His songs are obviously melancholic, but far from depressing, detailing the darker side of relationships. Lyrics such as “Your weakness is my target” could, especially on paper, appear slightly misogynistic, but quite simply, they are about good old fashioned honesty through heartbreak. Jimm also understands the power of a swear word or two, always delivered with the intended impact & never gratuitous. Bluntly eloquent if you like. Though occasionally nervous (he said he may “fuck up” “Traces” & “Tin Man”, the latter of which made its’ live debut tonight), it is borne out of vulnerability rather than any kind of weakness, and by the set’s close, everyone was left wanting more, Jimm having set a relaxed, serene tone to the evening. And, he didn’t “fuck up” by the way. And then, the mood gets blown apart completely by the arrival of Jazz Thrash Assassin. Taking the stage in a variety of outfits (Mask? Check. Fake blood? Check. Stocking on head? Check. Gingerbread Man outfit for keyboard player? Check.), they immediately hit into the metal/ska hybrid of “The Answer” & then there’s no letting up. Next track “Dr. G.” even feels like walking into a “Later” style circular room with 17 bands playing snippets of songs in turn. In fact, the sheer complexities of JTA’s arrangements can confound. How they structure what could so easily turn into avant-garde mayhem is down to the sheer quality of their musicianship. Even co-vocalist Splakoph uses his hardcore scream as another instrument. Quite incredible. They could even have a couple of hits with “Black Boots” (if they missed the bit about touching someone in their “poop chute” maybe) & “Technical Gremlin” (if they missed the bit about “I wouldn’t piss on you on fire, but I would if you were not”). Ok, not ‘hits’, but huge crowd pleasers, especially the latter which turns into a semi-Bon Jovi style singalong by the end. And, believe it or not, that’s not a criticism. The impact made on Katie’s by Jazz Thrash Assassin is still resonating weeks later. One cannot witness this band without them leaving one hell of a large impression. Like Bootsy Collins crossed with Henry Rollins. Awesome. Right then, here’s to the next one. Watch out for the ads. Ta-ra a bit, as they say round ear. Bryan/KFFM. HYPERLINK http://katiesfm.btpodshow.com/ http://katiesfm.btpodshow.com/ HYPERLINK http://www.myspace.com/kffmstourbridge www.myspace.com/kffmstourbridge All KFFM Live Night photos by Johnty HYPERLINK http://www.myspace.com/thecoldlightofday www.myspace.com/thecoldlightofday
Another KFFM Live Night at Katie’s, with two acts so extreme to each other, I was wondering if it was going to work at all. And, I booked the bleedin’ thing. But, it is testament to the acts & audience alike, that both were received more than enthusiastically. The striking presence of Jimm Zombie was first to the stage armed with his acoustic, his immaculate picking style putting one immediately in mind of the Nick Drake school. His smoky English voice (he pronounces ‘forgoTTen’, not ‘forgo’-‘un’ for instance), does go somewhat at odds with the man’s name, but it is a pleasant surprise rather than an unpleasant shock. His songs are obviously melancholic, but far from depressing, detailing the darker side of relationships. Lyrics such as “Your weakness is my target” could, especially on paper, appear slightly misogynistic, but quite simply, they are about good old fashioned honesty through heartbreak. Jimm also understands the power of a swear word or two, always delivered with the intended impact & never gratuitous. Bluntly eloquent if you like. Though occasionally nervous (he said he may “fuck up” “Traces” & “Tin Man”, the latter of which made its’ live debut tonight), it is borne out of vulnerability rather than any kind of weakness, and by the set’s close, everyone was left wanting more, Jimm having set a relaxed, serene tone to the evening. And, he didn’t “fuck up” by the way. And then, the mood gets blown apart completely by the arrival of Jazz Thrash Assassin. Taking the stage in a variety of outfits (Mask? Check. Fake blood? Check. Stocking on head? Check. Gingerbread Man outfit for keyboard player? Check.), they immediately hit into the metal/ska hybrid of “The Answer” & then there’s no letting up. Next track “Dr. G.” even feels like walking into a “Later” style circular room with 17 bands playing snippets of songs in turn. In fact, the sheer complexities of JTA’s arrangements can confound. How they structure what could so easily turn into avant-garde mayhem is down to the sheer quality of their musicianship. Even co-vocalist Splakoph uses his hardcore scream as another instrument. Quite incredible. They could even have a couple of hits with “Black Boots” (if they missed the bit about touching someone in their “poop chute” maybe) & “Technical Gremlin” (if they missed the bit about “I wouldn’t piss on you on fire, but I would if you were not”). Ok, not ‘hits’, but huge crowd pleasers, especially the latter which turns into a semi-Bon Jovi style singalong by the end. And, believe it or not, that’s not a criticism. The impact made on Katie’s by Jazz Thrash Assassin is still resonating weeks later. One cannot witness this band without them leaving one hell of a large impression. Like Bootsy Collins crossed with Henry Rollins. Awesome. Right then, here’s to the next one. Watch out for the ads. Ta-ra a bit, as they say round ear. Bryan/KFFM. HYPERLINK http://katiesfm.btpodshow.com/ http://katiesfm.btpodshow.com/ HYPERLINK http://www.myspace.com/kffmstourbridge www.myspace.com/kffmstourbridge All KFFM Live Night photos by Johnty HYPERLINK http://www.myspace.com/thecoldlightofday www.myspace.com/thecoldlightofday
BELCH POP FRENZY / TWIG OWENS
KFFM LIVE NIGHT, KATIE FITZGERALD’S MARCH 09
Now, Mr. Owens is a tough one to review, I know because I’ve tried before. A night with Twig is unpredictable (whether he’s on or off stage, in fact), and it was with some trepidation that I announced his arrival on this night as I simply didn’t know which guise he was going under. Indeed, I believe the name he used for this night was mistakenly appropriated from someone else, so we’ll consign that one to the history bin. Shunning masks & samplers for this show, it’s just one man & his battered guitar, playing quiet songs with idiosyncratic, witty lyrics & Twig’s distinctive Welsh rasp over the top. Though the audience were a little noisy, Twig held the attention of the faithful, particularly with ‘Barking At The Sun’ which in the real world should be a massive hit, and a surprisingly heartfelt, broken version of Barbara Streisand’s ‘Evergreen’ to boot. Hey, I said he was unpredictable. In short, think of Gruff Rhys of Super Furry Animals solo work crossed with a fucked up Donovan & you should get the gist. However, next time he plays here as part of Katiesfest 2009 in May, Mr. Owens could be doing something completely different … Belch Pop Frenzy have been through many line-up changes & differences in style over the years, but have now settled on being Stourbridge’s answer to The Stooges. “Ok you weirdoes, let’s rock ‘n’ roll” drawls singer Dave, resplendent in shades, leather trousers (which his “Mom patched up” thank God) and pink feather boa, hitting into ‘Go Jono, Go’, the first of their high octane set. Lyrically, Belch Pop are firmly in the girls, drink, lurrve, sex & drugs tradition, musically, it’s riff-laden 60’s style garage rock ‘n’ roll from the off (there’s no soloing with these guys for sure), with each track barely hitting the 3 minute mark. Well, if you get your point across in that time (which they do), there’s no point in hanging around is there? With a sheer powerhouse of a rhythm section (their drummer in particular is outstanding), BPF pummel through their set at a furious pace, with songs about “the toilets in JB’s” (‘She Cries’) and waking up drunk with one’s “trousers down … with my cock in my hand” (‘Woke Up Drunk’) hopefully setting the scene in your head if you’ve never heard them. In short, they are simply good time fun rock ‘n’ roll with no pretensions, and sometimes it’s a relief to see a band not taking themselves too seriously & having fun, with damn tight great songs too. Finishing off, almost inevitably really, with a cover of the aforementioned Stooges classic ‘I Wanna Be Your Dog’ dedicated to Stooges late guitarist Ron Asheton who recently died, Belch Pop Frenzy leave us exhausted, clapping like madmen, and with big grins on our faces. And, as a friend of mine often says, “and sometimes, Bryan, that’s all you need!”. Stay in touch for info. on future live nights
Now, Mr. Owens is a tough one to review, I know because I’ve tried before. A night with Twig is unpredictable (whether he’s on or off stage, in fact), and it was with some trepidation that I announced his arrival on this night as I simply didn’t know which guise he was going under. Indeed, I believe the name he used for this night was mistakenly appropriated from someone else, so we’ll consign that one to the history bin. Shunning masks & samplers for this show, it’s just one man & his battered guitar, playing quiet songs with idiosyncratic, witty lyrics & Twig’s distinctive Welsh rasp over the top. Though the audience were a little noisy, Twig held the attention of the faithful, particularly with ‘Barking At The Sun’ which in the real world should be a massive hit, and a surprisingly heartfelt, broken version of Barbara Streisand’s ‘Evergreen’ to boot. Hey, I said he was unpredictable. In short, think of Gruff Rhys of Super Furry Animals solo work crossed with a fucked up Donovan & you should get the gist. However, next time he plays here as part of Katiesfest 2009 in May, Mr. Owens could be doing something completely different … Belch Pop Frenzy have been through many line-up changes & differences in style over the years, but have now settled on being Stourbridge’s answer to The Stooges. “Ok you weirdoes, let’s rock ‘n’ roll” drawls singer Dave, resplendent in shades, leather trousers (which his “Mom patched up” thank God) and pink feather boa, hitting into ‘Go Jono, Go’, the first of their high octane set. Lyrically, Belch Pop are firmly in the girls, drink, lurrve, sex & drugs tradition, musically, it’s riff-laden 60’s style garage rock ‘n’ roll from the off (there’s no soloing with these guys for sure), with each track barely hitting the 3 minute mark. Well, if you get your point across in that time (which they do), there’s no point in hanging around is there? With a sheer powerhouse of a rhythm section (their drummer in particular is outstanding), BPF pummel through their set at a furious pace, with songs about “the toilets in JB’s” (‘She Cries’) and waking up drunk with one’s “trousers down … with my cock in my hand” (‘Woke Up Drunk’) hopefully setting the scene in your head if you’ve never heard them. In short, they are simply good time fun rock ‘n’ roll with no pretensions, and sometimes it’s a relief to see a band not taking themselves too seriously & having fun, with damn tight great songs too. Finishing off, almost inevitably really, with a cover of the aforementioned Stooges classic ‘I Wanna Be Your Dog’ dedicated to Stooges late guitarist Ron Asheton who recently died, Belch Pop Frenzy leave us exhausted, clapping like madmen, and with big grins on our faces. And, as a friend of mine often says, “and sometimes, Bryan, that’s all you need!”. Stay in touch for info. on future live nights
I AM LOCUTUS / STUNTS / ALEX MOIR / PETE PANAYI
KFFM/ACOUSTIC BREW LIVE NIGHT, FEBRUARY 09,
KATIE FITZGERALD’S, STOURBRIDGE
February’s KFFM Live Night was a co-promotion with those lovely people at Acoustic Brew UK, featuring the cream of the acoustic crop who have played at their Katie Fitzgerald’s gigs. First up was Pete Panayi, one man & his guitar, starting the proceedings with a delicate but in no way downbeat set. Turning the pages for lyrics, he admits to being nervous, but there was really no need for concern with songs the quality of “Feel Like I Do” and “Stubborn” immediately separating him from the introspective singer songwriters I’ve seen many times before. “Stubborn” itself, as an Arian, particularly struck a chord with yours truly, and Pete’s confidence grew throughout the short set, delivering “Wasted Dreams” and “I Promise”, finishing with “Run” to a roomful of applause. And we didn’t need tissues after all. By contrast, Alex Moir was immediately upbeat, another solo artist but with a totally different angle to Pete Panayi. Though he starts with faster tracks like “Two Shakes”, he slows down in the middle of his set, picking up speed again in the second half, “Nothing Really Matters” and “Give It Time” being the tracks that most impressed myself (at least I think those were the titles, they were the hooks, so there!). Though Alex thanks the crowd for their appreciation as he “doesn’t have much confidence”, it certainly did not show on the night at all, positively the opposite in my opinion. Great stuff. Duo time was next with Stunts (formerly Motorcycle Stunts), taking their seats centre stage, launching into a set of short, impressive tracks, delivered impeccably. With vocals going from whispers to impassioned (not quite) screams, and delicate interplay between the two acoustic guitars, Stunts’ set reminded this writer of early Aztec Camera and even pre-dance Everything But The Girl occasionally, engaging the audience with some witty banter along the way too. Though some tracks appear to stop too soon (Another verse? No.), that is not a criticism, just an observation and I’ll certainly look forward to seeing the guys again. (And, give me some song titles next time!). Last up was I Am Locutus, featuring Acoustic Brew’s main man Dale Perry and faithful sidekick L.C., changing the mood of the night again with L.C.’s flamenco inspired flourishes and Dale’s distinctive vibrato. Though they are currently playing as a three piece, they played as a duo this time, focusing on older tracks like “Open Road” and “Stranger In This Town”, the latter being a song about Stourbridge that even berates the smoking ban. Indeed, the acts tonight would have been great in a smoky, jazz kind of environment, but it looks like those days have gone for good unfortunately. Finishing their all too short set with “Epic” and new track “Needle In A Haystack” (not that one), I Am Locutus go down a storm, ending the night perfectly. So, watch out for the compilation album of this night “Now That’s What I Call Cosy” (joke), and check out Acoustic Brew UK on My Space for future shows. Nice night good people, I thank you all. Bryan/KFFM.
February’s KFFM Live Night was a co-promotion with those lovely people at Acoustic Brew UK, featuring the cream of the acoustic crop who have played at their Katie Fitzgerald’s gigs. First up was Pete Panayi, one man & his guitar, starting the proceedings with a delicate but in no way downbeat set. Turning the pages for lyrics, he admits to being nervous, but there was really no need for concern with songs the quality of “Feel Like I Do” and “Stubborn” immediately separating him from the introspective singer songwriters I’ve seen many times before. “Stubborn” itself, as an Arian, particularly struck a chord with yours truly, and Pete’s confidence grew throughout the short set, delivering “Wasted Dreams” and “I Promise”, finishing with “Run” to a roomful of applause. And we didn’t need tissues after all. By contrast, Alex Moir was immediately upbeat, another solo artist but with a totally different angle to Pete Panayi. Though he starts with faster tracks like “Two Shakes”, he slows down in the middle of his set, picking up speed again in the second half, “Nothing Really Matters” and “Give It Time” being the tracks that most impressed myself (at least I think those were the titles, they were the hooks, so there!). Though Alex thanks the crowd for their appreciation as he “doesn’t have much confidence”, it certainly did not show on the night at all, positively the opposite in my opinion. Great stuff. Duo time was next with Stunts (formerly Motorcycle Stunts), taking their seats centre stage, launching into a set of short, impressive tracks, delivered impeccably. With vocals going from whispers to impassioned (not quite) screams, and delicate interplay between the two acoustic guitars, Stunts’ set reminded this writer of early Aztec Camera and even pre-dance Everything But The Girl occasionally, engaging the audience with some witty banter along the way too. Though some tracks appear to stop too soon (Another verse? No.), that is not a criticism, just an observation and I’ll certainly look forward to seeing the guys again. (And, give me some song titles next time!). Last up was I Am Locutus, featuring Acoustic Brew’s main man Dale Perry and faithful sidekick L.C., changing the mood of the night again with L.C.’s flamenco inspired flourishes and Dale’s distinctive vibrato. Though they are currently playing as a three piece, they played as a duo this time, focusing on older tracks like “Open Road” and “Stranger In This Town”, the latter being a song about Stourbridge that even berates the smoking ban. Indeed, the acts tonight would have been great in a smoky, jazz kind of environment, but it looks like those days have gone for good unfortunately. Finishing their all too short set with “Epic” and new track “Needle In A Haystack” (not that one), I Am Locutus go down a storm, ending the night perfectly. So, watch out for the compilation album of this night “Now That’s What I Call Cosy” (joke), and check out Acoustic Brew UK on My Space for future shows. Nice night good people, I thank you all. Bryan/KFFM.
PORPOISE / MR. OWENS
KFFM LIVE NIGHT @ KATIE FITZGERALDS APRIL 2008
I really didn’t know what to expect tonight, and I most certainly was not let down. Unpredictability ruled on this, the second KFFM Live Night, and boy, it was goooood! Mr. Owens is a bit of a legend ‘round these parts. I’ve seen him solo playing acoustic and electric & also with his band The Dead Ends, but this was a little different. Using samples, a drum machine & alternating between electric guitar & banjo (honest!), Mr. Owens (I’ll refer to him from now by his nom de plume Twig), sorry, Twig takes to the stage wearing a mask on backwards, to a backdrop of the Buck Rogers film. He even interrupts his own virtuoso banjo playing to stop at a crucial point in the film & do a running commentary in his delightful Welsh lilt, before calmly carrying on with the song as if it was a perfectly normal kind of thing to do. “Oh, so it’s comedy then”, you may be thinking. Not exactly. Sure, there’s wit & humour in Twig’s performance & lyrics, which he almost kind of hides behind, but it doesn’t override the power he exudes in his songs, which often build into something of a cacophony of sound, with his Cobainian rasp almost cracking under the intensity of it all. That good, really. Porpoise seem to be able to override any obstacle, tonight’s being singer/guitarist Dave’s inability to play the instrument due to a badly injured digit. That Jimmy Page bloke even delayed a pretty big gig for near enough the same reason. So, what does he do? Play synthesiser instead. See? Easy. And, the good news is, it all added a hitherto unexposed layer to their already mighty sound. Giving easily the tightest performance I’ve seen them play thus far, the ‘Poise rip through their set, stopping only for the usual light hearted in between song banter. Even old favourite ‘Cuckoo Clock’ is given an airing tonight, along with what are positively becoming crowd pleasers ‘Gorillor!’, ‘California Racist’ (hooks being, ‘racist!’ and, of course, ‘cunt!’), and ending in ‘singalongapoise’ ‘Dogs, Dogs, Dogs, Dogs’. A journalist a while back used the term ‘weird’ three times in the same review to describe Porpoise, but there’s nowt weird here, just great, slightly off-kilter, hook-laden songs that get under your skin & won’t remove themselves afterwards. Their ‘Zoo-So’ e.p. is now available and it’s wonderful. Just go and buy it & see the ‘Porpboise’ live – you won’t regret it. A great night my friends, thanks for the top entertainment. Onwards & upwards … Bryan/KFFM HYPERLINK http://katiesfm.btpodshow.com/ http://katiesfm.btpodshow.com/ HYPERLINK http://www.myspace.com/kffmstourbridge www.myspace.com/kffmstourbridge All KFFM Live Night photos by Johnty HYPERLINK http://www.myspace.com/thecoldlightofday www.myspace.com/thecoldlightofday
I really didn’t know what to expect tonight, and I most certainly was not let down. Unpredictability ruled on this, the second KFFM Live Night, and boy, it was goooood! Mr. Owens is a bit of a legend ‘round these parts. I’ve seen him solo playing acoustic and electric & also with his band The Dead Ends, but this was a little different. Using samples, a drum machine & alternating between electric guitar & banjo (honest!), Mr. Owens (I’ll refer to him from now by his nom de plume Twig), sorry, Twig takes to the stage wearing a mask on backwards, to a backdrop of the Buck Rogers film. He even interrupts his own virtuoso banjo playing to stop at a crucial point in the film & do a running commentary in his delightful Welsh lilt, before calmly carrying on with the song as if it was a perfectly normal kind of thing to do. “Oh, so it’s comedy then”, you may be thinking. Not exactly. Sure, there’s wit & humour in Twig’s performance & lyrics, which he almost kind of hides behind, but it doesn’t override the power he exudes in his songs, which often build into something of a cacophony of sound, with his Cobainian rasp almost cracking under the intensity of it all. That good, really. Porpoise seem to be able to override any obstacle, tonight’s being singer/guitarist Dave’s inability to play the instrument due to a badly injured digit. That Jimmy Page bloke even delayed a pretty big gig for near enough the same reason. So, what does he do? Play synthesiser instead. See? Easy. And, the good news is, it all added a hitherto unexposed layer to their already mighty sound. Giving easily the tightest performance I’ve seen them play thus far, the ‘Poise rip through their set, stopping only for the usual light hearted in between song banter. Even old favourite ‘Cuckoo Clock’ is given an airing tonight, along with what are positively becoming crowd pleasers ‘Gorillor!’, ‘California Racist’ (hooks being, ‘racist!’ and, of course, ‘cunt!’), and ending in ‘singalongapoise’ ‘Dogs, Dogs, Dogs, Dogs’. A journalist a while back used the term ‘weird’ three times in the same review to describe Porpoise, but there’s nowt weird here, just great, slightly off-kilter, hook-laden songs that get under your skin & won’t remove themselves afterwards. Their ‘Zoo-So’ e.p. is now available and it’s wonderful. Just go and buy it & see the ‘Porpboise’ live – you won’t regret it. A great night my friends, thanks for the top entertainment. Onwards & upwards … Bryan/KFFM HYPERLINK http://katiesfm.btpodshow.com/ http://katiesfm.btpodshow.com/ HYPERLINK http://www.myspace.com/kffmstourbridge www.myspace.com/kffmstourbridge All KFFM Live Night photos by Johnty HYPERLINK http://www.myspace.com/thecoldlightofday www.myspace.com/thecoldlightofday
SQUASHED COB
KFFM LIVE NIGHT, KATIE FITZGERALD’S, STOURBRIDGE
One thing I learnt from this KFFM Live Night was – give Squashed Cob an evening & they’ll run away with it! This is meant as one hell of a compliment, mind. Usually, I organise/compere/do the door, anything that goes really. Tonight, apart from the latter bit, The ‘Cob did everything with ease & turned it into their own extravaganza. Starting the night off was acoustic gent Michael Painter, interjecting his songs with loops of vocal, percussion & strings, making an unexpected start to the proceedings, totally at odds with Squashed Cob’s style & all the better for it. Variety indeed is the key to these nights & it was a perfect start. I honestly didn’t catch all of his set, so it’s a little unfair to give a big review, so check him out on MySpace & you’ll get the idea. The ‘Cob themselves were next up – keyboards & guitar with samples “and shit”, launching their first of two sets with a quite remarkable intro. of discofied science fiction soundtrack music. A special mention too, must go to their compilation dvd shown during the night – some truly stunning, bizarre stuff that kept everyone entertained, without distracting from Majic & Spanners’ performance. Starting with ‘The Beast Of Wollaston’ which could easily be a concept album itself if expanded upon, I’m instantly reminded of early 90’s old Dudley J.B.’s – again, that’s a compliment guys. They do have an air of an early PWEI style hip-hop/rock hybrid which I was a huge fan of, and sent me back on happy waves of nostalgia. But, with ‘Lonely People’ and ‘Sing With Me’ in particular, they do not in any way sound ‘old’, they could indeed chart right now with this strong material. After a break for a raffle (not really), Spanners stayed on stage to do 3 acoustic songs with his mate Rob, now going under the name of ‘Forget Roulette’. Again, I believe this was their first performance and they’re expanding this project, so I’ll defer my review until they’re properly sorted. Very promising stuff, mind. Part two of Squashed Cob’s set contained their (almost) anthem, ‘Bigger When I Was Younger’ (“I used to be a little bit taller”) which gets a few bodies pogoing happily, the darker, more understated ‘Conspiracy’ and a brilliant rendition of Rage Against The Machine’s ‘Killing In The Name Of’ – ‘Cobbing In The Name Of’, including the pay off lyric ‘Squashed Cob I won’t do what you tell me’. Indeed, no-one needs to tell The ‘Cob what to do, as was proven this evening, they are more than capable of organising, playing & promoting themselves. In fact it was a (very) hot night & a very busy one too, so I doff my titfer to you guys – thank you! Check them out on Facebbok & MySpace & give the ‘Always Remembered, Never Forgotten’ album a listen too. Live, however is where they work best, so go & see them. Simple as. Bryan/KFFM.
One thing I learnt from this KFFM Live Night was – give Squashed Cob an evening & they’ll run away with it! This is meant as one hell of a compliment, mind. Usually, I organise/compere/do the door, anything that goes really. Tonight, apart from the latter bit, The ‘Cob did everything with ease & turned it into their own extravaganza. Starting the night off was acoustic gent Michael Painter, interjecting his songs with loops of vocal, percussion & strings, making an unexpected start to the proceedings, totally at odds with Squashed Cob’s style & all the better for it. Variety indeed is the key to these nights & it was a perfect start. I honestly didn’t catch all of his set, so it’s a little unfair to give a big review, so check him out on MySpace & you’ll get the idea. The ‘Cob themselves were next up – keyboards & guitar with samples “and shit”, launching their first of two sets with a quite remarkable intro. of discofied science fiction soundtrack music. A special mention too, must go to their compilation dvd shown during the night – some truly stunning, bizarre stuff that kept everyone entertained, without distracting from Majic & Spanners’ performance. Starting with ‘The Beast Of Wollaston’ which could easily be a concept album itself if expanded upon, I’m instantly reminded of early 90’s old Dudley J.B.’s – again, that’s a compliment guys. They do have an air of an early PWEI style hip-hop/rock hybrid which I was a huge fan of, and sent me back on happy waves of nostalgia. But, with ‘Lonely People’ and ‘Sing With Me’ in particular, they do not in any way sound ‘old’, they could indeed chart right now with this strong material. After a break for a raffle (not really), Spanners stayed on stage to do 3 acoustic songs with his mate Rob, now going under the name of ‘Forget Roulette’. Again, I believe this was their first performance and they’re expanding this project, so I’ll defer my review until they’re properly sorted. Very promising stuff, mind. Part two of Squashed Cob’s set contained their (almost) anthem, ‘Bigger When I Was Younger’ (“I used to be a little bit taller”) which gets a few bodies pogoing happily, the darker, more understated ‘Conspiracy’ and a brilliant rendition of Rage Against The Machine’s ‘Killing In The Name Of’ – ‘Cobbing In The Name Of’, including the pay off lyric ‘Squashed Cob I won’t do what you tell me’. Indeed, no-one needs to tell The ‘Cob what to do, as was proven this evening, they are more than capable of organising, playing & promoting themselves. In fact it was a (very) hot night & a very busy one too, so I doff my titfer to you guys – thank you! Check them out on Facebbok & MySpace & give the ‘Always Remembered, Never Forgotten’ album a listen too. Live, however is where they work best, so go & see them. Simple as. Bryan/KFFM.
EDDY MORTON / TIMOTHY PARKES / BEN SMITH / SPLATT!!!
‘PEOPLE IN GLASS HOUSES’, THE GLASSHOUSE THEATRE, STOURBRIDGE. JUNE 2008.
Firstly, let me explain the surroundings. A beautiful, purpose built theatre, set in The Glassworks complex, seated, with a cheese & wine interval. This was a ‘concert’ not a ‘gig’ & I’ll tell you something right now, it was an absolute pleasure to be part of an audience of serious music lovers, showing total respect to every artist performing on this New Mountain Music showcase. Opening proceedings were Splatt!!! Who augmented their usual 2 piece folk/rock hybrid with fretless bass, adding a more progressive (but not ‘regressive’) approach. With multi-instrumentalist/vocalist Paul Beadle’s dual vocal technique (one mic using heavy reverb) giving an eerie air to the set along with guitarist Jim’s e-bow, Splatt!!! create an awesome atmosphere that is almost cinematic. They simply lure you in with their soundscapes & there’s no escape, particularly on the showpiece “When Men Were Only Men”, which live was far more intense than on their “Primal Hordes And Partisans” album. And, they didn’t even play “What Colour Are You Wearing”, a song which The Waterboys’ Mike Scott would be proud to have written. A band that quite simply take the audience on a journey of unexpected territory. Jim (‘Splatty’) Batty stays on the stage to accompany the next artist Ben Smith, a seasoned veteran despite his age. Stourbridge’s own purveyor of Townes Van Zandt inspired Americana. With Jim adding sympathetic electric flourishes to Ben’s gentle acoustic picking, Ben works through the highlights of his “Live At Katie Fitzgerald’s” album, dropping in friendly anecdotes inbetween, plus a Warren Zevon cover & personal favourite “Casualties” (been there, done that, you know the drill …). Though Ben introduces “Big Fat Useless Benny” as his ‘pop song’, I feel it’ll be through more enduring, thoughtful tracks like “Love In The Corners” that he will make more of an impact & steer him on the road to greater success. Indeed, on the evidence of tonight’s performance, a larger audience cannot be too far away, as he leaves the stage to a full house of applause. After the break, next up was top hatted troubador Timothy Parkes. Now, I’ve waxed lyrical in these pages before about Timothy, but a combination of tonight’s setting, the crisp sound & a captive audience somehow makes his performance even more riveting than usual. Concentrating on the gentler side of his varied output, he moves through “Looks Like Rain”, the incredibly moving “All The White Horses” and the seldom played “Garden Song” with a relaxed approach that warms the audience’s cockles, leaving them in no doubt that Timothy doesn’t just look like a star, he damn well will be very soon. Go and see the man live whilst you can still catch him in this kind of intimate venue. It won’t be long until the large venues beckon. So, after a night of this high standard, the final act has to deliver and with tonight’s ‘Ed-liner’ (sorry …) Eddy Morton, ably assisted by cohort Paul Hodson on keys & backing vocals, they deliver with an ease that, as a frustrated musician, is almost annoying. Playing tracks from current album “Stourbridge Town”, mixed with Bushbury’s favourites like “Faith Healer”, the duo simply never put a foot wrong. Even Paul let his hair down, it was that relaxed. And, if this town needs a ‘local anthem’ as such, there’s “The Queen Of Stourbridge Town”, an Eddy original which already sounds like a traditional song one has known all of their life. Finishing the set with the quietly anthemic “Let Your Love Shine Through”, Eddy & Paul leave the stage to near rapturous applause, finishing a wonderful, warm, highly entertaining evening. So, it’s folk Jim, but not as we know it, as Spock didn’t say, but, he had no emotion anyway and this concert was packed with it. Check out the albums available through New Mountain Music for proof, you will not be disappointed. Bryan/KFFM HYPERLINK http://www.myspace.com/newmountainmusiconline www.myspace.com/newmountainmusiconline Photos by Johnty HYPERLINK http://www.myspace.com/thecoldlightofday www.myspace.com/thecoldlightofday
Firstly, let me explain the surroundings. A beautiful, purpose built theatre, set in The Glassworks complex, seated, with a cheese & wine interval. This was a ‘concert’ not a ‘gig’ & I’ll tell you something right now, it was an absolute pleasure to be part of an audience of serious music lovers, showing total respect to every artist performing on this New Mountain Music showcase. Opening proceedings were Splatt!!! Who augmented their usual 2 piece folk/rock hybrid with fretless bass, adding a more progressive (but not ‘regressive’) approach. With multi-instrumentalist/vocalist Paul Beadle’s dual vocal technique (one mic using heavy reverb) giving an eerie air to the set along with guitarist Jim’s e-bow, Splatt!!! create an awesome atmosphere that is almost cinematic. They simply lure you in with their soundscapes & there’s no escape, particularly on the showpiece “When Men Were Only Men”, which live was far more intense than on their “Primal Hordes And Partisans” album. And, they didn’t even play “What Colour Are You Wearing”, a song which The Waterboys’ Mike Scott would be proud to have written. A band that quite simply take the audience on a journey of unexpected territory. Jim (‘Splatty’) Batty stays on the stage to accompany the next artist Ben Smith, a seasoned veteran despite his age. Stourbridge’s own purveyor of Townes Van Zandt inspired Americana. With Jim adding sympathetic electric flourishes to Ben’s gentle acoustic picking, Ben works through the highlights of his “Live At Katie Fitzgerald’s” album, dropping in friendly anecdotes inbetween, plus a Warren Zevon cover & personal favourite “Casualties” (been there, done that, you know the drill …). Though Ben introduces “Big Fat Useless Benny” as his ‘pop song’, I feel it’ll be through more enduring, thoughtful tracks like “Love In The Corners” that he will make more of an impact & steer him on the road to greater success. Indeed, on the evidence of tonight’s performance, a larger audience cannot be too far away, as he leaves the stage to a full house of applause. After the break, next up was top hatted troubador Timothy Parkes. Now, I’ve waxed lyrical in these pages before about Timothy, but a combination of tonight’s setting, the crisp sound & a captive audience somehow makes his performance even more riveting than usual. Concentrating on the gentler side of his varied output, he moves through “Looks Like Rain”, the incredibly moving “All The White Horses” and the seldom played “Garden Song” with a relaxed approach that warms the audience’s cockles, leaving them in no doubt that Timothy doesn’t just look like a star, he damn well will be very soon. Go and see the man live whilst you can still catch him in this kind of intimate venue. It won’t be long until the large venues beckon. So, after a night of this high standard, the final act has to deliver and with tonight’s ‘Ed-liner’ (sorry …) Eddy Morton, ably assisted by cohort Paul Hodson on keys & backing vocals, they deliver with an ease that, as a frustrated musician, is almost annoying. Playing tracks from current album “Stourbridge Town”, mixed with Bushbury’s favourites like “Faith Healer”, the duo simply never put a foot wrong. Even Paul let his hair down, it was that relaxed. And, if this town needs a ‘local anthem’ as such, there’s “The Queen Of Stourbridge Town”, an Eddy original which already sounds like a traditional song one has known all of their life. Finishing the set with the quietly anthemic “Let Your Love Shine Through”, Eddy & Paul leave the stage to near rapturous applause, finishing a wonderful, warm, highly entertaining evening. So, it’s folk Jim, but not as we know it, as Spock didn’t say, but, he had no emotion anyway and this concert was packed with it. Check out the albums available through New Mountain Music for proof, you will not be disappointed. Bryan/KFFM HYPERLINK http://www.myspace.com/newmountainmusiconline www.myspace.com/newmountainmusiconline Photos by Johnty HYPERLINK http://www.myspace.com/thecoldlightofday www.myspace.com/thecoldlightofday
MILES HUNT & ERICA NOCKALLS KATIESFEST AUGUST 2008
Though originally hailing from Derby, via Marston Green, & now residing in Shropshire, Miles Hunt has always been a kind of adopted Son of Stourbridge (well, he did live with Clint Poppie in Colley Gate for a bit). And it’s somewhat of a surprise that this was his (and Erica’s) first gig at Katie Fitzgerald’s, but boy oh boy, let’s hope it won’t be their last. Having been honing their craft on this “never ending” tour which started last April (yes, 2007!), Miles & Erica prove with their set that there’s one hell of a lot of life after, in-between & during The Wonder Stuff schedule. Starting with an early Miles solo track “Mannah From Heaven”, the duo sail through the highlights of the current “Not An Exit” album, stopping via Wonder Stuff favourites like “Caught In My Shadow”, & even diverting to the vastly underrated Vent 414 with a solo treatment of “Fixer”. Miles is now quite the raconteur he always wanted to be. No longer is the in-between song banter simply, “How the fuck are yer?” or “Giddy up kids it’s the horsey song”, but interesting, witty stories of his life on the road, and some enlightening explanations of where & when the songs came about. I daresay he’ll be keeping the chat to a minimum on the “Eight Legged Groove Machine” 20th Anniversary dates, but here at Katie’s, it fits perfectly with the loyal audience who (apart from a few interruptions – sorry Milo …) hang on his every word. Miles stops off to berate the “God” Bono, (deservedly so in my opinion), praise the late great Ronnie Drew of The Dubliners who had recently passed away, and tell us about his journey from the early Stuffies days to where he is now, even giving a passing nod to his time working for “The Man” as a VJ (God, I hate that term) on MTV after The Wonder Stuff called it a day for a lengthy sojourn back in 1994. A particular highlight for myself was “Room 512” which has become the late Martin Gilks’ song, just like “Piece Of Sky” has somehow become dear old Rob Jones’s. Both songs now have an added poignancy as those “four legs of the Groove Machine” are no longer with us. The “Groove Machine” Anniversary dates will, indeed, be a strange experience for those heady early gigs with the original line-up, but judging by this performance, they will be celebratory. There is now such a Miles Hunt history this could go on forever, so I’ll pretty much end here. There’s plenty of life left in The Wonder Stuff “brand” yet, and I belive in “Not An Exit”, Miles & Erica have equalled the early Stuffies highlights. Buy it! The duo are still touring in & around The Wonder Stuff’s activities so go & see them. “Come one, come all” as the man says. Bryan/KFFM.
SLAB / GODSIZE
KFFM LIVE NIGHT NOVEMBER 2008
Now, metal is a musical area I will profess to have, shall we say, a limited knowledge of, so I’ll apologise right here. Katie’s is also not known for showcasing this type of music. So, what the hell! Put two of the area’s finest metal bands on a double bill & see how that goes shall we? So we did, and it was simply fucking brilliant. Godsize started the proceedings, playing this night as a three piece with surprising ease. One would think there simply has to be a bass for this style of music, but it’s down to Godsize’s sheer power that for one night only, it still worked. Frontman Kris did not appear on the stage though – he was far too busy in the crowd, preening himself in the mirror, firing up an imaginary chainsaw (the Marcel Marceau of metal!), and thrusting the microphone in the audience’s faces. Having seen Godsize before, I know that ‘off the stage’ is Kris’s style (topless too, brrr) but I’d hazard a guess that it was borne out of not being able to fit on small stages at the same time as guitarist Scott – the longest legs in rock! The crowd (the most we’ve had on one of the KFFM live nights incidentally – there you go Kris) enthusiastically join in with the tracks from the “Hymns From The Fallen” album & lap up the new ones unveiled tonight too, Godsize finishing with ‘Start Her Up’ closing an all too short set to mighty applause & cheers. From myself too I hasten to add. It was their first time at the venue & they’re back at May’s Katiesfest 2009, so don’t miss ‘em. Slab were stars of Katiesfest 2008, and to those who saw them then, they need little introduction. They’re a three piece permanently and yes, they have a bass, and what a bass indeed – Jim’s rig reaching the ceiling, forming part of a rhythm section that threaten to shake the venue’s foundations. Vocalist Jake plays with such an intensity that he looks like he’d rip your head off and puke down the neckhole, the veins on his neck being pushed to near explosion, even managing to play guitar with his left hand permanently in the ‘horns’ shape. But, don’t think Slab are about noise. They frequently let to of their fierce onslaught to drop in melody (yes, melody) providing light & shade that only the best can master or muster. The set revolves around their “Betray The Past … Infect The Future” album including easily my favourite title of the night, ‘Chaos Bastard’ & end with ‘Tetradon Zombie Voodoo Ritual” to a stunned audience. They’re simply impossible to ignore as there’s no escape from their power. One would find it difficult to chat to a mate about the weather whilst Slab were playing, but that shows their command & commitment to the music they play. If I were a lot younger, I’d have been moshing but, believe me, I was doing it in my mind! If you’re like myself and have not seen many live bands of this genre, do yourselves a favour & go and see these two. The albums are damn fine too and available on Meltdown Records in all “good record shops, even Asda” so I am told. (And both bands are easy to find on My Space). Plus, as a set of musicians, two of the nicest bands I’ve ever dealt with. Cheers guys! Ok then, it’s 2009 now so let’s hope for another great year full of wonderful music & surprises, watch out for the ads. Ta-ra! Bryan/KFFM.
Now, metal is a musical area I will profess to have, shall we say, a limited knowledge of, so I’ll apologise right here. Katie’s is also not known for showcasing this type of music. So, what the hell! Put two of the area’s finest metal bands on a double bill & see how that goes shall we? So we did, and it was simply fucking brilliant. Godsize started the proceedings, playing this night as a three piece with surprising ease. One would think there simply has to be a bass for this style of music, but it’s down to Godsize’s sheer power that for one night only, it still worked. Frontman Kris did not appear on the stage though – he was far too busy in the crowd, preening himself in the mirror, firing up an imaginary chainsaw (the Marcel Marceau of metal!), and thrusting the microphone in the audience’s faces. Having seen Godsize before, I know that ‘off the stage’ is Kris’s style (topless too, brrr) but I’d hazard a guess that it was borne out of not being able to fit on small stages at the same time as guitarist Scott – the longest legs in rock! The crowd (the most we’ve had on one of the KFFM live nights incidentally – there you go Kris) enthusiastically join in with the tracks from the “Hymns From The Fallen” album & lap up the new ones unveiled tonight too, Godsize finishing with ‘Start Her Up’ closing an all too short set to mighty applause & cheers. From myself too I hasten to add. It was their first time at the venue & they’re back at May’s Katiesfest 2009, so don’t miss ‘em. Slab were stars of Katiesfest 2008, and to those who saw them then, they need little introduction. They’re a three piece permanently and yes, they have a bass, and what a bass indeed – Jim’s rig reaching the ceiling, forming part of a rhythm section that threaten to shake the venue’s foundations. Vocalist Jake plays with such an intensity that he looks like he’d rip your head off and puke down the neckhole, the veins on his neck being pushed to near explosion, even managing to play guitar with his left hand permanently in the ‘horns’ shape. But, don’t think Slab are about noise. They frequently let to of their fierce onslaught to drop in melody (yes, melody) providing light & shade that only the best can master or muster. The set revolves around their “Betray The Past … Infect The Future” album including easily my favourite title of the night, ‘Chaos Bastard’ & end with ‘Tetradon Zombie Voodoo Ritual” to a stunned audience. They’re simply impossible to ignore as there’s no escape from their power. One would find it difficult to chat to a mate about the weather whilst Slab were playing, but that shows their command & commitment to the music they play. If I were a lot younger, I’d have been moshing but, believe me, I was doing it in my mind! If you’re like myself and have not seen many live bands of this genre, do yourselves a favour & go and see these two. The albums are damn fine too and available on Meltdown Records in all “good record shops, even Asda” so I am told. (And both bands are easy to find on My Space). Plus, as a set of musicians, two of the nicest bands I’ve ever dealt with. Cheers guys! Ok then, it’s 2009 now so let’s hope for another great year full of wonderful music & surprises, watch out for the ads. Ta-ra! Bryan/KFFM.
SCIENCE VS ROMANCE / JESS JONES KFFM LIVE NIGHT SEPTEMBER ‘08
Now. I’m almost fed up of saying this to people, so you’ll have to come down & judge for yourselves … but these KFFM Live Nights are going from strength to strength, and this was one of the best so far & you definitely should have been there! (If you were there though, I thank you from the very depths of my soul). First on was Ms. Jess Jones. Hailing from Stourbridge with her loyal crowd taking the seating at the very front of the stage, Jess took centre stage with her acoustic guitar and regaled us with her particularly outstanding kind of folk. Sorry, I know some people regard that as a dirty word, but think of Joni Mitchell & Greenwich Village Café’s in the early 70’s, and I think you’ll understand where I’m going with the comparison. Not that I was there of course, I just read a lot! Starting with “Train” & all the “woo-woo’s” from the crowd, Jess moves through “Capo” (“a song about a capo” – cheers for that!), the soft approach of “London” & ends with her own “Lean On Me” to a barrage of applause & “more”’s that she, unfortunately, has no more time to give us. Jess has so much talent & youth on her side, that it can only be a matter of time before more people take notice. And I don’t just mean in this area. The lady has all the components to be a little bit of a star if you ask me. Now, Science Vs Romance I’ve always thought were “really good” and that somehow annoyed me. I’d rather get excited than have an almost indifferent opinion. I mean, I’ve always thought they were a great bunch of lads, but the band have never quite got me. But, that has seriously changed after this performance. Showcasing the best tracks from the “From The Backseat” e.p. like “No KO In Disco” & “For Me” and with a sound that near enough lifts the roof, SvR are on fire. Ok, don’t take me literally, there were no pyrotechnics, but they are still able to put passion into songs the must have now played hundreds of times. Which leads me to the “new” ones … “Footsteps”, “Black Coffee Two Sugars” & “Out Of Luck”. There you go. Those are the titles. So remember them if this is where you read them first, because you’re going to hear a lot more about them if my instinct is correct. They build, soar and (Stop Bryan, your getting clichéd) SvR now just bloody well sound like the band they’ve always promised to be. Lacerating guitars with emotive vocals, powerful and rock solid drumming, all underpinned by some intricate, though not overplayed, bass lines (just look at Harper’s little fingers go!), make Science Vs Romance a winner in my eyes and ears at last. If you haven’t seen them before, or, in fact, if you have seen them & thought the same way as I used to, go again. They truly are one of the finest we’ve got. They command a big stage if only for their banks of effects pedals (ha-ha), so catch them soon before you can’t see the whites of their eyes. Cheers ladies & gents, ‘twas a grand night. Ta-ra a bit. Bryan/KFFM.
MISS HALLIWELL / THE TRICKS
KFFM LIVE NIGHT OCTOBER 2008
Another busy KFFM Live Night at Katie Fitzgerald’s, and another set of totally different acts, each making a welcome return to the venue. Wolverhampton’s The Tricks were first up, kicking off with the “Na na na na na” vocal lift from Wilson Pickett’s ‘Land Of A Thousand Dances’ (or ‘Here Comes The Hot Stepper by Ini Kamoze for my younger readers!) & hitting a groove immediately with the opener ‘Happy Grouse’. Introducing the second track ‘Manlove’ as being about “the love between a man and a man” (thanks Neil ..) The Tricks continue the feel, over-riding a broken string with a pretty damn good jam, even more impressive considering they were playing with a new guitarist. Through two more songs, they close with personal highlight ‘Skinful Of Red’ starting the night off just fine & dandy. The Tricks are far better suited to open air Summer festivals than basement Autumn gigs with their locked-in laid back feel, but hey, they still cut some rug on the night. Watch out for them & check out their My Space site for a listen, ok? Miss Halliwell took the KFFM live recording opportunity to film a performance piece, which they will hopefully be releasing as a DVD. So, what was it all about? I will do my best to try & answer my own question, but I have to ask you to bear with me. You see, Miss Halliwell are a three piece like no other around here at the moment. The three also lock-in to a groove but completely unlike the kind purveyed by The Tricks. Where they have the regular bass/drums partnership, Miss Halliwell’s is borne out of the relationship between the bass & guitar, with the drums as a discordant backbeat. Phew! I knew this was going to be difficult to describe. Opening with a dedication rap, they break into ‘Dogger’s Dog’, the first track of their set full of hooks. Frontman/guitarist Matt is certainly not afraid to make his point, this one being “social commentary is boring, it’s like watching Eastenders”, followed by ‘No Hard Feelings’ which names The Sunflower Lounge as “the worst place to play in Birmingham”. One can only presume they had, shall I say, a ‘bad experience’ there. They’ve played Katie’s a fe times now, so I don’t think we’ll have a negative name check just yet. Continuing through tracks like ‘Amblecote’ (“people from the West Midlands should not be allowed on television”), and another rap berating gig-goers who ask for cd’s only to baulk at the £2 price, it’s easy to think there are several chips on Halliwell’s shoulders. But, to my ears anyhow, these opinions are confrontational, memorable & pretty much agreeable to boot. Finishing with ‘Vacuum Cleaner’ at the end of which Matt is ‘killed’ by a member of the audience with, (what else?) a vacuum cleaner, and the audience chanting “Live! Live! Live!” it’s all over. Stunning. If, like myself, you are of the age to remember the ‘post-punk’ period of 1979 – 1981 in particular, and worshipped at the altar of John Peel, you will definitely understand Miss Halliwell. Opinions of the band vary dramatically amongst my friends, from “the best band I have ever seen at Katie’s” to “I just don’t get it”. Well, I do & think they’re bloody marvellous. So there. Check out their My Space for news of gigs & the DVD. Cheers to everyone who made it possible, another two successes. Huzzah! Bryan/KFFM.
Another busy KFFM Live Night at Katie Fitzgerald’s, and another set of totally different acts, each making a welcome return to the venue. Wolverhampton’s The Tricks were first up, kicking off with the “Na na na na na” vocal lift from Wilson Pickett’s ‘Land Of A Thousand Dances’ (or ‘Here Comes The Hot Stepper by Ini Kamoze for my younger readers!) & hitting a groove immediately with the opener ‘Happy Grouse’. Introducing the second track ‘Manlove’ as being about “the love between a man and a man” (thanks Neil ..) The Tricks continue the feel, over-riding a broken string with a pretty damn good jam, even more impressive considering they were playing with a new guitarist. Through two more songs, they close with personal highlight ‘Skinful Of Red’ starting the night off just fine & dandy. The Tricks are far better suited to open air Summer festivals than basement Autumn gigs with their locked-in laid back feel, but hey, they still cut some rug on the night. Watch out for them & check out their My Space site for a listen, ok? Miss Halliwell took the KFFM live recording opportunity to film a performance piece, which they will hopefully be releasing as a DVD. So, what was it all about? I will do my best to try & answer my own question, but I have to ask you to bear with me. You see, Miss Halliwell are a three piece like no other around here at the moment. The three also lock-in to a groove but completely unlike the kind purveyed by The Tricks. Where they have the regular bass/drums partnership, Miss Halliwell’s is borne out of the relationship between the bass & guitar, with the drums as a discordant backbeat. Phew! I knew this was going to be difficult to describe. Opening with a dedication rap, they break into ‘Dogger’s Dog’, the first track of their set full of hooks. Frontman/guitarist Matt is certainly not afraid to make his point, this one being “social commentary is boring, it’s like watching Eastenders”, followed by ‘No Hard Feelings’ which names The Sunflower Lounge as “the worst place to play in Birmingham”. One can only presume they had, shall I say, a ‘bad experience’ there. They’ve played Katie’s a fe times now, so I don’t think we’ll have a negative name check just yet. Continuing through tracks like ‘Amblecote’ (“people from the West Midlands should not be allowed on television”), and another rap berating gig-goers who ask for cd’s only to baulk at the £2 price, it’s easy to think there are several chips on Halliwell’s shoulders. But, to my ears anyhow, these opinions are confrontational, memorable & pretty much agreeable to boot. Finishing with ‘Vacuum Cleaner’ at the end of which Matt is ‘killed’ by a member of the audience with, (what else?) a vacuum cleaner, and the audience chanting “Live! Live! Live!” it’s all over. Stunning. If, like myself, you are of the age to remember the ‘post-punk’ period of 1979 – 1981 in particular, and worshipped at the altar of John Peel, you will definitely understand Miss Halliwell. Opinions of the band vary dramatically amongst my friends, from “the best band I have ever seen at Katie’s” to “I just don’t get it”. Well, I do & think they’re bloody marvellous. So there. Check out their My Space for news of gigs & the DVD. Cheers to everyone who made it possible, another two successes. Huzzah! Bryan/KFFM.
PINK LADY MEL
Katie Fitzgeralds appears to be a large, modernised pub from the outside. Once you have stepped inside it is like entering a magical new world (as magical as pubs get).
The inside is small and cozy with a traditional looking little wooden bar and great comfy seats. The prices are not too bad and the staff are really friendly, making sure you get a pint instead of waiting at the bar for half an hour.
Downstairs (alot of small old-style stairs) is the reason I had first ventured into this place. They have the most atmospheric small stage and crowd area with regular live music from amazing unsigned bands. Plenty of seating, another well staffed bar. Brilliant venue for those that love music and a pint :)
The parking is the only issue really. The area is quite residential so you can’t park anywhere and there is only a small private car park on the back. This is a common problem for most pubs really though and I guess if you’re having a few you don’t need to worry about your car!
Anyone that wants a good, traditional and friendly Irish pub go check it out. They really have a lot of passion for what they do and that shows by the kind of service you get when you are there.
Tags live, music, drink, pub, irish, beer, alcohol, atmospheric, katie, fitzgeralds
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LES WILSON
ALBUM LAUNCH, KATIE FITZGERALD’S
Les Wilson, originally from Willenhall, now a resident of West Cork in Ireland, is best known as front man of The Mighty Houserockers, regularly playing the UK, Holland & Belgium with their classic brand of blues/rock. This year, though, has seen Les release a ‘solo’ album ‘Broken Hearts’ which he chose to launch in the venue in which it was recorded, Katie Fitzgerald’s in Stourbridge. A more introspective affair, ‘Broken Hearts’ was recorded in the basement studio of Katie’s and features a variety of instruments, multi layered & overdubbed to perfection. For the launch, Les invited along old friends David Sutherland on mandolin, Tony Bayliss on drums, Chris Lomas on bass, Katie’s own Eddy Morton on keyboards (who also produced the album), plus Jean Vincent on backing vocals, playing the songs together for the first time.
Opening proceedings though, Les took to the stage solo, a perfect opening to the seated, candle-lit ambience. If only there wasn’t a smoking ban, I would have sworn I was in an old folk club. Kicking off with ‘Way Of Love’, it’s obvious we’re in for a gentle set, with a Richard & Linda Thompson cover, The Four Tops’ ‘I can’t Help Myself’ (taken down to emphasise the “sadness” of the lyrics – uplifting, incidentally), plus Les Wilson originals scattered throughout. Les constantly apologises for being downbeat and “increasing the wrist slitting factor”, but he needn’t have. Thoughtful, truthful songs referencing heartbreak & lost love have been with us for decades, if not centuries & can be equally as fun as forlorn to listen to. I certainly enjoyed it, put it that way.
The second set saw the aforementioned musicians join Mr. Wilson for a run through of ‘Broken Hearts’ highlights like ‘Red Headed Girl’ (no hair, just a red head?), ‘Don’t Cry About Me’, plus a terrific version of The Everly Brothers’ ‘Love Hurts’, always a great song (even the Jim Capaldi ‘discofied’ hit version of the ‘70’s is a winner) and performed beautifully. Tonight’s line up were not ‘Rockers’, more ‘Swayers’ & all the better for it, reproducing the album faithfully. Indeed, it becomes harder to believe as the set continues that the band had never played together before tonight, such is their confidence and professionalism. Though the songs are mostly melancholic for sure, the band obviously enjoy performing them, having this thing called ‘fun’ & engaging in witty banter between themselves and the audience.
So, it just leaves me to say that it was a great launch party, ‘Broken Hearts’ is out now & well worth a listen or ten. Nineteen tracks including twelve originals & not a duff track between them. Give it a go – you’ll like it, I’m sure.
Bryan/KFFM