Review - Haircut 100 - Tramshed Cardiff

Copyright TC Photography

Having imploded 40 years ago at the height of their popularity Haircut 100’s sad demise following numerous hit singles and a stunning debut album Pelican West was one as bizarre as it was sad.

The reasons have been discussed and is pretty well documented over time by all parties but must have rankled somewhat after Heyward’s resurgence as a solo artist a year later with some degree of success and critically acclaimed work.

It’s not that the rest of the band disappeared into the ether. Bassist Les Nemes had a stint with the ever youthful Rick Astley, guitarist Graham Jones had brief flirt with pop stardom with the massively underrated Boys Wonder whilst, most impressive of all, drummer Blair Cunningham hit the skins for some notable artists like Paul McCartney and The Pretenders, to name but two.

The catalyst for this reunion was the anniversary of Pelican West and its reissue last year leading to two celebratory gig’s early this year, the success of which led to this full blown tour, the first since 1982.

So it was no surprise to see a full and enthusiastic audience pack into the Tramshed to witness the band’s long overdue return to the Capital and maybe recall a little bit of their youth as their recently reformed heroes blasted out tune after tune with their brand of funk-infused pop.

Sadly missing Blair Cunningham due to illness an able deputy was found with Faithless drummer Andy Treacy providing the powerful back-beat to Heyward’s quirky tunes and hit followed hit with Pelican West songs a big feature in a punchy, fast-paced set.

Obviously Fantastic Day, Love Plus One and Favourite Shirt got the biggest cheers and still sound as fresh as the day they were recorded but surprisingly two new songs were included, both of which, but especially Songbird sounded fresh and new but given the full Haircut 100 band treatment.

With Heyward announcing that there are more songs in the pipeline and a new album around the corner, the band seem happy and reconciled and a real unit moving forward making light of their 40 years in the pop wilderness.

Letting rip to finish with 12 inch mash-up of Favourite Shirt, the band left to rapturous applause with the band looking somewhat touched by the mighty Cardiff welcome. And boys, it was very much deserved.

Tony Woolway

Copyright TC Photography. For permitted use please email infocardifflive@gmail.com

The Velvet Hands -The Moon Club – 2/11/2023

Photo Copyright Emily Powell-Chandler

Embarking on their second album tour ‘Sucker Punch’, The Velvet Hands play at The Moon Cardiff, displaying their skill, passion, and innovation within indie rock – a promising future for the genre.

Between the cosy underground feeling of The Moon and the punk themed merchandise on sale with handwritten prices, the atmosphere is that of anticipation to see the upcoming musicians in action. Before The Velvet Hands could take the stage, two Swansea based support bands warmed up the crowd.

Subterania opens the night, melodic vocals and classic rock inspired guitar solos effortlessly embellish their model indie rock setlist, encouraging their close fan base to sing along with their original songs. The attitude and swagger of the four-piece group are reminiscent of Britpop bands such as Oasis, with Dylan Cai (frontman) draping himself over the mic stand, while the band sports 2000s-inspired bucket hats, shaggy hair, and soft shells.

At times, their antics involve the lead guitarist and vocalist nursing lollypops mid song, appearing to be unbothered and happy while performing. A slight tonal change occurs when The Fiends take to the stage. The five-piece band could still be categorised as indie rock, however, the more sombre downcast lyrics combined with raspier vocals create a grunge feel with punk like shouts in the choruses. While different from the other act, their music still clearly resonates with the crowd, as fans scream along with the intense lyrics.

Despite The Moon not being at capacity, The Velvet Hands’ professionalism and enthusiasm shone through, as they took to the stage yelling “Hello Cardiff! How are you all doing?!” addressing the audience as if they were thousands.

The band’s indie rock music is tight and tidy, regularly switching between perfectly timed group shouts in the chorus, to only vocals and drums in the verse of ‘40 Up 40 Down’ all while bouncing in unison with instruments in hand, appearing as a seamless unit. While their music tends to fit into the indie rock genre, songs such as ‘Curtains Closed’ off their first album has a bluesy ballad element, slowing down their set and allowing audiences to focus on the relaxing melody.

While most of the vocals are performed by frontman Toby Mitchell, lead guitarist Dan Able and bass player Sam Hilder sing backing harmonies for many songs, Able even taking the lead on the single ‘Star’ to shake up their set. The Moons’ smaller stage allows for the band to use their entire environment for the show, with guitarists able to strut across the stage to perform solos or dance together.

During more aggressive punk songs, such as ‘Fallout’, Toby Mitchell is able to grip the ceiling and lean and sway, adding further drama to the music while Louis Mitchell attacks the drumkit. Keeping the energy high, the band’s penultimate song is their biggest hit ‘This Feeling’, punchy power chords hitting the crowd, followed by a singular cry of the title, the band keeping the silence sharp and the vocalists alternating who will shout the next line out creating a playful dynamic on stage.

Before their final song ‘Party’s Over’, Mitchell leads a practice sing along, preparing the crowd to join in for the last lines of their set - ‘I don’t wanna be your friend no more’ - challenging them to sing louder each time. Their set finishes and they thank Cardiff, promising to ‘be back!’. Despite the show being over, they do not stop, as they take time to personally sell and sign merchandise, chat and take photos with fans, proving themselves to be not only talented musicians but kind and appreciative of their fanbase. A promising band for the future of indie rock music.

Set List: 1. I Don’t Mind 2.40 Up 40 Down 3.Holiday in My Head 4. I wanna Be there 5.Star 6.Curtains

Closed 7.Fallout 8. Sucker Punch 9. Sick Of Living 10.Emotion 11. This Feeling 12.Party’s Over

Review - Barbara - Tramshed - 02/11/2023

All Photos Copyright TC Photography

Every so often a group comes along that grabs your attention from the get go. Barbara are one of those bands. From your very first viewing, they hook you in with their finely crafted songs, lush harmonies and quirky tunes that dazzle and leave you with a smile on your face and feet furiously tapping.

Led by brothers Henry and John Tydeman, the band are achingly good with a punchy driving rhythm section and ringing, buzzing guitar, whilst all but their drummer provide faultless harmonies reminiscent of the American West Coast bands of the 60s and 70s.

I’m judging that their influences are many varied. There were certainly elements of Glam rock, especially in the way the guitar riffed giving their contemporary compositions an unexpected retro feel from the glitter age whilst lyrically there was a British-ness that brought visions of country estates and afternoon tea.

Frontman John Tydeman is the obvious focal point of the band, a charismatic cross between Spark’s Russell Mael and Oscar Wilde he looked like he had stepped out of Brideshead Revisted. Quickly endearing himself to the very receptive Cardiff audience they became putty in his hands as he dashed his way around the stage cajoling his audience with good natured banter.

It’s been many years since I’ve seen a band that gripped me instantly with so much talent and hope they quickly find the vast audience that their music so dearly deserves and like the majority of the crowd at Tramshed, hope for a speedy return.

Tony Woolway

HENGE - Live at Clwb Ifor Bach Cardiff: A Cosmic Escape 12/10/23

All Photographs Copyright Emily Powell-Chandler

“This strange, beautiful planet in a place called Cardiff – Am I pronouncing that right?” intergalactic explorer Zpor jokes with the cheering crowd, before inviting them to join his team on a cosmic journey, experienced through their music and energetic stage presence.

As you enter Clwb Ifor Bach, enthusiasm for HENGE is clear as day, as fans decked in glittery head boppers, alien beanies, and full chromatic outfits, crowd the front of the room. The back of the room is draped in acid trip tie-dye t-shirts and extraterrestrial accessories, tempting newcomers to join in, with the alien dress-up.

Before HENGE, can take the stage, their warmup act Dogshow prepares the audience for an evening full of absurdity. A neon synthesiser rig is wheeled to the centre of the crowd by the two-piece act, dressed as dogs in sunglasses and costume jewellery. Their hypnotic synthesised loop tracks contrast with upbeat rave anthems, successfully exciting the crowd for the evening to come.

HENGE’s set opens with drama, as fog obscures the stage allowing for a smooth entrance for the intergalactic crew. Zpor (Matthew Whitaker) on electric guitar and vocals, decked out in plasma ball hat and light-up staff; Goo (Peter Turner) on bass and synth bass in full alien prosthetics; Grok (Roy Medhurst) on synth, the only human of the group matching the band in otherworldly robes; and Nom (Sam Draper) on the drums also in full alien prosthetics.

They break into their first song ‘Alpha Test 4’, the title track of the album they are currently touring since its release earlier this year in May. HENGE’s setlist dabbles in a variety of musical genres, the band themselves describing their genre as ‘Cosmic Dross’. The song ‘Get A Wriggle On’, is a cross between fast-tempo rap music and bouncy synth hooks, creating an irresistible groove. While the song is upbeat, it simultaneously warns of Earth’s climate crisis - the alien crew citing their own extinct planets as evidence of the issue, the band showing full commitment to their alien alter egos.

While they maintain the extraterrestrial narrative in their music, their other songs tend to centre around science and novelty for the most part. A less cautionary song focuses on the woes of a robot in ‘Self Repair Protocol’. The song keeps the emphasis on synthesised melodies but adds special effects to the vocals mimicking a classic robot voice and creates a catchy dance track, strobe lights adding to the techno atmosphere. Tapping into prog rock in a noticeable genre change, the song ‘New Planet’ from their second album slows down their set, with the rock anthem encouraging the audience to sway along and marvel at the elaborate and commanding performance before them.

For the final part of their journey, before the crowd “return to earth”, HENGE unify the crowd by singing ‘Demilitarise’ from their first album ‘Attention Earth!’, once again their humane wishes shining through their alien personas.

As Zpor walks through the crowd, embracing fans, a message of peace and inclusivity is evident, as all chant the chorus acapella, ending the show as an inclusive and optimistic community.

The Ultimate Classic Rock Show - The New Theatre - 3/8/2023

There are plenty of good tribute bands performing classic songs of the last few decades, many perform at local clubs and venues we have all seen and appreciated.

Taking it to the next level, touring bands such as The Australian Pink Floyd and The Bootleg Beatles to name two.

What is needed from the perfectly competent local tribute to playing Theatres and large venues?

The answer can be seen tonight at The New Theatre, Cardiff. A stunning venue requires stunning performances.

Yes, The Ultimate Classic Rock Show performs the crowd-pleasing Classics, but boy do they do it well!

The attention to detail of each song musically, Sound and lighting, screen graphics and video is just perfect.

Two numbers also contained a very lively performance from children of Cardiff and Vale Music Education Choir, just brilliant!

From the opening Dire Straits “Money for Nothing” to many classic bands of the 60’s through to 80’s from Queen, Eric Clapton, Wings,Led Zeppelin,Deep Purple and many many more.

This really is a trip of musical nostalgia perfectly performed on all levels. It is not a Surprise tonight as well as many other dates are sold out.

In terms of a review all I can say is this is a thoroughly enjoyable night if you like your classic Rock bands with a touch of the AOR classics from Fleetwood Mac, Toto, and The Eagles for good measure.

Next year the band is playing at The Millenium Centre on 31/3 24, Just be sure to get a ticket now as this will sell out, and deservedly so. This IS the Ultimate Classic Rock Show.

LOVE - The Earl Haig Club - 12/7/2023

Legend Johnny Keeps Arthur’s LOVE Alive

All Images Barry Morris

Forever Changes by LOVE is a piece of work that escorts you, from the callow to the creaky, through the twists and turns of your life. 

Its haunting and poignant yet exuberant tracks cry of youth, death, optimism, negativity, paranoia, naivety, happiness, sadness, fear, loathing and loving. It is both unsettling and reassuring; it is surprisingly in the moment and yet prompts a wistful longing for a lost age.

Arthur Lee’s Los Angeles-based psychedelic band recorded Forever Changes as their third- and clearly best- effort of four top class albums in the mid-sixties. This was no breakthrough album; they had already torn up the Strip and won the laurels of Laurel Canyon. Love and Da Capo had sold six figures or more each. They had houses and cars and a rock star way of life. The band- Arthur Lee on guitar and vocals for all but two of the tracks; Johnny Echols on lead guitar; Bryan Maclean on guitar and the other vocals; drummer Michael Stuart and bassist Ken Forssi- were drifting and disjointed and nearly not good enough to play on the tracks Arthur had written. In fact, it seems co-producer Bruce Botnik had session musicians ready to go and he did put down a few tracks with them (He also had Neil Young ready to work with him but that’s another story).

Arthur, in turn, was beset by his own demons, convinced he was likely to join many contemporary talents of that time and die very young. Working in one of rock’s rare diverse bands, in a predominately white industry, and against a background of the Vietnam War, his experiences and his inner fears did not allow him to wholeheartedly follow the beckoning bourgeoise flower power movement that was already fuelling nearby San Francisco’s hedonistic counterculture. He refused to tour and the band lost vital opportunities to tighten up the sound and spread the word of their talent.

These internalised pushings and pullings vied with Arthur’s never-doubted musical strength and inner belief in the music and his determination to transfer it into sounds to share. It all fired up Forever Changes- and riding shotgun with him was his childhood friend, guitar man Johnny Echols. Well, what else do you become when you’re from Memphis Tennessee and your middle name is Marshall?

Behind the crisp and clipped vocals, Forever Changes is an album of exquisite supplementary sounds that combine, overlap and standout throughout the eleven tracks. Harpischord, Tijuana brass, lush strings, multiple rhythm changes, flexible bass patterns- it is an incredibly bold, mature and complex sound for a group of musicians that were barely out of their teens.

And perhaps the most significant contributor was Johnny Echols’ chopping, coaxing, piercing, howling crystal-clear guitar work, a sound that helped to spawn many successors in the school halls and back bedrooms of the world as the new rock generation unfurled their wings.

Arthur avoided the curse of the 27 Club and in fact it wasn’t until 2006, aged 61, that his prophetic fears of death eventually came true. But LOVE live on, and, led by Johnny Echols, they came to the UK and they came to Cardiff’s Earl Haig Club to put a spring in the arthritic step of their original fans while inducting younger ones into rock’s hall of fame.

Were they any good? You bet. 

Any fears were dispersed after a few bars of “A House Is Not A Motel”, Arthur’s anti-war opus “By the time that I’m through singing /the bells from the school of war will be ringing/more confusions/ blood transfusions” with a fab burst of Johnny’s timeless guitar setting the mood and the pace for the night. 

The three guitar line-up (This LOVE is administered by Johnny’s tour band, Baby Lemonade , who had played with Arthur Lee and are a fine collection of psychedelia-ridden lads- Rusty Squeezebox, Mike Randle, drummer David Green and Dave Chapple on bass) chimed and riffed and chugged and boogied and managed to replicate the distinctive vocals and also power their way past the classic fills that had been previously designated to strings and brass.

Live and Let Live ; the brilliant The Daily Planet- and then Johnny came alive on the classic The Red Telephone, reaching back into the mists of time to replicate and reaffirm his set-in-stone belief in freedom from the very depths of his heart.

The wonderful AndMoreAgain and Brian Macleans’ magical AloneAgainOr were heart rending moments that both recaptured the immediacy of teenage angst and yearning but also depicted for us older fans a closed-off time of innocence and uncertainty, of lost yet loved years.

Yes, there were other great tracks from the other three albums (Four Sail followed Forever Changes) including You Set the Scene, Neil’s Song, Singing Cowboy (and they’ll be a few older fans with painful sides after overdoing the Yoo Hoo-backed arm stretches) and Revelation.

But Forever Changes remains the pinnacle of LOVE’s creativity.

So good, I bought two tee-shirts.

Praise for Love’s ‘Forever Changes’ LP:

‘The Second Greatest Psychedelic Album of all Time’

‘One of the Best and Most Highly Regarded and Influential Rock Albums of All Time’

‘One of the Finest and Most Haunting Albums to come out of the Summer of Love’

‘The Best Record Ever’ – The Stone Roses.

Five stars out of five -AllMusic 

Five stars out of five- The Encyclopedia of Popular Music  

Five stars out of five -Rolling Stone Album Guide

Ten out of ten-NME 

All Images by Kind Permission Barry Morris

Boo Hewerdine - Penarth Pier Pavilion 01/07/2023

TC Photography

Described in his Wikipedia biog as "one of Britain's most consistently accomplished songwriters" this evening's gig is all the proof needed to fully endorse that description. Quite simply Boo Hewerdine is a British musical treasure.

Since his formative years as lead singer and creative force in the much acclaimed band The Bible, Hewerdine has consistently produced songs of such quality that he’s attracted quite a few high-profile stars, either keen to record his songs or write with the talented Boo.

TC Photography

It’s highly likely that you may have heard a Boo song, but not have noticed. What he describes his “big hit” the Ivor Novello nominated “Patience of Angels” a hit for singer Eddi Reader features regularly on TV and Radio. Hewerdine’s version this evening was particularly moving with his audience singing in unison.

Playing another song, “Bell, Book and Candle” a tune originally recorded by The Bible, Hewerdine tells how the song as become the ‘go to song of death’ for many TV shows with a character leaving a programme never to return.

It was certainly proving a quite exceptional and intimate evening with the venue (and it’s wonderful acoustics) playing its part as Hewerdine sang the soulful “Graceland” whilst proving quite the raconteur, keeping his audience entertained between songs.

Ending the evening, Hewerdine stepped away from the mic to perform his song “Sunset” just as the sun went down on a beautiful evening.

Boo aside, there can’t be many better venues in South Wales as the Penarth Pier Pavilion for intimate gigs such as these and long may they continue in such a wonderful environment

By Tony Woolway

Classic Album Review - The Libertines

After a tumultuous time in the recording studio; The Libertines were able to create an album as equally as chaotic as the band's off-stage antics.

At the turn of the 21st Century, indie dominated the UK charts. Bands such as The Strokes and the Vines paved the way for a new wave of garage rock musicians. However, The Libertines also contributed to this sudden revival of the scene. The strained relationship between front-men Pete Doherty and Carl Barat and Doherty's aloof personality and unpredictable behaviour mixed with their punk-infused debut album caused the band to be at the fore-front of the UK scene.

Despite this, a second album seemed unlikely with Doherty's health rapidly deteriorating due to a number of well-documented addictions. All of Doherty's problems culminated in 2003 when he was arrested and jailed for 6 months after burgling bandmate Barat's flat and damaging a number of items.

Surprisingly, the pair were able to set aside their differences and head into the studio; determined to recapture the magic of their debut record. To be able to harness the same feeling as 'Up the Bracket', former Clash guitarist Mick Jones returned to produce the album with former Suede guitarist Bernard Butler also lending a hand with the production.

Jones' influence can be heard prominently on the opening track 'Can't Stand Me Now' with Barat and Doherty playing call and response guitar riffs that are reminiscent of the trademark Clash sound. The song itself delves into the strained friendship between the two charismatic front-men and how recent events affected them but eventually brought them back together.

The band continue their punk-infused assault on the ears with second track 'Last Post on the Bugle'. The rumbling guitar riff weaving a wall of sound and complimenting Doherty's lackadaisical vocal delivery perfectly.

Songs such as 'Music When the Lights Go Out' and 'What Katie Did' display a new side to the Libertines that had never been heard before on previous recordings. Both tracks are covered in a pop sheen with the group possibly desiring more radio airplay to catapult them into indie rock stardom.

However, the group still maintain their unadulterated punk sound throughout the majority of the album. 'The Ha Ha Wall' is a highlight of the record with an iconic swirling guitar riff chugging through the entirety of the run-time. 'The Ha Ha Wall' could potentially be seen as a tribute to Doherty's profession due to his lyricism making remarks about how music saved his life and prevented boredom in his youth.

The Libertines continue their raw, garage rock sound on tracks such as 'Arbeit Macht Frei', a chaotic and manic minute and a half of pure punk mayhem. Doherty's lyrics are uncharacteristically political, showcasing the ridiculousness of homophobia and racism.

The percussion section can sometimes be overlooked due to the erratic personalities of the two front-men but Gary Powell and John Hassell shine throughout. Powell is able to showcase his unbelievable timing on tracks such as 'Don't Be Shy' and 'Narcissist' where he is able to overcome the chaos and keep the songs on track.

Finally, 'What Became of the Likely Lads' is a perfect way to end the record, Doherty and Barat once again singing about their peculiar dynamic whilst also playing complex guitar riffs that are joyfully unconventional.

Overall, The Libertines eponymous album is a seminal record in the UK indie scene and is a must listen for anyone wanting to understand this intriguing sub-culture that captivated Britain in the early 2000s.

Rating: 8/10