Beans on Toast: Live in The Globe 07/12/24

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With his new album ‘The Toothpaste and the Tube’, released December 1st , Beans on Toast plays Cardiff The Globe and is met with a dedicated crowd, many of who already know the lyrics for his new tracks.

His sixteenth album so far, Beans on Toast, aka Jay McAllister, has been performing since 2005 and therefore brings an established fanbase with a wide range of ages out to venues.

Warming up the crowd Tensheds play first, a one-man band playing elaborate bluesy piano, a synth beat pedal, and singing simultaneously. His rasping vocals are emotional, and the lyrics are melancholic, yet his improvisatory piano playing is joyful.

Next up, Bassie Gracie performs poetry for the audience, prefacing some of her work with her concern that music audiences do not want to hear poetry, and serious poets find her work trivial. However, her poetry was witty and empowering, moving between conversational sections to rapid rhymes, all while maintaining the audience’s attention.

Both Tensheds and Bassie Gracie – now playing bass – return to the stage, forming Beans on Toast’s band for the tour. He kicks the set off with ‘Work to do’ from the new album, signing about social problems such as plastic pollution, global conflict, and mental health. Between the upbeat folk-like melody, and focus on the work giving humanity purpose, the song manages to have a cheerful and optimistic character.

B.O.T succeeds in leading sing-a-longs without even trying, the entire audience swaying, cheering, and belting out lyrics to one of his more popular songs ‘Watching the World Go By’. The audience reaches such a volume, that McAllister shouts “F*ck Yeah Cardiff! See you are gonna try to make this the best night of the tour!”.

Many of his songs focus on social issues, and how as a community we can overcome them. An example of a song combining both light-hearted fun, and a serious message is the M.D.M. Amazing and ‘The Children of Bedford’ mashup. Halfway through the first song, he pauses to tell the tale of a young fan interaction, of how it shocked him and his band, and how it inspired him to write a song cautioning regular drug usage. After telling the story, he begins ‘The Children of Bedford’ before resuming ‘M.D.M. Amazing’ and imploring his crowd to listen to the message behind both tracks.

The communication between B.O.T. and the crowd is phenomenal. Just before he begins the song ‘The Greenwash’ he invites a member of his team as well as two people from the crowd to join the band and him on stage. They act as his backing singers, after being taught their line to chant, and he regularly runs over to prompt them to join with varying levels of success. Just like the rest of his act, his message is serious, and yet he is still able to create an unusual and entertaining way of performing, managing to get the crowd to laugh, listen, and dance – a skill that has had the crowds turning up for him for 18 years.

Pet Needs: Live in Clwb Ifor Bach 24/11/2023

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Leaping across the stage, Pet Needs gets their crowd moshing to a unique blend of punk music.

Walking out to an onslaught of cheers, they make clear how much they appreciate their fanbase, a feeling that is reciprocated. The band has been able to support itself financially for two years now, and instead of discussing merch, the band chose to praise their warmup acts and their friends who helped make touring possible. The first warm-up act of the night was Private Party - a relatively new indie pop group, with bright guitar solos, and catchy melodies from their vocalist Violet.

The second support act was Glitchers - covered in duct tape and playing gritty hardcore punk music, they pull increasingly chaotic antic on stage while singing about their problems with the politicians and modern-day society. Pet Needs had one of the best setups I have seen in Clwb Ifor Bach, but that might be due to the sheer number of people that filled the venue. They used the booths for their merchandise, consequently forcing people to stand up patiently and wait for the acts to begin, creating an immediate crowd in front of the stage.

A refreshing take on punk music, Pet Needs switches between different intensities of the genre, keeping the set engaging and unpredictable. At times songs such as ‘Kayak’ appear to be heavy punk rock, with distorted guitar solos and full shouts – encouraging chaos in both the moshing audience and the lead singer jumping across the stage. Whereas songs like ‘Tracey Emin’s Bed’, while still punk, feel much more like early 2000s Blink 182, following a singable melody and anthemic choruses. Between songs the band makes sure to promote their third album ‘Intermittent Fast Living’, coming out next February 16th, even playing ‘Separation Anxiety’ a single off the album, building anticipation for the release.

Pet Needs made one thing very clear to their audience, that they expected enthusiasm and energy. At times they dare the audience to out-jump and sing their previous crowds, stating “Every show before this has been a warmup for Cardiff!” and encouraging them to put Bath (the previous night’s venue) to shame. Jack Lock on drums, Ryan Sharman playing bass, George Mariott playing guitar and lead singer Johnny Mariott finish off the show with the same high energy as they started it, being sure to thank the sound team and promising to play again with the new album next year.

Set List: 1. Separation Anxiety 2. Tracey Emin’s Bed 3. Ibiza in Winter 4. Fear for the Whole Damn World 5. Overcompensating 6. Tried and Failed 7. Primetime Entertainment 8. Kayak 9. Pavlovian 10. As the Spin Cycle Span 11. Scratch Card 12. Punk Isn’t Dead 13. Lost Again 14. Toothpaste 15. Get on the Roof

Review - Blow Monkeys - The Globe, Cardiff - 30/11/2023

All images Tony Woolway

Formed in 1981 and still going strong 41 years later The Blow Monkeys have enjoyed a successful and critically acclaimed career. Splitting up in the early nineties, a welcome return in the mid-2000’s with a clutch of well received recordings, there was no getting away from the very recognisable Blow Monkey sound and distinctive Dr Robert stylish vocals which proved there’s still plenty more to come from the band,

It was a good sized crowd that turned out at The Globe for the band’s return and they provided a quite stunning evening that induced a nostalgic yearning for many whilst any newbie’s in attendance couldn’t fail to be hooked by the sultry soul funk that’s become the band’s trademark sound over the years.

Quickly into there stride from the off, and with Dr Robert (Robert Howard) the obvious focal point, he charmed the crowd with good humour in between some classy Monkey’s tunes that both musically and lyrically have stood the test of time. A fierce critic of government wrongdoing through the decades there was certainly no let up and cooling of their opinions.

Great versions of the classic “Digging Your Scene” and "It Doesn't Have to Be This Way were obviously fan favourites for the evening but equally, impressive was “Wait” and their cover of Lesley Gore’s “You Don’t Own Me” (Recorded specifically for the film Dirty Dancing). All showcased a tight and talented band with longtime bassist Mick Anker leading the way and supplying the funk.

Rounding up the evening with the brilliant Curtis Mayfield classic “Superfly” the band left a crowd to go out into a chilly November evening warmed by a band who can still produce and relevant despite the years.

Ian Prowse and Nico

No review would be complete without special mention for the evening’s support, former Pele front man Ian Prowse. With just his guitar and violinist Nico he was the perfect accompaniment for the headline band. His songs, strong and direct, especially “My Name Is Dessie Warren” and “Does This Train Stop in Merseyside” were very emotive and thought provoking. But his staring down of noisy punters who chatted away oblivious to the those listening (trying to listen) made him a hero and helped set the tone for the rest of the night.



Tony Woolway

Funke and the Two Tone Baby Live in Cardiff, Clwb Ifor Bach - 15/11/2023

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The one-man band phenomenon blends blues melodies with electronic dance music for a night of celebration and joy.

Friendly chatter fills the inside of Clwb Ifor Bach, with Dan Turnbull the mastermind behind Funke and the Two Tone Baby, happily stood by the bar talking with fans before the show. His relaxed manner welcomed them over, allowing the concert to have a personal feeling, where each fan could dance and cheer along to his music as he matched their energy on stage.

Before his set could begin, Wet Paint warmed up the crowd with a folk-rock set. The four-piece band all sat on stools with their instruments, taking turns to announce which one of the singer-songwriters was responsible for the next tune and joking with each other on stage. They regularly switched who was the lead singer and joined together for soaring four-part harmonies in the choruses. From slower folk ballads to upbeat blues songs filled with guitar and harmonica solos, the group created a joyous sound filling the venue and getting the whole crowd to cheer and tap along.

F.T.T.B takes to the stage and swiftly builds his first song using a looping pedal. Layering guitar chords, drumbeats, and keyboard synths, he can freely sing the lyrics over the top of his song. His energy is infectious as he darts around his setup, making the show enjoyable for all, whether you are familiar with his music or not

. The tour supports his latest album ‘Reacclimate’, with yellow merchandise side of the stage available for the crowd to buy, many of which are already decked out in a variety of yellow items and accessories. He informs the crowd that he is going to play through the albums in its entirety, before playing a few of his previous hits. F.T.TB mixes a wide range of genres, with songs such as ‘Can’t Stop the Music’ having a blues tone, with raspy vocals, harmonica, and rhythmic guitar solos, adding to the piece’s groove.

As ‘One in a Million’ focuses more on electro dance music, with bouncy synth loops, vocal effects, and small beat drops before each chorus encouraging the crowd into a frenzy. He takes a break from the upbeat electro songs from his album to share a moving tribute to his late girlfriend, revealing the reason for the yellow album and tour theme as it was her favorite colour, going on to play ‘Ani’s Song’. Both the artist and much of the crowd are brought to tears by the end of the song, and Turnball is met with cheers as people wipe their eyes.

Resuming the upbeat electric dance music, F.T.T.B finishes up his album set and moves onto hits such as ‘Not Enough Bonobo’ to finish his performance, leaving his setup to march to the front of the stage and lead a sing-along, and getting the whole crowd jumping. Entering the swarming crowd, he is lifted by the fans as he continues to sing, a shock for all involved, yet the playful scene perfectly shows the appreciation of the crowd for Turnbull’s talent. A perfect ending for an emotional rollercoaster of a show.

Emily Powell-Chandler

Dekker in Clwb Ifor Bach Cardiff: 16/11/2023

Third night into the UK leg of his 2023 tour, Brookln Dekker arrives in Cardiff Clwb Ifor Bach for an intimate show full of storytelling and reflection.

A simplistic stage setup is laid out before the audience, only instruments for both warm-up and Dekker on stage, and a singular prop of a hanging sign stating his name above.

The crowd files in, choosing to place themselves in booths, sitting on the venue steps or leaning around the room. All appear relaxed while anticipating the night of music to come.

Warming up the crowd, Low Girl walks onto the stage. Only half of the members are present, Toby on keyboard and effects, and Sarah on guitar and vocals, but despite the whole band not being on stage, their presence is undeniable. Their music is beautiful and, at times, has bright pop elements, yet it always has a sense of sorrow behind either the melodies or the lyrics, creating juxtaposing feelings for the crowd to wallow in.

Starting his set, Dekker appears wearing his signature oversized woven hat, almost entirely obscuring his face, adding an element of mystery to his performance. Acoustic guitar in hand he begins, plucking out intricate chords as Stefan Wittich joins him with a subtle rhythm on drums, keeping the momentum moving. Dekker’s vocal prowess is clear, as he regularly jumps into falsetto sections with control, capturing the audience’s attention for more passionate moments in his lyrics.

Songs such as ‘Let’s Pretend’ show off Dekker’s lower register yet still has talented runs and decorations scattered throughout the enchanting song. Addressing the crowd, Dekker asks, “Can I tell a few stories tonight?” and is met with a cheer of support.

He goes on to tell tales of his family and their influence on his life between songs, as well as lyrically transport the audience through struggles he has faced. ‘Maybe October’ addresses sobriety and responsibility, while still establishing a catchy hook getting the audience to sway along with the somber folk-pop music. His set is hypnotic, and the music seems to move between feeling soothing and haunting without warning.

He finishes the show while joking with a tiring Wittich, both playing with more passion and increasing ferocity on guitar and drums. The end is met with a wave of cheers, as they both nod and wave to the support crowd in front of them.

Review - Tom Robinson - Acapela Studio - 16/11/2023

One of the punk/new wave’s heroes made a return to the wonderful Acapela Studios and another sellout evening on a chilly Thursday evening.

Robinson is a real unsung icon of his generation and a devoted and very vocal opponent of everything wrong in this spiralling world. A pioneer for gay rights and a critic of the abuses of power, Robinson’s songs have been inspirational to many.

Whether it be with a full band in tow or like this evening, close and personal with just his guitar and keyboard to accompany himself, he never fails to entertain or inform in what can be extremely passionate performances of some of his era defining songs.

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It’s not that he’s rested on his laurels and still writes poignant songs that hit the nerve, sometimes uncomfortably so, but also with humour and occasional sadness. His last song of the evening, a newer song and a personal favourite of his, written for his children and about living in the moment called “Only The Now” demonstrates that at 73, he still has the musical chops and and still touch the heart of his listeners.

Just as his Radio Six presenting career will testify, Robinson is a good raconteur and during the performance tells candidly about his career, the ups and some depressingly downs, woven effortlessly through his songs.

Songs like “Too Good To Be True” a favourite of his band’s talented and sadly now passed away guitarist Danny Kurstow proved a lovely tribute whilst his ‘comeback’ song, the hit “War Baby” written after fleeing to Hamburg, Germany after the breakup of his band and heavily in dept allowed Robinson to return from what was undoubtedly a very tough period in his life.

Sadly it was over too quickly and Robinson left the stage to rapturous applause acknowledging the crowd and his love for the venue. Always a supporter and promoter of new music Robinson’s support for the evening was local Splott singer/songwrier Adjua who delighted the audience, and Tom Robinson, to some soulful and well-crafted songs and certainly one to watch for in the future. Well done Tom !

Tony Woolway

Lisa O'Neil - Oisin Leach - The Gate - Cardiff 27/10/23

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‘I am thinking of going to this gig, at The Gate’ said my wife, Collette, as she played me some music from Lisa O’Neill, an artist that I’d never previously heard. Suffice to say, I was immediately entranced and tickets were rapidly purchased. So, gig night arrived and we travelled down for the show. The Gate is a gorgeous venue. It is a grade 2 listed, former Presbyterian church and one of the best mid-sized live music venues, in the capital city. It was (as expected) tricky to park, so bear that in mind for future gigs. This was especially the case for this sell-out show but, as outlined below, so worth the effort.

Armed with stout and wine, we took our seats for the evening’s performances. We resisted sitting in a ‘pew’ and sat a few rows back from the stage, where we had an excellent view. Just after 8 pm, the bespectacled figure of Oisin Leech ambled on and went on to regale us with songs that reflected on life in and around Navan and the surrounding area. Oisin is a subtle, gentle performer and has a charming, warm personality.  He is also a witty and very likeable character. His ‘travelogue’ about journeying from Halifax to Cardiff, via most of the midlands by train, bus and foot was hilarious! He went down really well with the Cardiffians and seemed to very much enjoy the experience. His current single, ‘October Sun’ is getting airplay and is well worth checking out. Unfortunately for everyone else there, a late arrival made a noisy entrance into the arena during this intimate set. Ignorantly shouting out to the artist, in such a beautiful venue was highly disruptive, rude and irritating.  If you come to gigs, especially for acoustic performers, try shutting up, sitting down and showing some respect for the performers and the rest of audience. That might make you more popular and welcome at future events...

After a short break and a trip to the bar, to replenish our supplies of (very nice) stout and red wine, we sat back and had a short wait for Lisa O’Neill, to take the stage. She initially did so, alone, armed with just her guitar. It is a really strong way to start a gig, in my opinion, allowing for the other musicians to augment the sound, as they enter the fray.  In this case, we were able to applaud two fine musicians, Brian Leach (dulcimer) and Joseph Doyle (Double bass/cello) as they emerged. I’d enjoyed the few songs that my wife (Collette) had played me but this is one of the gigs when you needed to be there, to really appreciate quite how special it was.  The whole thing was incredibly intimate, moving and captivating.  In football parlance, Lisa leaves ‘nothing in the changing room’. She very much wears her heart on her sleeve, evoking an emotional and engaged connection with the audience.  Just as she came on, we were told to avoid flash photography and filming. Between songs this was fluently rationalised. Lisa is a fascinating raconteur and the spoken content between songs were very much an integral part of the experience. Essentially, her antipathy, is towards the trend of sitting there taking photos and live streaming, as it destroys the intimacy of the exchange between performers and audience. Each performance at every venue for all performers, is a different lived experience, depending on who’s there, how they react and the mood of the room. She’s essentially alluding here to phenomenology; the experience of being there, in the moment.  That spirit really comes across in her songwriting, body language and interaction with the audience.

I don’t have a set-list, nor have I heard enough of Lisa’s material to be able to name-check all of the songs. Instead, I’ll mention a few key moments, during which our senses (me and my wife) were sent spinning, out of control, as we were totally caught in the moment. I’m no scientist but bear with me, this is about us, as human beings and our senses and feelings.  A lot of Lisa’s songs generate an almost  hypnotic mood through the use of what I’ll call a drone, often being played on a miniature Indian instrument, possibly a harmonium, I think. This brilliantly sets the scene for everyone in the room. I looked at people in front of me, nodding in time, as if entranced and others, around us, obviously totally spell-bound. Lisa O’Neill is clearly a deep thinker and has a very warm, honest and highly engaging style.  I’m adamant that the Gate, is THE PERFECT VENUE for Lisa O’Neill to play in Cardiff. As a small, former church, the building helps to engender a spiritual experience that is special and unforgettable. I’d like to think that Lisa felt the same and would want to recreate this evening, rather than head for a larger venue, on return to Wales.

Here are three (for us) totally magical moments from the evening. The first song my wife had played me was called ‘One Note’, a recent single. I’d liked it, as a piece of music but had no idea what it was about. Lisa introduced it and explained that is was about how there is an often ignored musicality that is all around us, always but  goes un-noticed. Talking about the sounds of wind blowing through the gate, a tin can being blown along a pavement and the soft sounds of feathers fluttering along, she beseeched us to take account of our senses, as human beings and to be more conscious of the aural beauty that surrounds us. She talked of how she’d loved comments that she’d overheard from her young niece, as she played by her side and how that influenced her writing ‘Old Note’. The live performance of this song moved me beyond words. I’ve been a university lecturer for more than twenty years, specialising in the realm of radio, podcasting, non-visual story-telling and (above all) sound. The live performance of this song totally resonated with me. Towards the end, Lisa mingled with the audience members, as she shook tiny little bells near their ears. She was, to my mind, using sound to reinforce the infinite beauty of sound. As the song concluded, the recordings of the innocent comments made by her niece played on the P.A. I was overcome with emotion and as it ended, gave a one-man standing emotion. As I sat down, Collette looked at me and stroked my arm, tenderly. She could sense that I had been profoundly moved. 

Later in the performance, Lisa’s fellow musicians sat amongst us, as they left her to perform a few solo songs. As she started to sing, the microphone suddenly went dead. Oops! She did not flinch but instead asked the sound guys, if it might be a good idea to do an acapella version of a song. ‘That would be a very good idea’ was the shouted response from the back of the venue! Lisa proceeded to stand at the front of the stage and sing ‘The Galway Shawl’ with absolutely no accompaniment, no microphone and no fancy stage lighting. You could have heard a pin drop and it brought the house down. It was another assault on our senses and a reminder of just what an accomplished performer she is.

Towards the end of her set, there was one cover song. It was a beautiful, soulful and emotive version of Brothers in Arms by Mark Knopfler. Lisa is shortly performing at a fundraiser for the civilians whose lives are currently being devastated by war and the song contextualised her thoughts on the matter. As I looked to my left, it was my turn to comfort my partner, as she was in floods of tears...

The trio were joined on stage by Oisin Leech for the last couple of songs and that was a nice touch. Finally, all four Irish musicians left the stage, to a tumultuous and heart-felt ovation. There was a full moon in the Cardiff sky that Friday night and that was coincidentally replicated by the minimalist stage lighting.  As Lisa O’Neill said, she ‘brought the full moon inside for the night’. Thank you for visiting my home city, Lisa. Please come back and also, please always play exclusively at The Gate and ignore the larger venues. Finally, thank you Collette. This was one of the most beautiful gigs that I’ve ever been to, a perfect and very special night.

Review - China Crisis - Acapela Studio - 05/11/2023

Acapela Studios is proving a good venue for China Crisis. Their regular visits guarantees a sell out, whilst those lucky few quick enough to secure tickets, do so certain in the knowledge that, in Gary Daly and Eddie Lundon, their evening is certain to be a joyful and musically rewarding experience.

Whilst they have a back catalogue to be die for, the band are far removed from the current retro 80’s gang plodding through a few hits to the delight of nostalgic dewy-eyed punters. The band sound fresh and in Daly, a front man who can charm the birds from the trees and quite the comedian, with his tales and reminiscing.

Certainly they play their hits (10 top 50 singles) but also much loved and seldom heard album tracks of which the choice is endless.

Aided and abetted by regular bandmates, keyboard player (Jack Hymers) and saxophonist (Eric Animan) they beautifully create powerful soundscapes that complement both Lundon’s fine guitar work and Daly’s subtle vocals.

Early songs about girlfriends, family and friends, their first dabble with songwriting was discussed as they explained the rapid change in their circumstances. One minute Kirby, the next criss-crossing America and the recording of “Arizona Sky” and the broadening of their horizons, both musically and culturally.

With so much chatter and sublime music the evening flew and with the night closing ever so near the curfew, Daly was shocked and keen to push on and squeeze in a few more numbers, one being the wonderful “Christian” to top off a quite stunning evening.

Tony Woolway