Ham SandwicH

“Carry the Meek” tour (support by Queen Kong & The Kinetics) 13th March 2008 Cyprus Avenue, Cork Ladies and Gentlemen, welcome to the 1980s. The gig opened with Siouxsie…sorry, Queen Kong, who were followed by The Kinetics (Echo & The Bunnymen, The Teardrop Explodes, The Jesus and Mary Chain – take your pick), all of which led up to the headliners, Ham SandwicH, a band which is the love child of The Sisters of Mercy and Belle and Sebastian. Ham SandwicH are the Meteor Hope for 2008, an award for which the nominees are chosen by record companies and RTÉ 2FM and the winners voted for by 2FM listeners. So, essentially, it appears to be an award which focuses on the commercial saleability of an act, with the more vested interests (e.g. record companies and a predominantly chart-based music station) heavily involved in the choice of who can get the award. (Incidentally, The Kinetics were also nominees.) To quote their own blurb on the 2FM website, “their unique sound is built around the dovetail vocals of Niamh & Podge flying against a cloudy sky with catchy yet intricate guitars”. Yes, well, OK then. Cloudy is definitely a word I would have chosen. I am sorry to say that the “dovetail vocals” were for the most part lost in the melange of sound coming off the stage. Unless the pitch was in their upper registers and literally thrown over and above the drums and guitars and bass, the words & vocal blending were fairly indecipherable. Which is a huge pity as, listening to their recordings later, their harmonies are intricate, Ms Farrell’s voice rich, strong, expressive and sometimes fearless, and perfectly matched by Mr McNamee singing in a register which starts somewhere in the region of his boots, most of which detail was lost in the live performance. And speaking of performance, having a chat and a laugh with your buddy on stage as you sing the climax of a sorrowful love song (e.g. when Ms Farrell is breathing the ultimate break-up lines in “Sad Songs”) does not actually enhance the telling of the story. Just a thought. If I am sounding rather critical, well, I suppose I am. Yes, this is a visually impressive band – they’ve got the moves, the quirky clothes sense, the excellent hair – and technically they are tight and good at what they do. But, musically-speaking, I just do not feel that they are pushing back any boundaries here. To me this is well-produced, safe rock music with a slightly risqué edge (a female lead singer) and it is a product which will appeal to the masses. Hence the award. I can see them playing stadia. (Certainly, I felt that the venue in which I saw them play was too small for them and that they would come across better on a larger stage.) Frankly, as a result of this, and barring unforeseen circumstances, I fully expect to see them going strong in years to come. Niamh Farrell – Vocals Podge McNamee – Vocals/Guitar/Piano Johnny – Bass Guitar Darcy – Guitar/Piano Ollie Murphy - Drums

Waxing Lyrical

A short note on Wax Lyrical by Ladydoll.

I’m listening to Ladydoll’s E.P. Wax Lyrical and it’s turning out to be a little gem of a CD. It’s a grower. The opener, Charm Alarm, is an attention grabber. On the other hand, the rest takes a bit of listening to but it’s addictive stuff. Man, I’m turning into a bit of a groupie here. (A groupie? At my age? Bah and Humbug!) First the gig, then the CD … what next?

There is some wobbly intonation in the backing vocals towards the end of Preacher Man, which also sounds a bit thin (the backing vocals, not the track) and probably could have been smoothed out and fattened up a bit by an engineer (but what do I know? I studied geology in college…and I don’t remember much of that anymore). So this was more than likely deliberate. (Again – geology.)

Look it, this is a sexy little window into Ladydoll and you will find yourself putting it on repeat. And repeat. Don’t say you haven’t been warned. The tracks included are: Charm Alarm Button Preacher Man Wax Lyrical (not that you'd know it from the sleeve notes or anything...)

Bach: St. John Passion

I am not going to say anything about the St. John Passion - there are reams written about it already by better brains than mine. All I will say is that yesterday evening (March 5th) in the City Hall, the Irish Chamber Orchestra, the National Chamber Choir of Ireland and soloists put on a sublime performance with an edge of theatricality. Superb musicians, superb music...it was glorious, simply glorious. Irish Chamber Orchestra & National Chamber Choir of Ireland with guests, Sylvia O'Brian (Soprano), Robin Tritschler (Tenor) - Evangelist, Mark Wilde (Tenor), Benjamin Bevan (Baritone), Grant Doyle - Christus & James Laing (Counter Tenor). Conductor, Stephen Layton.

Tchaikovsky & The Armed Man

Cork School of Music Symphony Orchestra & Cork School of Music Fleischmann Choir Saturday 1st March 8pm & Sunday 2nd March 3:30pm City Hall, Cork Tchaikovsky's Symphony no.5 in e minor Karl Jenkin's 'The Armed Man: A Mass for Peace' As part of an unusually busy weekend, I found myself going to the City Hall on Sunday afternoon to see old comrades sing the Cork premiere of Karl Jenkin’s ‘The Armed Man: A Mass for Peace’ and, wonderfully, there was a very good turn-out for the concert, especially when you think that this was its second performance over the weekend. No mean feat for the marketing department. Settling in to the back of the balcony as the performance is about to begin, there is the usual level of shuffling, coughing, doors banging open & shut, chatting and general foostering, which is so much part of going to a concert in the City Hall these days. Well into the first movement of the Tchaikovsky, when the whole mood of the piece is being set up by the string section, we are assaulted by doors thumping, people climbing up and down the stairs and sidling past those who were there on time, with highly audible whispers of apology. And then there is the final act of removing outdoor garments which for some reason simply cannot be done in the corridor or lobby outside the hall and always must be accompanied by yet more whispering. This is entirely facilitated by the those on the doors coming into the hall to watch the performance and, as a result, are not stationed outside to ask people to wait for a break in performance before clattering into their seats. It is hugely disrespectful for those both on stage and off it who have made it there with time to spare. Whether you are permanently late, or have been genuinely and unavoidably delayed, I’m sorry for your trouble but it makes no odds to those inside – it is an unnecessary and unfair disruption and should be knocked on the head immediately. If you are late, then it is basic good manners to wait outside the hall until the end of the first movement (generally 5-7 minutes, which if you are late will result in a considerably shorter wait time) and then make your way quickly and quietly to your seat. And someone should be outside the door to ensure this happens and not be lounging around or worse, walking around, the back of the hall, having a bit of a listen. You can tell, I’m sure, that this is a bit of a bugbear for me. Despite this, the mood settles and a hush descends over us all and focus is finally placed fully on the stage. Tchaikovsky’s 5th Symphony paints a very clear picture for me. It is redolent with the images of men walking to war; the heavy trudge of their footsteps and inevitability of the carnage to come, followed through the other three movements by the bloody mists rising from the battlefield after the battle, the officers wining and dining far from the scenes of horror and finally the rose-tinted recollection of battles won by those same officers receiving medals over the bodies of their dead soldiers. Mmmm…lovely stuff. Perhaps all that came to mind because of the piece which was to follow. Who knows? It was technicolour-vivid at the time. A quick word on the orchestra…when you are listening to them, it is hard to keep in mind that they are students, for the most part second-level students. The level of professionalism (in the good sense, not the union-membership, work-to-rule sense) brought to this and other performances by this group is immense and must not be forgot. I have had the pleasure of both listening to and working with this bunch before and it is always a joy. These kids may never play as well again in their lives (as I know) once they stop studying music but that is a high standard at which to stop. Let us not forget that they are fitting in weekly an evening of orchestra rehearsal, possibly a theory class and equally possibly a chamber music rehearsal, on top of being expected to practise an hour every day (ha ha) and this is on top of school and sports and social life and study. No mean feat. And yet they do it and do it with enthusiasm.. I know, because I was one of those students. Quite simply, I loved this performance and I loved the Tchaikovsky. It is a piece into which they could really sink their teeth (a.k.a. difficult) but they mastered and performed it and held the audience. Some tiny criticisms would be a slight fluffing in one of the trumpet fanfares and in the string section it seemed to be a bit beyond them to shush and let the wind through with a tune in the last movement (yes, strings, occasionally you are the accompaniment, not the tune – amazing isn’t it?), but overall it was an involving and mastered performance. The second half was a different kettle of fish. This was the Cork Premier of Karl Jenkin’s work “The Armed Man: A Mass for Peace”. Opening with “L’homme armé”, a 15thC French song, and closing with “Better is Peace” (quoting Alfred Lord Tennyson), it is “the result of a special millennial commission from the Royal Armouries…” (programme notes). Mr Jenkins has had a wide and varied musical career, covering classical, jazz and other genres. “It’s difficult to think of another composer who could successfully place a muezzin’s call to prayer within a Mass setting and follow it with a Kyrie that quotes both Palestrina and Brazilian drum rhythms. That Karl Jenkins does so with such ease and to such powerful effect is a tribute to his remarkable skill and musical sensitivity” (programme notes). Couldn’t have said it better myself. Funnily enough, and I am ashamed to admit this, but I had never heard of Karl Jenkins before last Sunday, which is hard to credit when you realise that he appears to have gotten everywhere musically speaking – from experimental jazz to classical, from pop commercials to ethnic ecclesiastic, he has composed it all, it seems. But enough about the supremely multi-talented Jenkins – suffice to say, the work is at one and the same time stirring and calming, brutal and utterly sweet, makes you feel hope and despair (but leaves you with hope, which is nice). If you can get a copy, have a listen – it’s worth it. The Fleischmann Choir also had a good night – looked well, sang well, need I say more? I don’t think I will – I’m running out of steam – so I’ll stop. But, just so as you have some idea of what we were listening to, here is the lyric to one of the parts of the Mass: "Torches" (part of the whole work)"The animals scattered in all directions, screaming terrible screams. Many were burning, others were burnt. All were shattered and scattered mindlessly, their eyes bulging. Some hugged their sons, others their fathers and mothers, unable to let them go, and so they died. Others leapt up in their thousands, faces disfigured and were consumed by the fire. Everywhere were bodies squirming on the ground, wings, eyes and paws all burning. They breathed their last as living torches." Oh by the bye, and back to reviewing the audience, may I add one final thing? Absolutely, and under no circumstances, should it be necessary to be eating something which comes in a crinkly wrapper. Ever. Even if you’re diabetic. Quiet foods can be brought instead. And, just so you know, opening a boiled sweet slowly does not make it quieter, it merely prolongs the misery.

The Coronas, live at Cyprus Avenue

The Coronas Cyprus Avenue, Cork Saturday 1st March 2008 Support: Caccade This is the happiest band in the world. Or, at least, they have the happiest lead singer. (My mind kept thinking of Gidgit films, I’m not sure why.) The Meteor Music Best Irish Pop Act Award nominees, the Coronas, arrived on stage to a very appreciative audience, made up predominantly of females, it must be said. At least near the stage. Very well-presented females too. Variously described as Pop or Rock-Indie-Alternative (Wikipedia), I’ll add my own: Anthemic Guitar Pop. This is feel-good music sung by a happy man who loves being on stage with his guitar, or piano, depending, and it is aimed fair and square at the college market. If you are in any doubt about this, just read the lyrics to the chorus of their recent single ‘San Diego Song’: “We sleep all day and drink all night. We are not wasting our time. We refuse to hide. We’re going out tonight.” If that isn’t something with which pretty much every 3rd-level student in the country can identify, I don’t know what is. It was certainly making me feel nostalgic. This was their first gig on an 11-date nationwide tour, culminating in an Olympia Theatre gig in Dublin on April 6th, which, with their recent single “San Diego Song”, the new single “Grace, don’t wait” and last year’s album “Heroes or Ghosts”, will only serve to jack their popularity ever skyward. Their music is infectious and their delivery energy-fuelled. These are guys who seem to love what they do and it shows. Mid-way through the gig, a guest-musician was brought on and vanished into the shadows to play keyboard. In fact, this reviewer, although she heard that someone new was coming on stage, missed the actual entrance and spent the rest of the gig vaguely wondering exactly where the piano sound was coming from. Is it a loop? Is it a pre-recording? No, it’s a hidden artiste! She didn’t even know there was a second keyboard on stage. Lads, the lighting in Cyprus Avenue could be looked at. The singer was occasionally almost completely invisible, with the spot being kept firmly centre-stage, regardless of who was where doing what. The crowd was in good form from the word go, giving the support act a very warm reception (mind you, they did deserve it) and carrying this right through the wonderfully bouncy set from the Coronas, even to the point of forcing another chorus from the famèd San Diego Song, singing on after the band had stopped – always a take-home moment in any gig. So, Westlife won their 8th consecutive Meteor Music Award for Best Irish Pop Act… The Coronas Danny O’Reilly Conor Egan Graham Knox Dave McPhillips

Ladydoll - E.P. Launch - 'Wax Lyrical'

Ladydoll

EP launch – ‘Wax Lyrical’

Crúiscín Lán, Douglas Street

9pm, Tuesday 26^th February 2008

Support: Sea Area Forecast

Holy mother of mercy – if you want to know how to grab an audience, grab a stage, watch and learn, children, watch and learn. Ladydoll have it down. Bass and drum hunched over the drum kit and singer with his own drum at the front of the stage beating the living daylights out of them (rhythmically, naturally, but still…) – it made us stand up and take notice, believe you me.

Opening with ‘Good Times’ and moving through a set including new and old material, the development of the group from white noise to intelligent, constructed rock was apparent.

The current line-up (Ms King is Bass no.2) has been together just over a year and originated in CSN – long live the School of Rock. Their name, the roll-it-around-your-tongue-simply-because-it-feels-nice ‘Ladydoll’ came about because Mr Sedas liked the way the letters looked next to eachother. Seriously.

Talking of Mr Sedas, he is an interesting front man, speaking like Marlon Brando, singing like Placebo and wearing a tailcoat on-stage. He is the start-point of the band and is the lyrical brain. He also appeared to be having least fun on stage. Not being able to see the drummer as he was lurking in shadow throughout, I can’t comment on him but Ms King & Mr Shaw seemed to be thoroughly enjoying themselves. The whole mood, however, lightened visibly during the encore with the pressure of impressing the audience having passed and now it was play-time.

There were some real gems poking through the clutter last night – ‘Charm Alarm’, ‘Punchbag’, ‘Roulette’, Genetics’ and the encore ‘ Give it up’ were all crafted, individual, memorable – some of it headbanging (‘Charm Alarm’), some of it in a more hurdy-gurdy vein (‘Genetics’).

It is very bass-driven music, and not just the bass guitar but the whole range is leaning towards the blood, vibrating through your bones. Despite the heavy influence of early-90s American alternative, their sound, with Mr Sedas’ vocals cutting through like an angle-grinder, is shaping up to be their own.

If I have any complaint about this gig (and that’s a big ‘if’), it’s that the support act was not booted off the stage much earlier. Not having the main band on stage until quarter to eleven (on a schoolnight too – no late bar) is too long of a opening set. And, boys, a word to the wise – there is an unwritten rule that the second time you introduce yourself to the audience means you are wrapping up the set – it does not mean that you go on for another 3 or 4 numbers. That could be called false advertising.

One last point, and back to Ladydoll, the vocal harmonies were good, blended, pinpoint – just not very audible. Pity. Other than that, and I hate to be clichèd about it but, they’re one to watch and if you can catch them live, just go – even if it’s just to see the bit with the drums…. What an opening!

Finn(barr) Sedas – Vocals, guitar, keyboard, drum Nora King – Bass guitar, drum Dave Shaw – Lead guitar Eoin Ryan – Drums

Michael Franti & Spearhead - 'Yell Fire'

So, just picture it. Saturday at the Electric Picnic 2006, it’s a beautiful day (in between the showers), you and your friend are feeling peckish so you get some Mexican food and look around for somewhere not damp to sit and right in front of you is a picnic table with one person at it who just happens to be a tall, be-dreaded, chocolate-skinned beauty who is quite happy to share his table and chat for a while. And, as you’re walking away with your friend, you are beginning to think, “You know…I don’t think he’s just Michael from San Francisco” and your friend is thinking the same, so when you get home after the weekend, you do a web search and lo! and behold! you had lunch with Michael Franti, world-renowned musician and human rights activist, winner at the Sundance Film Festival. Flippin’ heck! No wonder he laughed when you asked him whether he filmed weddings.

Anyway, such was my introduction to Mr Franti and Spearhead. Well, reintroduction really, as who could forget the fantastic, albeit brief, Disposable Heroes of Hiphoprisy? Well, after another quick web search, I am now the proud owner of his film ‘I know I’m not alone’ and the associated CD ‘Yell Fire’ and bloody good they are too. I am also a veteran of his live presence, having gone to see him shortly after Stradbally (not having known who he was AT the Picnic, I hardly managed to catch his act then, now, did I?) when he played Dublin that autumn. Boy, can he hold a stage! And he is unfazed by the weird and wonderful, such as when two guys jumped on stage and started dancing around and singing along (which was actually hilarious, not least Mr Franti’s baffled but very bemused indulgence).

Right now, I’m listening to ‘Yell Fire’. This goes hand-in-hand with the film ‘I know…’, which he made during a trip to Iraq to meet the ordinary, everyday Joe Soaps, the civilians caught in the middle, and show what their lives are like now and the conditions in which they are forced to live as a result of the fighting. It’s a lovely, natural film, following him as he meets and greets though busking on the street, having music sessions in people’s homes – it’s a real eye-opener. The album expresses that same mix of joie-de-vivre and righteous fury. Remember – this is a man who has eschewed the wearing shoes since 2000 as an anti-poverty protest. (He was trying to empathise, as opposed to sympathise, with those who cannot afford shoes.)

The base of Spearhead’s sound is reggae and this filters through they whole album, especially on tracks such as ‘Time to go home’, ‘Hello Bonjour’ and the eponymous ‘Yell Fire’. There are also occasionally slightly funky and rocky elements (such as ‘Everybody ona move’) incorporated, which results musically in an album which works equally as well as background noise as it does on very close inspection, which really works for me as I am not a big reggae fan as a rule.

The abhorrence of war and human rights violations pervades all though – even gentle love songs aren’t excused:

“Tell me that the rain won’t fall today, Tell me that the taxman lost his way, Tell me that the hurting pain don’t hurt no more, Tell me that somebody stopped the war, Tell me lies, lies, lies, sweet little lies, when I cannot bear the truth, Tell me lies, lies, lies, help me make them all come true.”

from: Sweet Little Lies

He pursues a simple and ruthless logic in his lyrics, arguing points that are hard to argue due to that very simplicity. He appears to have a black and white viewpoint when it comes to the idea that people should live and be allowed to live in peace with themselves and eachother – it appears to be very much a ‘just get on with it’ attitude towards governments and other bodies that come up with excuses for the continuing existences of war and poverty.

“You say you’re a Christian ‘coz God made you? You say you’re a Muslim ‘coz God made you? You say you’re a Hindu and the next man Jew and we all kill eachother because God told us too? No!”

from: Hello Bonjour

It closes with two tracks ‘Tolerance’ and ‘Is Love Enough?’, which emerge as pleas for clemency and love for your fellow man after a storm of a CD where anger and frustration and exuberance are traded for quiet, gentle-yet-firm hope. ‘Tolerance’ in particular is quite a sea change from what has gone before, opening as it does with just voice, cello and piano, and a slow build up to full strings, percussion et al. ‘Is Love Enough?’ gets back to the reggae feel but retains the gentle urgency of the previous track.

No matter what the music or style, this is a coherent and cohesive work, with the overriding connecting thread being the gorgeous, husky, mellow power that is Mr Franti’s voice.