Review - Catfish & The Bottlemen - Cardiff Castle 20/07/2024

After cancelling their performance at the Principality Stadium in 2022, fans feared it might be the end for Catfish and the Bottlemen. However, on Friday, they made a triumphant return to Cardiff Castle!

Friday was the warmest day we've had this year, and fans dressed in band merch were seen all around the city, buzzing with excitement for what promised to be a fantastic comeback. This gig, the first announced after releasing their recent single 'Showtime,' had fans eagerly competing for tickets. It was their second show since their comeback, following their performance at Sefton Park in Liverpool.

The evening kicked off with a set from 'The Big Moon.' Although I only caught the end of their performance, having seen them support other acts previously, I can attest to their ability to set a great tone for the night. Their lively and engaging presence on stage always manages to energise the crowd, making them an excellent choice to warm up the audience for the main event.

As Catfish and the Bottlemen took to the stage at Cardiff Castle, they were met with a huge applause. They opened with the fan-favourite 'Kathleen,' instantly getting the crowd’s hands in the air and setting a high-energy tone for the evening. This was followed by 'Soundcheck,' during which inflatable crocodiles sold at the merch stall bounced around the front of the stage, adding a playful touch to the vibrant atmosphere.

The mid-section of their set consisted of hits like 'Conversation,' 'Business,' and 'Homesick,' maintaining the momentum and keeping the audience fully engaged. My favourite moment was during '2all,' as it’s my favourite Catfish song, and hearing it live again alongside best friends was a nice experience. The energy throughout the set was exciting, with everyone singing along, hands in the air, and many fans perched on shoulders.

Despite a few moments where the energy from the stage dipped, the passionate and consistent atmosphere from the fans never waned. The band closed with an electrifying performance of 'Cocoon,' leaving the crowd on a high note. Although they delivered a familiar setlist, mirroring the one they performed in 2021, and didn't include their most recent single, the night was still enjoyable. Their set began around 9:15 and wrapped up just before 10:40, leaving many of us wishing for at least one or two more songs. The abrupt ending felt somewhat anticlimactic, especially given the high energy and enthusiasm bestowed on them by the crowd.

Overall, it was nice to see Catfish make their comeback, and it made me reminisce about my late teenage years. For extremely dedicated fans, this must have been a great night, but for me, it was the crowd's energy that truly made the evening memorable.

Dea Matrona - Review - Clwb Ifor Bach - 11/05/2024

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The night began with an acoustic set by Eleri, who quickly warmed up the packed crowd downstairs at Clwb Ifor Bach. In addition to her original songs, she delivered a captivating cover of Nancy Sinatra's "These Boots Are Made for Walkin'." which the crowd thoroughly enjoyed, singing along enthusiastically. It was heartening to see the venue full for the support act, a rarity these days but a true testament to Eleri's talent as a live performer. Her performance concluded with a big round of applause, perfectly setting the stage for Dea Matrona. Eleri will be performing next on May 21st at The Moon, with other support slots to be announced. Don't miss the chance to see her live—highly recommended.

Following Eleri, Dea Matrona took the stage, greeted by an eager and energised audience. They started their set with a powerful drum intro that had everyone clapping and raising their hands. The band's high-energy performance and dynamic stage presence kept the crowd engaged throughout, leading to thunderous applause after their opening.

The setlist was a well-crafted mix of their original hits and some well-chosen covers. Highlights included "Stamp On It," "So Damn Dangerous," and the lead single "Black Rain" from their latest album For Your Sins, which was my favourite song of the night. Their rendition of Prince's "KISS" and Sophie Ellis-Bextor's "Murder on the Dancefloor" had the crowd singing and dancing along, showing the band's versatility and ability to keep the energy high.

Prior to performing "Wilderness," Dea Matrona asked the audience if they had seen them play before, with many shouting out that they had seen them in Bristol. The band then inquired if it was anyone's first time seeing them, and a large number of people responded with enthusiastic cheers, highlighting their growing popularity.

Another standout moment was the introduction of "Dead Man’s Heart," where the band embraced a country vibe, complete with sparkly cowgirl hats, and had the crowd shouting "yeehaw." This playful interaction showcased their ability to create a fun and engaging atmosphere.

The evening concluded with a powerful encore of "Make You My Star," leaving the audience on a high note. This was my first time seeing Dea Matrona live, and I've been listening to them nonstop since. Their debut album is sure to be a hit with fans of rock and country. While it features strong pop elements, their music has a unique sound that blends various genres seamlessly. The album is truly impressive. Their stage presence is electrifying, and they deliver a captivating performance with their band. I will definitely be going to see them again. Speaking with a couple of enthusiastic fans, it's clear that Dea Matrona has a strong following. The atmosphere was fantastic, and everyone seemed to have a great time, making it a night to remember at Clwb Ifor Bach.

Set List:

Stamp On It

Get My Mind Off 

Stuck On You

Did Nobody Ever Love You?

KISS (Prince Cover)

Wilderness 

Nobody’s Child

So Damn Dangerous 

Oh Well

Black Rain 

Glory, Glory 

Dead Man’s Heart

Every Night I Want You

Muder On The Dancefloor (Sophie Ellis-Bexter Cover)

Red Button

Make You My Star (Encore)

Keane - Celebrating 20 Years Of Hopes And Fears - Utilita Arena - 08 May 2024

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The evening started with the support act The Lathums who are a indie rock band from Wigan.

They played a number of heart warming tunes and were well appreciated by the sell out crowd.

Keane celebrating their 20th anniversary of their debut album Hopes and Fears played a flawless set of 22 songs starting with Can't Stop Now and ending with Bedshaped.

Highlights included Bend and Break, Your Eyes Open, Everybody's Changing, Is It Any Wonder, This Is The Last Time and Somewhere Only We Know.

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Tom Chaplin is an accomplished frontman and he owns the stage, the other band members  are also note perfect with the both excellent Tim Rice Oxley on Piano and Richard Hughes on Drums.

A Keane concert is not so much about the visual but about the music.

The band known for their likeable demeanour gave their best adding a personal touch to the evening.

Here's hoping to see them celebrating Hopes and Fears on it'.s 30th anniversary.

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

Review: ‘When Paris Calls’ single by Emma Mae

Singer/songwriter Emma Mae has released her second single of 2021, ‘When Paris Calls’, and it’s the summer pop-bop we needed.

Leicester-born Emma has taken a slightly different path from her previous single, ‘Boys in Bands’, switching up the slowed-down, chilled out strumming for a quicker tempo and latin beat to make for a catchy song. 

Mae’s penned her lyrics about someone discovering their partner has done the dirty and cheated with a woman named, you guessed it, Paris. Her lyrical brilliance captures both the bitterness and sadness of the affair but portrays it in such a way that you can’t help but chuckle with admiration at the lines, one notably being ‘when Paris calls you run to her, getting over me, under her.’  

Before the track’s release, a series of murder-mystery style teasers were released across social media, with fans being left to put the pieces together and figure out the answer to the question ‘who’s calling’? With three suspects named and shamed, Destiny, Summer and Paris, it was ultimately the latter that was on the other end of the telephone, and the winner of the guessing game can now proudly pin an ‘Emma Mae think I’m awesome’ badge to their jacket.

Full of catchy notes, upbeat rhythms and Emma’s gentle, dulcet tones, this buoyant break-up anthem is the perfect song to have blasting in the car on a summer day (or when you’re singing bitterly in front of the mirror over your ex). 

You can listen to it here on Spotify!