Thursday, 30 April 2015

Campaigns for lady-pains, voting, and the empowerment of menstruation.

(Disclaimer: non music post)
“Let’s talk about menses.” *gasp* “Did you just say the M word?!” Yes, yes I did. Menstruation. Despite the fact that we are now fully immersed into 2015, arguably the most diverse and liberal year since the years began, there is still taboo about the blood that women naturally produce. Many find the idea of periods “disgusting” or “dirty” and, trust me, for most girls this is exactly how they feel about it too (in other words we don’t need a lecture on how you find our bodily functions gross because we know). However, despite the fact that what’s going down in your knickers is similar to the blood bath between the Crazy 88 and Uma Thurman in ‘Kill Bill vol.1’, it’s not something to be ashamed of. In fact it’s one of the most empowering function a woman has- the power to create another life. Yet as discussed this isn’t how many individuals see it and this is epitomised in the society that we live in.

It has become clear that what happens to women on a monthly schedule and the products that women require at this time are not classed as ‘essential goods’, and recent campaigns show that for women in the UK this is not good enough and nor should it be. The most recent campaign ‘Stop taxing periods. Period.’ is the inevitable cry out of women who are being taxed for blood which they didn’t ask to spill in the first place. This petition highlights that sanitary products are non-essential due to their “luxury” good status, but whether one would call a nappy-like strip taped to a pair of knickers, or cotton wool rolled up inside a lady, luxury is dateable. Unbelievably products such as “helicopters”, “alcoholic jellies” and “exotic meats including crocodile and kangaroo” are classed as “essential” and non-taxable. Having existed now for 18 years I can safely say I survived without a ride in a helicopter or eaten crocodile and kangaroo stew, but I could have not lived five of those years without the “luxury” of sanitary products. Seemingly the government has combined two conflicting sides: an unstoppable natural function and the economically profitable.

In 2001 after campaigns arose the VAT on lady-time products was reduced to 5%, but it still seems baffling that even remains. It’s not as if such products exclusively benefit menstruating females, in fact it benefits society as a whole; not only do they ensure that a woman’s health and private life isn’t jeopardised it also means there isn’t a need for someone to clean blood-soaked rags or where a woman on her lady-time has sat on the bus. To justify such a tax on products which are undeniably essential, despite not considered as such in technical terms in the UK, and ultimately limiting their accessibility seems absolutely effing barmy if you ask me.
  
Arguably, for a woman in the UK the idea that life dependent items are classed as “luxury” makes trusting the current government a hard thing to do (similar to David Cameron finding the abolition of said tax "hard to do"). Speaking of which lets look at some stats from the UK taken in 2010 on the gender difference in Parliament: 78% of political parties were made up of men (Labour, Conservative and Lib Dem) whilst only 22% were women. Although there was an increase in female politicians, to 41% and not forgetting the three female politicians in up coming elections, women remain the minority in the government both in the UK as well as internationally. Although having said that in recent developments, in the UK, labour party deputy leader Harriet Harman is leading the "woman-to-woman" initiative in order to encourage women to vote and abolish the label that voting is a “men only” activity. Yet Harman’s “magenta” mini bus has not gone unscathed from critics: some have labelled the attempt as a ‘gimmick’ and ridiculed for being “patriarchally patronising”. As far as I can agree that their ideal to discuss politics with women around a “kitchen table” is patronising, it’s the determination to encourage women to vote which I can strongly agree with. Furthermore, scrutiny of the colour “magenta” arguably is society’s way of overlooking what’s really important in this campaign: the female vote. Why only last year was the same shade of pink used behind Ed Milliband’s head during a campaign and no one said a dicky bird, on top of that people are quick to accuse the party of sexism but neglect the issue of finding a colour which doesn’t already represent a party or that carries an association elsewhere. Why shouldn’t a party catch the attention of women to vote, it’s undeniably necessary in this particular subject matter and it’s also a waste of our female ancestor’s efforts to gain us women the vote, let’s not abuse it.

But it’s not only the physical health that is increasingly worrying in regards to the subject, it’s the effect that the taxation on sanitary goods and the pessimistic view which surrounds a woman’s monthly schedule has on the psychology of our society that’s distressing. Let’s get real here, it is unfortunately an unpleasant experience for any woman be it the pain it causes to the fatigue it can bring, everyone is different and suffer from different symptoms, or, lucky for some, not at all. But that shouldn’t mean we don’t embrace the process, whether you are a participant or non-participant. It’s difficult to track exactly when the negativity surrounding menses truly began, but it clear that it has existed and reproduced itself for generation after generation. Why only a few years ago did I hear a boy younger than me describe a room of predominantly girls as “smelling of period.” But if we don’t act to eliminate these views, that periods are “catastrophic”, mostly, of those who aren’t even involved in the process then those who do have to endure it will start to believe it too.


Menstruation is an essential part of our society- always has been and undoubtedly always will be- a possible first step in embracing this as fact is by removing the constraints to consume a vital range of products that have been ongoing for decades. Let’s also take steps in acknowledging our suffragette ancestors and ensure that women are having a say in politics, don’t let your vote go to waste, if you haven’t done so already. Whether you menstruate or you don’t, we should agree that it is vital to plug up the taxation of sanitary goods, let the female votes flow and let’s put a bloody stop to negative views surrounding menses. Period.

Sunday, 26 April 2015

Drenge at The Electric Ballroom

Drenge M8
source: www.theguardian.com
In one of the hip-est parts of London, Camden Town, there lies a nook in the wall which contains the Electric Ballroom- a Tardis-esk, rock n roll nightclub that seems like the ideal venue for the grunge trio Drenge. What with its dipped lighting and walls slathered in red, the 'scuzzie' aesthetic sets the perfect tone for a night rife with carnage. The band entered the music scene as a duo emitting enough teenage angst and aggressive witticism to pump out sounds that echo bands such as the grunge pioneers Melvin, the naughties infamous Milburn, and fellow duo Bass Drum of Death. The band released their first self titled album, 'Drenge', back in 2013 establishing themsleves as a band renowned for aural chaos and the rage-y pummelling of drums. In more recent developments the Loveless brothers have joined with bassist Rob Graham, refining their sound whilst keeping their feet firmly in grunge roots. This progression is materialised within their newest release 'Undertow', which catalysed their latest tour.

As a gig venue The Electric Ballroom is one to note down for generations, not to be hyperbolic. Its history and notoriety is formed on the back of rock musicians and their fans, with the likes of The Cramps, The Virgin Prunes and more recently Royal Blood performing there its popularity comes as no surprise. With a variety of standing options, even balcony window frames, its a great venue for any kind o' gig goer.

Big Deal.
source: www.hitthefloor.com
If you arrived fashionably late to the venue, never fear, there was still a chance to claim a space amongst the soon-to-be unruly crowd and would have made it just in time to see warm up band Big Deal. Big Deal are known officially as a duo, comprised of Kacey Underwood and Alice Costelloe, and what with two albums successfully under their belt the band have secured a reputation to be "more grunge than gooey". What with equal male to female ratio of band members (initially just a duo and now a quartet) and armed with fuzz tones for days it came as no surprise they put on an enjoyable show, complimenting the sounds that were soon to follow.

Crowd chaos.
source: www.gigwise.com
With the temperature of the crowd already rising- due to sheer capacity- Drenge's entrance on stage couldn't have come sooner. They Kicked off the night with Running Wild, which did in fact make crowd go 'wild' (I'm sure they would have run too given half the chance), transforming the crowd into a sea of failing limbs and catalysing the first shower of beer. The trio stormed through an impressive sixteen song set list made up of old and new, including faves I Wanna Break You In Half, Gun Crazy and Bloodsports, as well as new crowd pleasers The Snake and Never Awake. The theme of night seemed to embody the band's recent hit We Can Do What We Want, whereby the crowd thrived on aggression, ignored all the rules, and relentlessly gave each other a good old mosh bollocking. After bloodthirsty periods within the mosh and circle pits, slower tracks were much appreciated and thankfully received with a hearty howl-a-long to such songs as Fuckabout and the finale Let's Pretend.

Despite the minimal crowd interaction, the band's rebellious persona didn't go unnoticed, however nor was it scrutinised, rather the crowd merely embraced their presence, no doubt, finding their nonchalant attitude relatable. When attending a Drenge gig you should expect a night of (very enjoyable) pandemonium, to leave with a shirt dripping with sweat and a few souvenir bruises, and maybe feeling as though you've been broken in half.

Go find them:        https://bigdealmusic.bandpage.com
                     https://twitter.com/drenge
                     https://www.facebook.com/drengeboys
                     https://soundcloud.com/drenge


Thursday, 16 April 2015

We'll Light the Sky EP by Lyonn

If like me you've never heard of Lyonn well get listening. This Californian duo are coming at you with haunting vocals and tunes for the perfect come down. What with an EP, 'Promenade', already under his belt solo artist Tyler Gurlard made the decision to combine with songwriter/producer Attila Yavuzer to form what Lyonn is today, embodying the classic Spice Girls lyric "when two become one". Excitingly, since these two have become one, they have, only this month, released their first EP together: 'We'll Light the Sky'. After receiving an invitation to listen to the EP it only seemed fit to write about the contents of this fresh release.

It has been said that the duo fall into the alternative pop genre and what you find within the EP certainly expresses this kind of interpretation. The first song Empty Bed kicks the EP off with oscillating guitar chords and well timed crashing of cymbals. Arguably the song sets the tone for the rest of the EP enabling listeners to expect a somewhat uplifting pop-vibe to run throughout the four songs. 

The second song starts off with more pop-py tones and seemingly listener predictions ring true- what with the influx of 'jangly' sounds radiating from the start. However, once the wispy, polished, vocals begin it seems to take a different, more soulful approach. The lyrics are complimented with calming yet crashing sounds, which you'd expect to here from such bands as The 1975 or The Neighbourhood. There is a certain expectation for a titular song of an EP to be the most prominent, and I can agree that this song meets such an expectation.

On to the third song Shining Eyes, which begins with heavy guitars once again breaking listener predictions (keeping listeners on their toes). However, don't be discouraged as some upbeats synths and lavish keys soon follow, complimenting the style of the first number. One thing that stands out about this song, amongst the others, is how fast paced it is; reaching lyrical climaxes far quicker than the rest. What with it's staccato rhythm it's definitely one to move to.

We now come to the fourth and final song, titled Iceburg, taking a much more calming direction. Its building piano, from the start, gives it a suspenseful edge and climatic end, which is successfully combined with weighty lyrics making for a good crescendo. The much more meaningful approach seems like a fitting end to an emotionally charged EP.

Despite there only being four songs on this new released (duh it's an EP) the duo have managed to cover a lot of ground, musically of course. Well crafted and impressively mixed, the EP is full of alternative pop goodness. Although the genre isn't really my thing I can completely admire the hard work and appreciate how beautifully put together the EP is. So whether it is your thang or not Lyonn are definitely worth checking out, and with their sweeeeet sounds and chilled vibes their name is sure to be spread about.

Go find them here: https://twitter.com/LyonnTweets 
                   https://soundcloud.com/lyonnmusic

Monday, 13 April 2015

A night of Shame at The Windmill

Within the depths of Brixton there is a hidden gem that is The Windmill, in which a quintet of 18 year olds, Shame, stick a middle finger up to those who say "grunge is dead" with their performance full of rage, riffs and rebellion. Despite the fact the group haven't even finished college yet their performance track history is pretty impressive: having already supported the increasingly popular Fat White Family to up coming events with YAK (and much more). Not yet signed, the band have self-released two demos on SoundCloud and it's clear that they have received sensational feedback from moshing crowds and fans who attempt to learn the lyrics on the night. Their performance at The Windmill with bands Sleaze, Haydn and The Normals, and Night Games, followed suit. 

The saying 'never judge a book' is important to keep in mind on arrival to The Windmill. The venue itself is tucked away and from the outside could be mistaken for anything but a pub. However, once inside its treasure trove factor instantaneously becomes clear. What with its walls smothered in psychedelic paintings, the bar draped in stickers and a garden lit by fairy lights it's easy to see how beloved and full of memories the pub is. Having already performed in The Windmill before, Shame seemingly have some notoriety within the venue; with many of the crowd coming to support the band, as well as VIP guests Chilli Jesson and Lias Saoudi.

Shame.
    (courtesy of Salvatore Lanzarone)
Despite running a little late, the band set the stage with haste and were on within minutes. As the band began their set a crowd surrounded the stage with a mosh pit at its core. What with songs to "make you groove", lyrics to inspire anarchy, and riffs you'd expect to hear from such classic bands as The Cramps and The A-bones, it's no surprise they put on a show where the speaker nearly collapsed and the guitarist was electrocuted. Regardless of the technical difficulties the band powered through, performing their demos Repo Man and Furry Freaks, as well as new music, which got the Lias-Saoudi-head-bang seal of approval.

By the end of the performance the crowd had grown in chaos and size, the lead singer was shirtless, and smell of sweat and beer lingered in the air. With all this in mind, as well as hearing snippets of other bands, its fair to say the night was thoroughly enjoyable and anything but shameful.

Watch this space:  https://soundcloud.com/shamebanduk
                   https://twitter.com/shamebanduk
                   https://www.facebook.com/shamebanduk

Tuesday, 10 March 2015

NME Music Awards Tour at The Forum

The notorious Brit, music mag NME recently held their annual award tour, which ended on the 4th of March. The tour itself has been running for 20 years, and is renowned for promoting such bands as Arctic Monkeys, The Killers, Florence and The Machine and, more recently, Royal Blood- who have broken into the mainstream. This year was no exception to the epic scale line-up. What with the likes of Slaves, Fat White Family and Palma Violets there was a conspicuous necessity for anarchy within this years tour. Despite the tour's loss of the Glaswegian ruffians, The Amazing Snakeheads, the rowdiness of the gig still continued at full force.

It didn't take long for the stalls of The Forum to fill up with turbulent teenagers. The tension to mosh and go wild built even before the bands entered stage, and scoring the best spot was the aim for all of those involved. The mayhem that was to come was instantaneously matched by the unruly crowd.

Having been to The Forum before I expected a brilliant performance with the chance to get a good view no matter where you stand. The spot my friends and I managed to score was a row from the barrier, giving us the opportunity to join in the moshing madness whilst having much needed stability (avoiding the super awkward fallings over).

The Wytches
source: www.thegurdian.com
Due to the recent spilt of The Amazing Snakeheads, their departure from the tour was inevitable. To replace the rough and loud Glaswegianers was the equally as loud trio The Wytches. Although the threesome have some notoriety in the indie scene, they weren't particularly to my taste. The Wytches entered the stage with draping hair, a 'don't care attitude' and guitar riffs for days. However despite providing a performance which catalysed the first serge of sweaty bodies  and the forming of mosh circles, the band marjorly lacked in crowd interaction- maybe that's their thing but without a doubt it caused the audience to loose interest. They ended the performance with a petite "thank you" and a guitar shred literally on the speaker- very rock and roll.

Slaves
source: www.amusicblogyea.com
The next on were two lads from Kent, Slaves. The British two piece from Tunbridge Wells, formed in 2012, are signed to Major record label Virgin EMI. Their popularity peaked after the release of their EP Sugar Coated Bitter Truth along with the release of numerous singles, following this the duo has performed on Jools Holland as well as being nominated for BBC Sound of 2015. Arriving on stage in matching black shirt and trousers,the pair soon became dishevelled and finally shirtless. The duo stormed through their set-list with mercilessness enthusiasm. They're set-list comprised of hits such as Hunter, Feed The Mantaray and Where's Your Car Debbie, as well as brief introductory tales of each song. What with Isaac Holman's ruthless beating of his drum kit accompanied by Laurie Vincent's relentless guitar shreds, combined with raw lyrics attacking social observations and demanding revolution ("Don't trust the flies, they're government spies"), Slaves provide a show that is a breeding ground for rebellion.

Fat White Family
source: www.telegraph.co.uk
Following Slaves were the infamous grubby guys extracted from the depths of Brixton: Fat White Family. Having claimed fame through their outrageous antics (from lead singer Lias Saoudi both exposing and fondling himself on stage to the throwing pigs heads at the audience) and the release of  their brilliantly hypnotic album Champagne Holocaust, witnessing their music live is an unmissable experience. The sextet entered the stage with characteristic style, from Lias' nude top half to guitarist Saul's cowboy-like suit and hat, and effortlessly powered through the set-list- which was made with surrealist intentions and the desire for it to be endless. The band performed the compelling tracks Touch The Leather, Auto Neutron and Cream Of The Young, full of both filthy and satirical lyrics. When witnessing Fat White Family perform live it is easy to see just how mesmerising the band are. The combination of kaleidoscopic tracks and magnetising dance moves disillusions the "revolting" attributes of the band and allows the crowd to view them only as, much needed, avant-garde realists attacking political beliefs and societal norms.

Palma Violets
source: www.valerioberdini.photoshelter.com
The final performance and head-liner of the night was the undoubtedly brilliant Palma Violets. Having been popular on the music scene since 2012, with their first single 'Best of Friends' voted NME's song of the year 2012 and having already toured with the NME Awards Tour, Palma Violets are the indisputable 'oldies' of this particular show. However, their music is anything but 'old'; smashing through a 13 song set-list comprised of the classics Best of Friends, Chicken Dippers and Rattlesnake Highway as well as new stuff (Danger In The Club and Girl You Couldn't Do Much Better) the crowd was immersed in the music throughout. The Failing limbs of the crowd embodied the band's musical presentation of mayhem. Whilst performing, the band made essential connectivity with the crowd, as well as endearingly knocking each other around on stage. Mid-way through the performance co-front man and bassist Chilli Jesson told the crowd it was "good to be back on home turf". The crowd-surfing and raw-throated sing-a-longs was most definitely the crowd's way of showing that they were just as overjoyed to have the band on "home turf". With the upcoming release of the band's second album this tour arguably will integral to its success: by not letting their name disappear in the midst of new acts and reminding fans just how sensational Palma Violets are.

Despite having to share personal space with fellow fans (who ended up smelling not too fresh), being head butted by an over enthusiastic teen and being accidentally touched by way more than five sweaty fingers, the unhinged, passion filled performances made the circumstances well worth enduring. The night was one of those performances you won't forget in a while, that created a crowd jumping jolly until the end. 

Thursday, 29 January 2015

Die Antwoord at Brixton Academy

Die Antwoord.
source: www.fanpop.com
Although the saying "Sleep, Eat, Rave, Repeat" is terribly generic, this how the members of South-African rap-rave group, Die Antwoord, truly live. Having released three albums since 2008, $O$,Ten$ion and most recently Donker Mag, Die Antwoord's name has seemingly become widespread and is well known enough to perform at Reading Festival as well as selling out the O2 Academy Brixton both in 2014 and (now) 2015 in the UK. The rap-rave group is formed of a trio consisting of Yolandi Vi$$er and Ninja on lyrics and DJ Hi Tek, who does as the name suggests and drops the beat. They are most prominently known for their outrageous "Zef-Style" (which is defined by Yolandi as "you're poor but you're fancy") and bringing a witty pastiche of art, music and costume, which ultimately leaves many wondering whether they're a parody of a band. Regardless, the group are currently embarking on their "Fuck da World Tour" hot off the heels of their most recently released (critically acclaimed) album Donker Mag and one shouldn't expect any less than a night of epic showmanship, Ninja's naked bottom and a small Yolandi jumping full force around the stage.

The Brixton Academy was as usual on top form for a gig venue and on arrival was jam packed with the most diverse fan base I have ever experienced, which was both refreshing and exposed just how many different people truly enjoy the group. Moreover, despite being stuck in the cloak- room queue for over half an hour we still secured a spot in the second row.

DJ Jackmaster.
source: www.inthemix.com
Before Die Antwoord came on the crowd was greeted by a lone man (DJ Jackmaster)  and a mixing deck. Behind him stood a black, ambiguous curtain discreetly hiding the the main staging. It has been said that it is "the element of surprise" that is crucial for Jackmaster's set. His mixing of beats and bassy tunes flowed from his fingertips and he seemed to instinctively know what sounds go where and what the audience wanted to hear. Which ultimately formed an enjoyable show, regardless of feeling as though the bass drop may make your brain explode- referring to Saturday Night Live digital short which is how I imagine the crowd looked during his performance. If dance music with a few twists is your thang then check out Jackmaster's music, it's also worth checking out the video I was referring to in order to know what to expect from his performance.

O2 Academy Brixton
Once Jackmaster had left the stage the lights went down leaving the crowd cheering in suspense and draped in UV lights. The curtain dropped to reveal a stage covered in Die Antwoord's classic, black and white drawings, followed by smoke pouring out of the seams. A projection was then played of the much loved friend of the trio Leon Botha, who sadly died in 2011, as a tribute to him from the band. DJ Hi Tek then entered the stage in his typical warped face mask and took his place at the decks; opening the show, in complete contrast to the touching projection, with "DJ Hi Tek will fuck you in the ass". Word of advice: don't bring your parents. Instantaneously followed by Yolandi and Ninja covered in neon orange tracksuits. They began the performance with the hit Fok Julle Naaires, catalysing the synthesis of people to echo the crude lyrics as well as a unified crowd bob. The trio went on to perform the twenty song set list, comprised of crowd pleasing hits, such as: Baby's on Fire, Wat Kyk Jy?, Ugly Boy and Fatty Boom Boom (as well as others).

Blurry with excitement- Die Antwoord.
Whilst blasting through the set list here are some things from Die Antwoord you should expect: 1) nudity- although they may enter the stage fully dressed soon enough you are guaranteed to see DJ Hi Tek's bare chest, Yolandi in booty shorts and crop top and Ninja in the notorious Pink Flyod boxers (and if you're lucky a view of his bare bottom). 2) Epic dances- as well as having two of their own dancers (Tarryn TNT and Lafayette Bless) Die Antwoord also perform choreographed dance rountines throughout. 3) Stage Diving- whilst Yolandi bounces across the stage, delivering high pitched and speedy lyrics, Ninja dives into the arms of screaming fans. Not only that but he was attentive to all sides of the stage, making sure that even the edges got a touch of Ninjie.

Whether you're a fan or not , whether you understand them or not, it safe to stay Die Antwoord know how to perform. It was a performance which immersed the crowd into the most ridiculous, outlandish world, in the best way possible. What with the rave visuals and "is it real?" factor it is easy to see that their fans fink they're freeky and they're liked a lot.

Video mentioned above: https://www.youtube.com/watch?v=XCawU6BE8P8

Monday, 22 December 2014

Ben Howard at Brixton Academy

I Forget Where We Were
Source: www.O2academybrixton.co.uk
Ben Howard is an artist who's name is not easily lost in the 'indie-folk' music scene, nor is he easily forgotten in the three year gap between albums. Howard's humble beginnings start back in 2008 when he self-released his first EP Games in The Dark followed by two more EPs in 2009-2010. He then was signed by the mighty record label that it is Communion and released his debut album Every Kingdom. Despite not churning out his second album hot on the heels of the first, he kept his fans entertained by releasing two more EPs. When I Forget Where We Were was finally released in 2014, after teasing fans by playing new content live and releasing songs 'I Forget Where We Were' and 'Conrad', it received much appreciation and the dose of Ben Howard goodness that fans craved; whilst delivering more mournful and soulful content.

Having seen Mr Howard only a season ago it seemed like an age and it was most pleasurable to see him again so soon. Not only that but the O2 Academy Brixton seemed to be a fitting place to go to my first Ben Howard gig, having only seeing him at a festival. Ben himself even claimed: "I don't think there's a better place to play in".


Hiss Golden Messenger
source: http://www.mergerecords.com/
Kicking off the night was the American 'folk' band Hiss Golden Messenger, from the land of North Carolina. The band's debut album Country Hai East Cotton was first released in 2009 limited to only 500 copies, the following year they released Bad Debt via record company Black Maps. The band released three more albums following the first two, their most recent album Lateness of Dancers was released via Merge record label (who they are now signed to) in 2014. They are labelled as a duo, consisting of M.C. Taylor and Scott Hirsch, despite this they arrived on stage with two extra players which on their Facebook page they have titled "pals". Having seen Hiss Golden Messenger, in the summer also, I anticipated a performance of good old rhythm and blues with folk chords to sink your teeth into- which they delivered. Their performance was intense and enthused, expressing their North Carolina blues background, giving the audience songs to "dance to". It was a thoroughly enjoyable performance and they looked like they enjoyed it too. 

When Ben Howard and his legendary four piece band entered the stage the atmosphere grew with anticipation. As the lights progressively rose Ben began to strum the first mesmerising chords of 'Small Things'. As the band flowed through the set-list, Ben's nimble fingers effortlessly plucking out near faultless harmonies accompanied by the virtuosity of his band (as well as the lights and screens surrounding them), the experience truly immersed and captivated the audience. The new works from I Forget Where We Were filled the set-list with marathon long compositions exposing his desire to perform music on a grand scale. Much to the audience's delight, Howard still performed classic favourites Black Flies, The Fear, Gracious and the oldest Oats in the Water, despite this the audience began to chant the riff of Wolves to which he replied "Yeah we did that one". Thankfully all was not harmed as the audience seemed to accept that although there was no opportunity to cascade into a sing-along to Keep your Head Up or Old Pine he set out to play new music and that's certainly what he delivered.


Ben Howard
source: www.gigwise.com

Howard ended the night with End of the Affair which was seemingly appropriate given that it was the first song that was released off of the new album and it was the end of an affair that left the audience running 'round in love with Ben Howard again-if not already