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Review: MorMor at YES

Last week in the basement room at YES, MorMor played his first show in Manchester, and proved that he is an artist of breath-taking versatility and control.

Toronto musician Seth Nyquist, aka MorMor, is something of an enigma. An enigma whose music some reputable sources have labelled “psychedelic indie-pop”. I have no idea how MorMor might feel about that categorisation, because I didn’t get a chance to ask him after the show, and even if I did have the chance I think there’s other things I would rather pick his brains about. Personally I’m not so sure there’s any mishmash genre bracket that can really contain him: his music straddles genres and styles effortlessly, often within the space of a song. One thing is certain though: last week he played a set that was so eclectic, so present and full of feeling –  that it felt like something of a revelation.

For some reason, I and most of the people I know seem to be completely unable to arrive in time to see support artists. I’m not sure what the reasons for this are, but seeing acts like Duendita make me fear that we might have been missing out on a whole lot. Duendita’s music is really one-of-a-kind; filled with tender moments of warmth and genuine feeling. Her deep and jazzy range was textured with a voice that felt somehow joyous and melancholy at the same time. In fact it felt like a lot of things all at once. Duendita used a small vocoder to explode the boundaries that should normally contain the human voice.  In the course of one song “baby-food”, her singing evolved from a bass-coated baritone to a rapidly clipped falsetto that made it sound as if she was being recorded through the engine of a 747 – it actually sounded great I promise. The other band members both blended seamlessly into the mix, providing off-kilter drum patterns and atmospheric synth melodies to accompany Duendita at the centre of it all – an artist totally and gleefully her own.

Then came the break in between, and a moment to savour one of YES’s £2.95 pints (a beverage sensation more than deserving of its own review). MorMor’s band came on stage and started easing in to the first bars of the shimmering, airy “Whatever Comes to Mind”: one of the tracks on his debut E.P Heaven’s Only Wishful, released just last summer. The man himself was nowhere to be seen. But then, just as a cry of “MorMor!” left the lips of a trim-bearded punter, a door opened behind the keyboardist, and Nyquist quietly and confidently made his way to the microphone.

Over the mid-tempo drums, languidly strummed guitar and floating synth chords of “Whatever Comes to Mind” his voice roamed free; delivering smoothly sung-spoke lines which then blossomed into a falsetto somewhere between a whisper and a yell. In person Nyquist’s singing is just as effortlessly expressive as it sounds on headphones, and it was a real thrill to watch him unleash every word in an intimate venue which meant that we were only ever a few metres away. Even without the subtle support of layered vocals, his voice more than had the strength to carry it all.

In the middle of his set MorMor dropped “Lost”; a track that combines massive, droning synth chords and the clatter of a drum-machine to propel crisp, clean vocals. This landed extremely well in the cosy confines of the basement and was a perfect display of the tightly controlled vision Nyquist is able to exercise.  He writes, records and produces practically everything you hear in his songs, and this allows him to craft music in which absolutely nothing is wasted, or even expendable. His stage presence was quietly focused throughout; determined to nail every vocal melody and every guitar part, and achieving this with calm style. There was no sense of aloofness in all this though, he seemed to enjoy himself and thanked us all for coming out to his first ever show in Manchester. He’s a pretty likeable guy really.

What became clear to me, on an almost physical level, is that this music is totally steered by emotion, and that’s a great thing. As a songwriter he has the appealing ability to feel a melody rather than think it: to sometimes let it speak more clearly than words. Very often, he manages to capture a feeling, or even a tangled mess of them, and distil it in one crystalline hook. The coda of “Heaven’s Only Wishful” is one of these such moments, and made a perfect finisher for the set that left the crowd in a satisfied daze. I won’t try and crudely recreate that experience for you here, instead I would urge you to go and listen to it and experience it for yourself.

All in all, MorMor’s set was a powerful statement of his abilities as an artist. It was a performance that seemed to vibrate with the bittersweet sensations of being alive, and with a new E.P on the way this year, it seems that he’s only just getting started.

Review by John Bodyy

Live Review: Maribou State at the Albert Hall

From humble beginnings in Hertfordshire, Maribou State found their musical niche in 2015 with their critically acclaimed debut album Portraits. Now four years later, dance-music duo Chris Davids and Liam Ivory electrified Saturday night at Manchester’s Albert Hall on their sophomore album tour, Kingdoms in Colour. Maribou State were clearly still feeding off the buzz from playing London and Bristol just a few days prior, but still seemed stunned at the energy Manchester had to offer.

The stage was set. Spotlights of blue and white bow their heads, illuminating the balconies, the back wall and finally the floor beneath them. In the gloomy glow the band takes their positions behind keyboards and guitars and drums as the crowd roars in anticipation. It would only seem fitting that they began with the very first song of their first album. The song “Home” is appropriately named: you feel acquainted with the sound. Yet woven into the song are distorted hums and moans to inflict feelings of unfamiliarity.

Kingdoms in Colour features previous collaborators like Holly Walker in “Nervous Tics” and “Slow Heat” as well as U.S. group Khruangbin co-producing one of the album’s two singles “Feel Good”. Walker made her appearance for fan favourites like “Steal” and “Midas”. As she grooved from left to right on stage, smirking to the band as she did, it was clear that their relationship between her and them was more than professional: a bond strengthened by similar visions.

The album is vastly more ambitious than its predecessor. After a Portraits world tour, Davids and Ivory scoured the globe for inspiration. Each song builds to a combination of unlikely instruments in what can only be described as some sort of neo-orchestra. “Nervous Tics” is quickly becoming a personal favourite of the album. It blends Walker’s falsetto with the Guzheng, an obscure Chinese instrument found on their worldly travels. Her voice becomes increasingly indistinguishable from the crescendo of melancholy drums.

What is personally intriguing about Maribou State is that their music somehow suits a rainy Sunday afternoon as much as the depths of Saturday night. Across the crowd you could watch people losing themselves in the music, while others felt comfortable just bobbing their heads. Maribou State is music for whatever mood you’re in.

Their sound is one that begs to be seen and heard live: the performance engages the eyes as much as the ears. Shoddy earphones whilst on a bus will not do the songs justice, but watching them on stage is a delight. They’re young, they’re cheeky, and they’re comfortable in the spotlight.

It’s clear that the group sought to tell their story in their set-list. This is what we were, and this is where we are now. As a last hurrah, the band was cheered back on-stage with “Turnmills”, the second single off Kingdoms in Colour. The song is a slow build-up, but at its peak it’s a club banger and a wild send-off to end the night.

Maribou State has this unique skill of making their music feel alive. Portraits was the same, but listening to Kingdoms in Colour, feels fresh and exciting while also embracing the technicolour empire of sound that made them famous.

Review by Byron Gamble

Photo by @SamNeillPhoto

Live Interview: Tin Pigeons at Jimmy’s

Walking down the stairs into the neon-lit basement of Jimmy’s to meet indie duo The Tin Pigeons ahead of the final show of their ‘You’re No Fun’ tour, I became painfully aware that I might be interrupting their sound check.

Nevertheless I waited for a slight lull in the music before completing my descent and introducing myself, which was met with an enormous grin from frontman Fraser. This tells you all you need to know about the Rutland-based duo, that they are genuinely one of the nicest bands you could ever hope to interview.

Whilst watching the rest of the sound check, I was particularly struck by the performance of their fantastic latest single You’re No Fun. The song combines the upbeat synth-driven indie rock from bands like Blossoms with the self-reflective lyrics from the likes of Catfish and the Bottlemen, making arguably one of 2018’s best indie releases.

The Tin Pigeons were first catapulted into success during 2016, after a song from their debut EP Sparks was playlisted as Radio 1’s track of the week, something that the duo still can hardly believe to this day. What followed was a massive festival tour, including a much-coveted slot on the BBC Introducing stage at Reading and Leeds, and lasting level of national recognition.

Talking to them about their numerous festival appearances, it was clear that festivals are one of their favourite places to perform and, according to Fraser, “one of the nicest things about playing music in the UK” in general. They are also both clearly in love with touring, with Fraser estimating they’ve done at least 150 shows this year alone.

When I bring up their latest tour, which took the pair around the length and breadth of the country from Brighton all the way up to Glasgow, their obvious enthusiasm shines through yet again. As we discuss their touring musical choices, Tom explains their growing fondness for Bob the Builder on account of their vehicle of choice being a white transit van. In addition to their attempt to create a ‘musical wrap’ by only playing songs with the names of burrito ingredients in the title.

Their unique brand of ‘bouncy’ indie music has proved to be a fascination for me, so I was intrigued to find out more about its origins in their musical choices whilst growing up. Whilst Fraser’s weren’t particularly surprising with the likes of Bob Dylan and Joni Mitchell amongst his favourites, Tom’s were almost unbelievable. Starting with the revelation that he used to be a Goth and continuing with his inspiration to play bass coming mainly from Korn and Limp Bizkit.

Sticking with the theme of their music, something I was also struck by is the autobiographical nature of their lyrics with each song almost being a self-contained story from their lives. When I put this to them, Fraser, attempting to not be too ‘wankery’ as he put it, explained that their music is usually based on a mood or a vibe so it has to be something that they’ve experienced.

Finally, given their extensive touring schedule in 2018, I wondered if there would be any respite in 2019 but this was quickly met by Fraser explaining their plan to get straight back out on tour again in the spring. Followed by them both agreeing that it is ultimately the best part of being in a band (except for the frequent visits to McDonalds).

 

Interview and written piece by Josh Sandy

Live Review: Adrianne Lenker at YES

Now Wave’s YES is fast becoming a firm favourite of Manchester’s music goers, and with good reason. Their roster of touring artists is consistently impressive, YES’ basement and Pink Room are both lend themselves well to electronic and instrumental-led acts respectively, and at £2.95 a pint I have nothing but good things to say about the venue’s bar setup. The Pink Room’s small size and mid-range capacity makes for a reliable up-close and personal gig experience, its marshmallow walls pressing the crowd face-to-face with the artists. Last month Fuse had the pleasure of enjoying Snail Mail’s somewhat hard-fought performance there (Lead singer Lindsey Jordan’s voice had begun to suffer during her long UK tour), and this week we were only happy to return for an act beloved by many in our esteemed upper echelons; Adrianne Lenker of Big Thief fame.

Lenker is no stranger to Manchester from her tours with bandmates Buck Meek, Max Oleartchik and James Krivchenia, but this was her first time taking on the city alone. Though most well-known through Big Thief, Adrianne has an impressive backlog of solo albums, dating back to 2014’s Hours Were the Birds, a youthful, soft-tempered bildungsroman of earnest vocals and upbeat pace. Next came a-sides/b-sides, written and recorded over two days in New York with bandmate Meek on guitar. For her January YES gig, however, Lenker was firmly focussed on her newest offering, 2018’s abysskiss, a brooding, rain-soaked hearth of an album with a few powerful tracks and a smattering of experimental embers attached.

Lenker, it would seem, can tell where the strength of the album lies and where it sags. After a brief struggle with a guitar lead and a quiet hello to the already-enamoured crowd, Lenker went straight into the stronger tracks of abysskiss, rattling off Symbol with percussive bombast, before sinking through the meat of Womb, From and Terminal, all lyrically interesting and well-worked songs in their own right. Terminal especially enraptured the audience, its spellbinding refrains lifting the room each time Lenker swooped into them. abysskiss doesn’t lend itself to crowd participation, instead it is anthemic in a quiet sense, and Lenker’s performance lulled the crowd into an intense emotional stream, punctuated only by brief words of thanks. A grateful performer, but not a talkative one, her presence felt ethereal and fleeting.

One wonders whether she is conscious in keeping a distance from the audience, an air of otherness that allows her to reveal her vulnerabilities in song rather than in conversation, bleeding them for all of their emotional content rather than giving them context. Still Lenker’s reticence was equalled only by the admiration she was met with, a few bold onlookers braving a shout to her between in moments of quiet between songs, all in praise, of course, and gratefully accepted. Playing on her 13-year-old acoustic guitar, missing a front tooth and with one rogue lock of hair caught in her mouth, Lenker seems either wonderfully real or an expert at curating an amicable image. Regardless, her music is phenomenal, and her performance was pitch-perfect. With a voice more beloved for its fragile straining than for its power (though there’s plenty there), Lenker never sounded like a live-album. Each song felt like it was being performed for the first time, and some of them were.

After pulling out some old favourites, Kerina, Hours Were the Birds and Big Thief’s Lorraine, she quietly debuted some brand new material. The experimental sensibilities of abysskiss already seem to have provided some growth to Lenker’s ever-dynamic songwriting, and her new efforts ring somewhat stronger than her most recent release. The (working title) Pizzeria Gusto certainly inspired confidence for a future album, more nuanced than Hours Were the Birds early tracks but less overtly melodramatic than a-sides/b-sides safer pieces, and altogether more listenable than some of abysskiss’ misfires. Out of your mind is one such misfire, but Lenker gave it a hero’s burial at YES, receiving hoots of applause for managing to break its high notes perfectly despite an up-pitched start.

Though her interaction with the audience was limited, sometimes to the point that it felt like I was simply waiting for the next song to begin rather than for any kind of artist-audience connection, Lenker remains an inspiring figure and a masterful storyteller. Her performance was less like a modern solo artist and more like an old session player, setting herself down, weaving her warm-hearted stories and eventually leaving with a grateful smile and a “thanks y’all”. I was left wanting more, and wishing I could have a chat with her and pick her brains to see how much of her reticence was real and how much was just for show.

The former of my wishes, thankfully, has an optimistic trajectory, promised by the gripping new track that Lenker dropped for her second encore piece, untitled for now. As for the latter, Big Thief are returning in May for their 2019 European Tour, and this time there’s no PR manager that can stand in my way when it comes to securing an interview.

Watch out Lenker. Fuse is coming for you.

 

Review by Jacob Thompson

Live Interview: Saint Sister at The Castle Hotel

Saint Sister is an Irish electro-folk duo comprised of Gemma Doherty and Morgan MacIntyre. On Friday 14th December they played Castle Hotel in Manchester. This venue itself created an intimate setting and feel to the evening, enhanced by captivating harmonies and sounds created by the duo.

The two met at Trinity College Dublin. Doherty recalled, “We were both in Trinity at the same time and met towards the end of our degrees, and we both were looking to make music in some capacity – I didn’t even know what kind. It was that weird time after college. But Morgan reached out and we just went for it. We just started playing together and did what felt most natural, which at the start was just using our two voices and using the harp, and we built it from there. That was about four years ago now.”

Their Manchester gig did not feature their band who often play with them. However, if one were to close their eyes during the set you would not believe you were listening to only two people.

The duo created loops onstage comprised of voices, harp and thumping rhythms, producing a sound that filled the entire room. The emotion and meaning behind their songs are evident when they play, and this held the attention of the audience fully throughout the one hour set. The audience remained in complete silence other than to applaud and cheer after every song. MacIntyre, who writes the lyrics, stated “All the songs are emotional for me and all of them ring true and that stops them from going stale”. In particular, McIntyre says she enjoys playing ‘The Mater’ live, due to its stripped back and intimate nature; “It’s the easiest one for me to tap into the reasons why I wrote it. Because it’s quite a sad song, it doesn’t ever feel like I have to work hard to get into that mood when I’m singing it and trying to deliver it in the appropriate way.”

Manchester’s show was not the most intimate the duo has played throughout their tour, which began in September. Doherty recounted that during a show in Mullumbimby in Australia there was a power outage, “There had been a tropical storm. It just happened as we landed, maybe an hour before our show. So, when we walked in to set up, [nothing was working]. The whole town was out, so [it wasn’t] our fault… I feel like everyone becomes very forgiving in that instance; when all of a sudden it’s everyone’s [problem] to deal with together. There was a guy in the audience just shining a torch up at us. Everyone else was just so quiet, and they sang along if we were playing a cover. They were really with us, even though they probably couldn’t hear a thing!”

Saint Sister’s songs all tell a story, and not just through the lyrics. The instrumentation feels like an extension to the stories told, complimenting the lyrics wonderfully. Doherty explained “We do quite separate things; Morgan focuses on lyrics with the melody a lot of the time, and I’ll work on production or instrumentation and arrangement. We come together quite early on in a song. We both have different roles, and it works well”.

Saint Sister have a unique sound that is a perfect representation of Ireland in 2018; it’s modern but the folk roots are still prevalent. The duo finished their set with a beautiful acapella cover of The Cranberries’ ‘Dreams’. Doherty and MacIntyre’s voices blend together to create rich harmonies, and this cover perfectly highlighted that.

It is clear The Cranberries’ music has had an influence on Saint Sister. When asked which artists they are currently listening to, MacIntyre described a game taught to them by Ciaran Lavery, who opened for Saint Sister during a number of dates on their tour. “He introduced us to a game called ‘Good Song, Better Song’, where you just think of the best song you could possibly think of. My first one was ‘Romeo and Juliet’ by Dire Straits. You think it’s the best song, and then someone comes up with an even better song, and you just keep going. [It’s] good because it can go off in different genres, and then someone [throws] a curveball. We also do this thing, we call it ‘Irish Hour’ and everyone has to pick only Irish acts.”

Saint Sister’s debut album ‘Shape of Silence’ came out in October 2018; if you have not already listened to it, you are missing out. Saint Sister is one to watch.

by Hannah Montgomery

Live Interview: lovelytheband at O2 Apollo

“If we can bond with them as people, then the music will come second”

Sat round the table at the back of their tour bus, lovelytheband seem pretty content. After all, they’ve just come off of a sell-out headline tour of the US, have just broken two-and-a-half-million monthly listeners on Spotify and are beginning their support of Five Seconds of Summer on the European leg of a world tour.

But they seem pretty relaxed about it all, and conversation kicks off by discussing the McDonald’s they’d just picked up off the Stockport Road. “It’s much better here, for sure. It doesn’t make me feel like I want to die afterwards,” tells Mitchy Collins, the band’s frontman, as he drapes himself over the bus’s jet-black leather sofas.

And this sparks debate, in fact. Drummer Sam Price, with long fizzy hair that suit his eccentric scientist glasses, perks up in his chair: “Real talk! You guys have the best sweet chilli sauce. Plus, I didn’t even realise that my drink didn’t have ice, or my fries didn’t have salt!”

The mood they’re giving off is one of comfortability; they seem just as worried by the contents of their lunch as they do by the prospect of opening for Five Seconds of Summer. And now, having just arrived in the northwest after two dates in Scotland, lovelytheband are now preparing for almost four weeks on a European circuit: from Manchester to Milan, Madrid to Munich. “On this tour, when we have days off, we’ll be able to see quite a bit”, guitarist Jordan Greenwald says with an air of anticipation in his voice. “Usually, we don’t get to see much of the cities, but we are excited particularly to get involved in the UK culture.”

After the success of their headline tour Broken Like Me, covering the length and breadth of the United States, lovelytheband – with their spangling guitar riffs and glitzy earworms – now play second fiddle to one of the world’s biggest bands. “It’s definitely different to playing your own show,” Greenwald says. “Having come off the back of a headline tour for a month-and-a-half, the first show back is a switch back into ‘support mode’. For example, we don’t have any of our own lights and the fans aren’t there specifically for us, so we find we have to win people over.”

The strategy of how to win over a new crowd is discussed among the four of us. Mitchy Collins tells: “I found that, for example with lights on your own tour, you can use them to your artistic advantage. When you have just a wash light on just us three members of the band, you really have to ‘bring it’ for a half hour.”

Prince interjects with a drummer’s perspective: “I found I used our lights as a crutch – I wouldn’t have to go all out 1000% for every second of the show as we had our own strobes and big moments of black-out, so you can kind of let that speak for itself. I have to change the way I perform as a drummer, I literally have to flail my arms more!”

A queue of young girls that stretches as far as the eye can see is now growing around the venue, just meters away from where we speak, and the faintest activity in and out of their bus prompts everything from chatters to screams. And it seems lovelytheband, who’ve previously been criticised for producing no more than ‘manufactured pop’, are incredibly conscious of the responsibility their song-writing has.

Prince expresses this: “If we can bond with [our fans] as people, then the music will come second.” Song-writer Collins jumps in: “This record is just what I felt I had to write at the time and the product of what I needed to say. Thankfully, we’re fortunate that we can help other people through our songs and that our fans are able to connect with it and find solace in it – that’s special.”

lovelytheband perform at O2 Apollo, Manchester

And the LA-born trio make clear, on numerous occasions, their respect and admiration for Five Seconds of Summer, who invited to join them on this tour. From performing a near-pitch-perfect cover of every teenage girl’s party anthem ‘Mr. Brightside’ in an attempt to rouse the audience for their successors, to the open admission that they’re certainly not the main-event: “The general nature of seeing a new band for the first time means that you might not fall in love with our music right on the spot,” tells Greenwald. “I think it’s more about working out ‘Oh, do I like this band?” and then they’re likely to check us out. We realise they’re not all here for us.”

lovelytheband open their thirty-minute set with ‘Make You Feel Pretty’: bright track with an impossibly catchy hook, before ‘Broken’ – what Collins describes as the band’s mission statement. “It’s all-encompassing of who we are. It’s the [song] that, if someone asked how our band sounded and what it stood for, I’d show them Broken – it represents us both lyrically and musically.”

This further emphasises the clear onus they’ve put on themselves to deliver music with a punch in its message: “[This record] is all the s*** that I probably should have dealt with earlier in my life, imported into sixteen songs,” Collins continues. “Its impossible to not feel them as I sing them – and I want that to come across.”

“The most courageous thing you can do is ask for help,” Collins preaches to the sell-out crowd of teenagers before signing off with ‘Broken’, that gets everyone singing in unison. Lovelytheband have sparky verses and catchy choruses that will entice you in, indeed their jovial stage presence might sell you a show, but the message in their music is what’ll keep you around.

 

Review by Adam MacDonald

Live Review: Goodness x Bok Bok at Soup Kitchen

As I walked down the stairs into the Soup Kitchen basement, there was a feeling of excitement in the Mancunian air. Friday night saw forward-thinking promoters Goodness bring some energy to the city in the form of bass-heavy duo Bok Bok & L-Vis 1990 with warm-up duties on the night coming from the equally as talented Bolt and Afrodeutsche. As the temperature outside began to drop the basement of soup kitchen was just heating up.

Soup kitchen has been racking up some impressive bookings recently and is surely becoming a real favourite for Manchester’s music lovers/party goers. With its dimly lit basement, it seemed one of the more fitting places in the city for the night’s festivities. After spreading their wings to Manchester earlier this year, following success in Oxford and London, Goodness have brought some fantastic artists to the city including Hessle Audio’s Joe and Timedance main man Batu. Both occasions have proved to be riotous affairs, so I knew I was in for a treat.

As I arrived BOLT, a member of local collective VAM was handing over the reins after a well-received set to Afrodeutsche, who dived headfirst into a blend of electro & techno, easily grabbing the attention of the room. Her set was a definite nod to the old Detroit electro legends but it was combined fluidly with her own unique sound; the Manchester-based artist showed real talent and I am looking forward to seeing more from her in the future.

This was my first time catching the night slugs head honchos, and after rinsing their boiler room from way back in 2014 I was looking forward to seeing them in the flesh. As Bok Bok & L-Vis 1990 took to the decks at around 2 am it didn’t take long before the basement was shaking. With a genre-spanning set from UK funky to grime, no area of the bass music spectrum was left untouched, the following couple of hours were extremely entertaining.

In a Noisey article earlier this year, L-Vis commented on the way Night slug sets don’t really have a ‘peak time’ as such: “Our sets are not building to one specific moment, it’s more about different waves of energy throughout the set”. Energy was something that definitely wasn’t lacking down in that basement. The reception from the crowd was warmly appreciated by the DJ’s who looked to be enjoying it as much as the revelers on the other side of the booth. The front of the crowd was feeding off this energy as the tempo was upped and classics such as Lil Silva’s now legendary ‘Seasons’ got a predictably huge reaction alongside new productions that had the crowd roaring.

In an industry that sometimes struggles with representation, it was also great to see an equal split of genders on the line-up without the promoters using it as some kind of marketing tool. Hopefully, this positivity can continue throughout the scene.

I can happily say I struggled to find any negatives about this one and I look forward to the next Goodness event. Smiles were aplenty as the crowd headed up the stairs into the cold Manchester morning.

 

Review by Adam Parker

Live Review: Kamaal Williams at Gorilla

It is unusual to enter a concert and be greeted by a completely silent room. At first, I thought the first act hadn’t started yet and the crowd wasn’t feeling very talkative after a busy Tuesday. Then the ethereal sound of Madison McFerrins voice filled up the entire space under Gorilla’s industrial railway arch. As more layers of her voice appeared, I realised she was using a loop pedal to create acapella melodies over which she would eventually sing. The crowd were encapsulated by her ability to craft her tracks with her voice as the only instrument. It would be easy to think that she was performing with multiple performers if I wasn’t watching it live. She also included the crowd and set a nice buzz for the rest of the night. It was a much-appreciated start to the evening and brought a soulful female twist and a new discovery for me. She’s an artist I will be following from now on.

Next up was the main event, Kamaal Williams: with Henry Wu on the keys, Josh McKenzie aka McKnasty on the drums and Pete Martin on Bass. From the first few notes I could tell these three were going to work well together and I was excited to hear what was in stall. The crowd was quickly whisked into motion with fast paced drum beats and skilled keywork. This would be the theme for the first half of the performance: a jazzy fusion that people couldn’t help but dance to.

There was a clear artistic relationship between Henry and Pete, they seemed to be challenging one-another with high intensity, pushing the speed and complexity of their sound to a high energy crescendo at multiple points. Around half-way into the performance a repetitive loop was played on the keys, blending jazz with house music. It’s something I haven’t seen live before and by body noticed before I did. I found myself dancing with a two-step, thinking that this wouldn’t go too far awry in the second room of bona fide techno night.

With that in mind, the performance was not fast paced throughout, with a guest appearance from the Manchester based duo Konny Kon and Tyler Daley, otherwise known as Children of Zeus. They managed to incorporate singing into a performance which I was expecting to be strictly instrumental. With hip hop and soul influences, the crowd certainly sounded impressed.

Next up on the stage was Mansur Brown, he was a welcome addition to the stage. He brought a mature, dignified prescience with a calmer flow compared to the start of the set. This worked extremely well and introduced yet another dimension to the performance.

There was many members and a high amount of energy on stage – each member had different vibe but it came together in the music, giving a multi-faceted performance that I’m very glad to have seen.

Review by Adam McCarthy

Live Review: Parcels at Manchester Academy 2

Darkness. The smell of BO and beer. The nondescript chatter and buzz of pre-show hype. Out from the dark, synth chords start pounding away as a slick guitar riff begins to ring out; the crowd instantly starts bopping away. Parcels have arrived. Straight off the back of their self-titled debut album, the Berlin based Aussie boys have been lighting up the European synth-pop circuit for years and after 2017’s collaboration with Daft Punk, they have been on everyone’s lips. I sat down with the band before they headlined Academy 2 to talk all things music, influences, and Christmas albums. When asked which genre Parcels would describe themselves as, Patrick (keyboardist and vocalist) said ‘I don’t think it’s important, and it’s not very easy to define. I wanna say pop music because that’s the mentality, kind of, but I don’t think people would instantly associate our sound with pop music,’ and as opener Comedown’s disco synths and jazz-like guitar solo suggests, Parcels are musically miles away from the formulaic music dominating most charts today. However, the intense audience reaction, plus their 1.8 million monthly Spotify listeners, shows this 5-piece has a great understanding of what clicks with a listener. As drummer Anatole puts it ‘in Berlin we were pretty influenced by music that was made to make people dance and we try to re-enact that in our lives shows cos there’s something really special about the whole audience dancing to your songs,’ and when smash single Tieduprightnow is finally delivered there isn’t a single member of the audience who can’t help but groove to this masterfully crafted funk hit.

That’s not to say the boys are all about fan service, as they admits that sometimes ‘we decide to mess with the audience, like after a heavy dance song we’ll play a really slow song’ which at points in the set can be frustrating, especially when the crowd desperately wants to just dance and sing along. These creative decisions might be a product of the youthful playfulness and self-deprecating nature of these lads, which is quite refreshing in a climate where bands take themselves and their reputation too seriously. Anatole even jokingly mocks Patrick when he tries to talk me through the pedals and effects they use to achieve their unique synth sound: ‘Oh the way we make sounds, hm it’s very interesting’ jokes Anatole in a faux intellectual voice. The joviality continues when discussing their Daft Punk collaboration: ‘they [Daft Punk] have inside helmets and outside helmets, the ones they wear on their album covers are the heavy duty ones, but in the studio they just wear smaller ones with better breathing space and holes in the side to listen, it’s pretty casual.’ When asked about future projects, keyboardist Patrick jokes about the possibility of a Christmas album, much to the instant disdain of his bandmates, although I for one would love a funk cover of All I want for Christmas Is You, and even John Lennon delved into the festive realm at one point.

That’s part of the quirky charm of Parcels, when the 8 minute long Everyroad is performed, which
Patrick called ‘liberating, as we weren’t trying to make a pop song, we just made it for ourselves
through jamming,’ guitarist Jules and bassist Noah climb up the stage and begin performing a David Byrne-esque minimalist dance. The crowd goes wild for it and you can see from their beaming smiles after their little choreographed moment they relish these moments of absurdity, although this referential moment is superseded by my highlight of the whole show, when Parcels’ display themselves as the collective they truly are. The five bandmates leave their various positions on the stage to form a single line at the front of the stage for the chilled Bemyself, showing the band off as a cohesive, creative unit in contrast to other bands that portray themselves as merely the FRONTMAN and co. If guitarist Jules wasn’t already the spitting image of George Harrison I would’ve forgiven you for not noticing the comparison earlier, but as they stated in our earlier interview ‘when song writing we would always sit down altogether and listen to demos to decide things together, from the instrumental side to lyrics. We never really wanted a main vocalist either; we wanted it to be like The Beatles.’ The impassioned sing-alongs, the creative harmony, the eccentric bandmates, and most importantly the fantastic songs; Parcels are on the Abbey Road to something special.

They leave us on IknowhowIfeel, a surprisingly slow track in contrast to their bigger dance hits but it makes perfect sense when Parcels deliver their last trick of the night. One by one, throughout the song, each band member leaves the stage, starting with the guitarist, and ending on the drummer. By leaving those responsible for the beat to continue by themselves, it installs the catchy tune into the minds of the audience members much like a fade out on a record, so that when the drummer finally leaves the now empty stage, the audience carries on singing the tune without them even there. Genius.

Review by Noah Matthews