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

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

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

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

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

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

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

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

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

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

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

 Review by Gabriela page for Keep Cardiff Live

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Setlist:

1.     Take the Night Off

2.     I Was an Eagle

3.     You Know

4.     Breathe

5.     Strange

6.     Master Hunter

7.     Hope In The Air

8.     What He Wrote

9.     Hope We Meet Again

10.  The End of the Affair

11.  Your Girl

12.  Sophia

13.  Salinas

14.  Once

15.  Daisy

16.  How Can I

17.  Held Down

18.  Goodbye England (Covered in Snow)

19.  Wild Fire

20.  Fortune

21.  Song for Our Daughter

22.  For You

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

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

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

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

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

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

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

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

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

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

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

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

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

Review by: Gabriela Page for KCL

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Setlist:

1.     Chorus

2.     Hey Now (Think I Got a Feeling)

3.     Fill Us With Fire

4.     Sacred

5.     The Circus

6.     Who Needs Love Like That

7.     Nerves of Steel

8.     Blue Savannah

9.     Chains of Love

10.  Turns the Love to Anger

11.  Careful What I Try To Do

12.  Sometimes

13.  Save Me Darling

14.  Shot A Satellite

15.  Love to Hate You

16.  Love Is a Stranger (Eurythmics cover)

17.  Drama!

18.  Always

19.  Stop!

20.  Push me Shove Me

21.  Victim of Love

Encore:

22.  Oh l’amour

23.  A Little Respect

Review: The last hurrah- Genesis rock their final tour

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Setlist:

Set 1:

Behind the Lines / Duke's End

Turn It On Again

Mama

Land of Confusion

Home by the Sea

Second Home by the Sea

Fading Lights

The Cinema Show

(second half; with "Riding The… more)

Afterglow

Acoustic

That's All

The Lamb Lies Down on Broadway

Follow You Follow Me

Set 2:

Duchess

No Son of Mine

Firth of Fifth

I Know What I Like (In Your Wardrobe)

(with "Stagnation" snippet)

Domino

Throwing It All Away

Tonight, Tonight, Tonight

Invisible Touch

Encore:

I Can't Dance

Play Video

Dancing With the Moonlit Knight

(1st verse)

       The Carpet Crawlers

By Gabriela Page

Review: Lightning Seeds at Bristol’s O2 Academy

It’s funny how the most unexpected events in life can often be the most memorable or enjoyable, hence why I never turn down any concert/gig tickets I’m offered, no matter how last minute or how little I know an artist’s repertoire. If I didn’t follow this idea, then I would’ve missed out on the glorious opportunity to see the Lightning Seeds.

Admittedly, and somewhat shamefully, my knowledge of the band amounted to three songs (yes, one of them being Three Lions). Although I could sing Life of Riley and Lucky You till the cows come home, I wasn’t all too familiar with the rest of the setlist. This was the bands tour in honour of their album ‘Jollification’ turning 25 years old, so there would be hits in abundance. I thought I’d leave the normal homework of brushing up of my song knowledge prior to the gig, and rather leave it to the night to absorb myself in their greatest hits live- oh am I glad I did. 

Despite myself and my boyfriend bringing down the average age of the audience by a good few years, we could not be in a better crowd. Full of fans carousing and swaying along to the rhythmic beats strummed out by lead Ian Broudie, it emphasised the joyful atmosphere of the O2, as not only great live music was on, but it was back! 

The Britpop era was back in full swing as the rock pop anthems echoed around the Academy, and Broudie showed that he’s still got it with his indie tones carrying perfect tune. You can tell they’re a band for the stage. The easy, natural flow they followed made it all seem effortless as great pop singles were blasted out, and it felt like we’d never been away from the party. 

The bands line-up this time around consisted of course of Ian Broudie, who was joined by Martyn Campbell on bass, Abi Harding on keyboard, Jim Sharrock on drums and none other than Broudie’s own son, Riley Broudie, who took to guitar along with his dad. Father and son touring together must make for a surreal yet special experience, and Riley has clearly taken after his dad with his love, and talent, for music and performing.  

Once the Jollification album was played in full, a short break ensued for the band to regroup and switch things around for the rest of the show, compiled with their greatest hits selection. Performing under the giant spinning strawberry, replicating the one made famous on the Jollification album cover, Broudie’s eternally youthful energy allowed him to bring his timeless tunes to the crowd in such a way you couldn’t help but smile and sway.

I found myself dancing away to songs I’d never heard and losing my voice to the ones I did. I didn’t quite know what to expect from this gig but having a smile on my face the whole time and jamming to the indie tunes wasn’t it. Finding new favourites in ‘Sugar Coated Iceberg’ and cheering at covers of classics such as ‘Be My Baby’ was success enough, but seeing the love in the room from people who have been waiting to see the band for years and it reciprocated by the band themselves cemented this gigs status as one of the firm favourites in my selection seen. 

What happened to be chance with last minute tickets offered by my godparents who could no longer go, resulted in a new musical experience which has enriched my musical collection for the better. Not only a fab evening full of great music and joyful crowds, but a host of new songs for my Spotify playlists.

Setlist:

Jollification

1.     Marvellous

2.     Open Goals

3.     Perfect

4.     Why Why Why

5.     My Best Day

6.     Telling Tales

7.     Punch & Judy

8.     Feeling Lazy

9.     Lucky You

Greatest Hits

10.  All I Want

11.  What If...

12.  Sense

13.  Whole Wide World
(Wreckless Eric cover)

14.  Flaming Sword
(Care cover)

15.  Ready or Not

16.  Sweetest Soul Sensations

17.  You Showed Me
(The Byrds cover)

18.  Waiting for Today to Happen

19.  Sugar Coated Iceberg

20.  The Life of Riley

21.  Pure

Encore:

22.  Be My Baby
(Ellie Greenwich cover)

23.  Three Lions

Daily Nuisances

Today it’s a bit of a rant on our blog. Not a full-blown end-of-the-world type rant. Just a little moan to get stuff off our chests, stuff that is not doubt very relatable to many.

It can be the little things in life that gets to us, can’t it? As a nation, we’re renowned for complaining but often lack the ability to stand up and right our grievances face-to-face. We may not be too impressed with our main course at the restaurant, but God forbid we let the chef know! ‘Oh yes it was lovely, thank you’, we mutter as we flash a false smile and proceed to leave a tip out of sheer panic that anyone may think we didn’t enjoy ourselves.

Whether we like it or not, nuisances are riddled throughout daily life. Take not being able to find the matching sock to complete your pair, now that’s an all too familiar scenario come Monday morning. Why can we not seem to keep the same colour together instead of inevitably resorting to odd socks for the day? 

The smaller an issue, the more annoying it can often be. It’s a bit like when stubbing your toe on the bed can feel so much worse than any other pain you’ve experienced, we often sweat the small stuff and get more annoyed the pettier the issue. 

But why do we get this way? What causes us to feel these frustrations over life’s niggly nuisances? Is it because we simply enjoy complaining? Personally, I have another theory.

When there’s a big problem, and I’m talking big picture things like real emergencies and incidents in life, it can feel like things are out of our control, like we’re helpless. We have a better way of accepting that we can’t do anything, but when it’s something smaller, more trivial, we get annoyed as it could’ve been prevented easily. There’s more control in those situations, and we perhaps struggle with the fact that something so silly can happen. 

I feel that is where our true frustrations and nuisances lie. Lapse of control in the most trivial of momentary problems. We could’ve thrown away the 50 chargers that don’t work so that they’re not clogging up our draws. We could try a better job of keeping our matching pairs of socks together. We could even check replace the loo roll BEFORE we go to the toilet. But these things have a sneaky habit of escaping our busy schedules of life, and come back in the form of daily nuisances when forgotten.