Montreux Lineup 2025

  Divine Comedy Back in ‘25!

  DOWNLOAD 2025

  The Damn Truth UK Tour

  David Gray’s New LP & Tour

  Trump’s Winning Ways…?

  Martha Wainwright’s Debut LP

  Roger Waters on Amused To Death

  Trump, Drunk On Power

  Apartheid and Beyond…

  David Ford Live in ‘25

  My Favourite Records

  In Dreams…

  Coheed & Cambria New LP & Tour

  Young Knives New LP & UK Tour

  Elliot Minor Back In 2025

  Emily Barker LP & 2025 UK Tour

  Political Inhumanity

  Record Reviews

  Ani DiFranco 2025 Tour

  “Let Right Be Done”

  Farah Nabulsi Filmmaker

  G3 Reunion Live LP in ‘25

  IS THIS IT?

  Larkin Poe Live in ‘25 + New LP

  Laura Marling New Record Out Now

  Rise Against 2025 Tour

  Rag ‘N’ Bone Man New LP & Tour

  The Middle East Crisis

  Ezra Collective New LP & Tour

  Leif Vollebekk New, Great LP

  Stick In The Wheel Returns

  SO, WHAT’S CHANGED?

  “They’re American Planes…”

  Olive Tree By Olive Tree…

  Ani Di Franco In Conversation

  Gemma Hayes Returns

  Remembering Thomas Hoepker

  Joe Bonamassa Live in 25

  On Misinformation

  Joan As Police Woman LP

  Politics - Who To Trust?

  The 76 Year Catastrophe

  Black Country Communion Back!

  Within Temptation Live Recordings

  Beth Gibbons New Solo LP

  Politics Is Failing

  Ani DiFranco New LP

  Pink Floyd’s Animals Remix

  SHIT FLOATS

  Seasick Steve Alive & Kickin’

  “My country, right or wrong…”

  Heart Announce Live Tours

  Anais Mitchell HADESTOWN Returns

  The Photographer’s Selection

  Gaza Nightmare Continues

  Princess Goes COME OF AGE

  Philip ‘Seth’ Campbell Live

  This Troubled World

  Dark Side Of The Moon 50th

  The More I Hear The Less I Know

  Great Albums: Fresh New Life

  Hozier’s New Album

  Nicole Atkins Jim Sclavunos Live

  SBT (Sarabeth Tucek) Live

  I’m As Angry As Hell!

  Magnum - A Year in Ukraine

  Alessandra Sanguinetti Interview

  The Damn Truth Live

  Newton Faulkner Live

  The Handsome Family Live

  The State We’re In Pt II

  Eric Gales Live

  The Cavalry Never Arrived

  Chvrches Live

  Andrés Peña Flamenco Star Live

  Paul Draper Live

  A Fly-Free Zone

  Liverpool Jazz Festival

  The Charlatans Live

  UK Democracy Threatened

  Rag’n'Bone Man Live

  Sea Girls Live

  Martha Wainwright Live

  Politics is Failing

  Lucy Kruger TRANSIT TAPES

  Joe Bonamassa Live!

  Rodrigo Y Gabriela Interview

  Music & Brexit

  Happy New Year?

  On Barbra Streisand

  The State We’re In…

  Welcome Back! But To What?

  What Have We Done?

  A RISK TOO FAR

  Photojournalism Hero

  Samantha Fish Live

  Gill Landry Live in Chester

  Noah Gundersen Live

  David Gilmour’s Interview

  Snow Patrol Live in Manchester

  New Model Army Live

  Shakespears Sister Live

  Lamb Live in Manchester

  The Struts Live

  Sting & Shaggy Live

  David Gray Live in Liverpool

  John Lennon Interview


Freya Beer’s Debut LP

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Freya Beer BEAST. Sisterhood Records

Freya Beer on BEAST:

With most of my songs I always take inspiration lyrically from film story plots that I’ve interpreted into my own personal experiences. The songs of BEAST all have elements of empowerment with a gothic undertone. The album takes you on a journey, right from the opening track (’Beast’) that follows through a euphoric dream of a devilish figure to the closing track of ‘Putting It To The Test’.

The opener, ‘Beast’, sets the scene for an album that is distinctive, mature, adventurous but highly accessible. The song offers a powerful melody with lyrics that point to an introspective and intelligent writer: “Don’t walk away when I’m talking to you/Heaven sends their regards to this dangerous love you’ve got me into/A sudden feeling migrates me/An unknown force begins to leave my body god I feel so free/So free.” Beer’s voice offers nothing special but it perfectly matches the rather cold, contemplative and personal messages conveyed. It’s a good start to this record.

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‘The Calm Before The Storm’ showcases the lady’s surprisingly wide vocal range and her ability to express each song’s message. Again there’s a strong melody but this time allied to a pounding rhythm that screams ‘dance me’! ‘Forget Me’ forges ahead in military style while ‘Secret Garden’ transmits a more softer and dreamy tone but with a backdrop of crashing drums. It’s a slow, deathly and dark song and one of my favourites here.

‘Arms Open Wide’ underlines the rock underbelly to Beer’s songs and performances. Beer seems to be having a conversation here with subject matter couldn’t be more relevant: some cruel male treatment of women. It’s melodramatic and novel. ‘Dear Sweet Rosie’ is another favourite with its stuttered style, talking vocal, strong melody and strong hooks.

Every track here offers something different, truthful and very powerful, with poetic lyrics and a style of vocal delivery that convinces. It’s diverse in pace, and an impressive, bold debut that deserves airtime for several of its songs.

4/5

https://m.media-amazon.com/images/I/81zw01LjZIL._SS500_.jpg

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Biography

Freya Beer is a singer-songwriter from West London. Inspired by art and literature, alternative fashion and music, Freya distils her disparate influences through a gothic soul and free spirit. Sparking a wave of attention with her self-released debut single ‘Bike Boy’ in 2018, its immediate follow-up ‘Six Months’ saw Beer earn a BBC Live Lounge Session and a feature on Tom Robinson’s BBC Radio show.

Beer launched her own label Sisterhood Records in 2019 as a vehicle to further her creativity. In February 2020 she released the single ‘Dear Sweet Rosie’, a track recorded in Manchester with accompaniment by I Am Kloot’s Andy Hargreaves on sonic drums. Drawing on her literary influences like Allen Ginsberg’s ‘An Asphodel’ and Anna Sewell’s ‘Black Beauty’, the track went on to receive further support on the BBC 6 and many favourable reviews.

Revealing her many shades with a series of exquisite cover versions throughout the year, Freya bookended 2020 with the acclaimed single ‘Arms Open Wide’. Loosely inspired by the chilling atmospheres of ‘Tubular Bells’, the track saw Freya earn further radio support. The latest addition to her canon, ‘Siren’ is a fine case in point. An intoxicating brew of lyrical incantations and artful mystique, paired with arrangements of strong intensity. Taking its title from the J.W. Waterhouse masterpiece The Siren, Beer’s single finds her re-appropriating the feathered flare of 70s era glam in her own shadow.

Discovering new audiences and in-turn more about herself as an artist throughout the year, these creative experiences provided a powerful stimulus in finalising her debut album: BEAST. Completed between London and Manchester, the record has recently been released via her own Sisterhood Records. To coincide with the album release, Beer has a major UK tour planned for November this year. Shows include venues in London, Manchester, Bristol, Birmingham, and Glasgow, as well as a show at Southampton’s 1865.

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LIVE DATES

Wednesday 10th November - The Lanes, Bristol
Friday 12th November - The Sunflower Lounge, Birmingham
Saturday 13th November - Jimmy’s, Liverpool
Tuesday 16th November - Paper Dress Vintage, London
Saturday 20th November - Headrow House, Leeds
Sunday 21st November - Night & Day Cafe, Manchester
Tuesday 23rd November - Bobiks, Newcastle
Wednesday 24th November - Hug & Pint, Glasgow
Thursday 25th November - Sneaky Pete’s, Edinburgh
Saturday 27th November - Old School House, Barnsley

Thursday 2nd December - Music Hall, Ramsgate
Friday 3rd December - Hope & Ruin, Brighton
Sunday 5th December - The 1865, Southampton

Tickets on sale now at: https://www.freyabeer.com/

http://hyperurl.co/beastfreyabeer
https://www.freyabeer.com/
http://officialmerchandise.store/collections/freya-beer


Dave Grohl STORYTELLER

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Dave Grohl THE STORYTELLER. Simon & Schuster (UK) Ltd

OK, I admit it. I love David Grohl and although much of his Foo Fighters work has a very clear purpose to sell big numbers and keep millions reassured that “real” music can still be popular - I love pretty much everything else he has ever done. His TV work is binge-worthy, particularly Sonic Highways, which to this day still spawned the best Foo Fighters album in my opinion, the Sound City documentary, and most recently What Drives Us, which coincidentally previews some of the best parts of The Storyteller as he pays tribute to the old Dodge van which carried him on his earliest touring adventures. The albums with Queens of the Stone Age, Them Crooked Vultures and Tenacious D are all great fun and exhilarating in their own very special ways. But probably the most interesting thing he has ever done musically (other than change the world with Nirvana!) is Probot, a supernatural death metal feast featuring many of his idols he so affectionately includes in the book, but this masterpiece doesn’t make the cut and is, surprisingly, not featured here. So disclaimer out of the way…

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We start with the usual sentimental recollections to wade through and some jumping around the timeline to perhaps make you realise just how famous David Grohl is going to become. But actually it feels like this is just a bit of filler to get us to the really interesting stuff. By the time he has somehow found himself drumming with the Washington punk scene stalwarts Scream, things get interesting. It is these years which are without doubt the most engaging part of the story and weirdly is also the point when the writing stops sounding like a teenager trying to sound romantic with far too many thesaurus inspired analogies! Strange that sometimes even in a book, which will have been edited over and over again, that the author sometimes takes a few chapters to become comfortable in their own voice and begin to just be themselves.

As we move long he inevitably mentions using drugs as an example that it is the people who want to push the boundaries over the edge who end up as addicts of certain drugs, while others use them without ever falling off the cliff - that ability to know when to stop the ride may well be what has kept him going. I don’t think it is unfair to say that since David Grohl reached the summit of the music world with Nirvana, he has taken the safer road to stay on the mountain. Of course he had to work damn hard to get Foo Fighters up and running, but was it really in any doubt that it wasn’t going to work, particularly when you have the luxury of chopping and changing personnel to get the very best team together to deliver? When you also uncover that he pretty much had his pick of established music legends to become the permanent drummer for, you realise that there was never any real risk to him living a very healthy and prosperous life as a musician. It does make the post Nirvana story feel a little safe and less gripping than the early days when even a flat tyre would have been catastrophic. It is so often the case that when people reach the pinnacle as he has that they search for a more impactful and human reason to their lives, often dipping in to activism, politics or letting their artistry go wild. Grohl has never really done this to any great extent other than the odd protest concert or meeting President Obama, and it is probably one of the reasons The Storyteller becomes a little predictable after he has already conquered the world.

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On a couple of occasions it does risk becoming simply a series of celebrity laced anecdotes rather than fully formed stories with life lessons and insights the reader would not have already have expected from the world’s biggest rock star for over a decade. The best example being that as a kid he found himself playing with Iggy Pop, fascinating evidence that Grohl’s hard work did in fact make him very lucky indeed! Less fascinating is that Tom Petty asked the drummer from Nirvana to be in his band or that he once had dinner with Paul McCartney and AC/DC. It is fair to say that Grohl still considers himself a snot nosed punk kid from Virginia and in that respect these things are mind blowing - but he is not and what he seems to not really even understand is that to many of us, to millions of people around the world, David Grohl is our Tom Petty, our Iggy Pop, our Paul McCartney and even our Joan Jett! In twenty years time we will be reading the autobiography of a huge rock star who as a kid was once was invited on stage to play the guitar on Monkey Wrench with the Foo Fighters and we truly will have come full circle. I am not convinced even David Grohl realises just how important he is to so many people and the seeds for the future of music he has planted over the last thirty years, but that in itself is one of the things that has always made him one of the most loved rock stars in the world - work hard, stay humble, take nothing for granted, be kind, be grateful and be lucky! Oh, and have a shit load of fun on the journey!

It does still feel that we are a little robbed of the depth of impact that Nirvana had on him. He does express fairly simplistically that it was beyond troubling and inexplicably difficulty times, and you do wonder if that is a time he just does not want to relive to the required depth, or emotionally he just can’t. As a teenage kid whose life was shaped, driven and electrified by Nirvana, I selfishly wanted to know how it felt when Kurt Cobain showed up in those 12 days of recording NEVERMIND to hear those songs for the first time and what was Grohl’s instinct as a muted songwriter at the time to try and shape them? And how do you get presented with Smells Like Teen Spirit and even begin to work out how to make your instrument sing in the same tune? What about In Utero? To this day one of the most inaccessibly accessible mainstream albums ever made? What about MTV UNPLUGGED? What conversations took place to pick out that most absurd but profoundly perfect setlist? But then again, this is the story of David Grohl by David Grohl, and in that respect you can’t argue that this reader’s selfish need to know about four years in his life is probably superseded by the other 48 years he wants to talk about! There is a moment where he describes the concern from a rep from the company who had supplied the drums for a show in Japan - and carefully explained that he had not destroyed the kit in anger but more in celebration of such a beautifully made thing - this feels like much of the sentiment Grohl has lived by, and particularly how Nirvana was and always had to be - beautiful things sometimes just have to be destroyed in celebration.

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The insights in to his relationships with his kids and how being a father has changed him are not particularly enlightening. Heart warming of course, but as a father to a daughter myself, it isn’t something I found particularly rewarding to be able to say, “yeah I know”! Granted, my daughter’s first piano lesson was not from Paul McCartney and she has never had a bed time story from Joan Jett - but other than that, peas-in-a-pod me and and Dave - dads united!

Ultimately it is of course an interesting read, with more than enough new information and insights in to the life of a 21st century rock star to keep the pages turning. However…and I don’t know how to say this without sounding like a prat, but it is missing the depths of despair that make all great autobiographies the most fascinating. The most real trouble he ever found himself in seems to be being caught drink driving a moped in Australia after a performance at The Big Day Out. His most unhealthy addiction is caffeine. It is the Nirvana years where you feel many of his deepest soul defining experiences would have been formed - and he doesn’t dig deep enough. Often when I read a great musicians autobiography it inspires me to revisit their work. Whether to go and watch or listen to things in the new light shone on them now I know the stories, or just to appreciate the great art that I have just been reading about. But this time, although I have been entertained, I am not totally inspired. Ultimately I think you can conclude one thing from The Storyteller…the harder you work the luckier you get, and David Grohl has spent his life working very hard.

3/5

Daniel Porter

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https://www.youtube.com/watch?v=I3OqQvCClNY

Dave Grohl Biography: https://en.wikipedia.org/wiki/Dave_Grohl

Dave Grohl Discography: https://en.wikipedia.org/wiki/Dave_Grohl_discography

Website: https://www.foofighters.com/

Website: https://www.nirvana.com/


Sea Girls Live

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Sea Girls Live
Liverpool O2 Academy, 15 October, 2021

I have to admit to having some concerns about covering a sell-out show in Liverpool especially since Sea Girls has such a vocal and enthusiastic younger following. With Covid infections on the increase again (45,000 most recently) - second only to the USA currently - and despite by double vaccination, I had to think twice. But being starved of live shows for nearly 2 years and cameras gathering dust I decided to bite-the-bullet. When I arrived at the O2 Academy in Liverpool, the long and winding queue had already formed and was getting longer by the second. When Sea Girls eventually appeared it was clear that the venues capacity of 1,200 had been reached with even the venue’s balconies spilling over.

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Supporting Sea Girls was a 4-piece band from the Isle Of Wight called Coach Party. The band released their debut single ‘Lola’ in 2019. This short track, along with 5 others, all produced in their own studio on the Isle of Wight, has generated interest from the music industry. With further singles following, the 6-track mini-album was released in 2020.

Coach Party is:

Jess Eastwood - vocals, bass
Joe Perry - guitar
Guy Page - drums
Steph Norris - guitar

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I’ve read that the band is classified as an indie or alt rock band but on the evidence of the night’s performance I’d be tempted to go rockier as they sounded distinctly punk - angry, frustrated, loud. Eastwood’s screaming banshee vocal partnered with Page’s dominant and skilful sticks secured audience approval. As the warm-up act for Sea Girls they certainly lifted the temperature nicely with songs of diverse pace and mood. My only criticism (and it’s an important one) is that the band’s sound management over-egged the rhythm section so that the vocals could not be heard.

SETLIST

Lola
Everybody Hates me
Crying Makes Me Tired
Girlfriend
Really OK On My Own
Breakdown
Nirvana
Flag (Feel Like A Girl)
Can’t Talk, Won’t

https://www.coach-party.com/

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I have only ever seen/heard Sea Girls on YouTube and have been impressed with the band’s simple, poetic and intelligent song lyrics in addition to their performance skills. So the night’s show for me is a putting-meat-on-bones exercise, and the first live rock show in nearly two years. By the time the band arrived on stage, the venue was heaving. The four band members was spread out over the large stage and consisted of:

Henry Camamile - vocal
Andrew Noswad - bass
Oli Khan - drums
Rory Young - lead guitar

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In front of a largely very young audience the band opened with a medium-paced and melancholic ‘Call Me Out’ and immediately the fans were singing along. Frontman Camamile was impressive. He possesses a powerful voice that covers the scales and is immensely comfortable connecting with the audience. It all seemed so natural to him. ‘Violet’ with its radio-friendly choruses was next while ‘Closer’ gave the guitar section the opportunity to display some notable riffs. Instrumentally and vocally, Sea Girls proved to be the real deal with enough pop sensibility to guarantee strong radio coverage.

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The band revealed its rock credentials with an exhilarating interpretation of ‘Transplant’ - young angst at its finest. The setlist covered both debut and prospective new record penned for release in January 2022, together with songs from several of their build-up EPs. ‘Ready For More’ was a prime example of the melodic strength of the band’s songs while the encore of slower ballads ‘You Over Anyone’ and ‘Sick’ sealed the deal for me. This young band has legs enough to turn young fans into more mature fans. They have performance capabilities in abundance but more importantly Camamile’s writing places him and the band at the top of the pop/rock band tree right now.

It is unusual to find a capacity audience cheering and singing every song but that is what happened and deservedly so. I loved the diversity of pace and mood of the set which more than proved that this band possesses real depth and durability on an international scale. The inclusion and quality of many new songs in the setlist points to a major charting position next January for the band. What a night!

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SETLIST

Call Me Out
Violet
Closer
Transplant
Hometown
Lie To Me
Forever
Moving On
Do You Really Wanna Know?
Ready For More
Heavenly War
Lonely
Too Much Fun
Damage Done
All I Want To Hear You Say

Encore:
You Over Anyone
Sick

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Scott Matthews Live

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Scott Matthews Live
St Marys Church, Chester
3 October, 2021

Just a couple of days ago my live review and photography work re-started (after a long 19 months when the arts were forced to hibernate) in Liverpool with the distinctive and wonderful singer/songwriter Martha Wainwright. The following Sunday night I thankfully, and conveniently, returned to home territory to witness a performance by folk fan-favoured Brit Scott Matthews at the bijou St Marys Performance Space (a former church) located in Chester city centre. It’s the perfect venue for singer/songwriters with its intimate feel and good acoustic characteristics.

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As soon as I arrived it became clear that Chester music-fans had taken the opportunity to return to live music as the place hummed with a chattering throng, primed and ready with beers to hand. The show opened with a folk singer/songwriter one could imagine at an amateur open-mic night, and not dressed-to-impress. But Charlie McKeon revealed something more during his brief set. My attention was initially grabbed by his delicate, classical styled, acoustic guitar picking which lengthily introduced each of the five songs performed. This was special and happily dominated every song. McKeon proved to be an easy and natural performer endowed with a strong sense of humour as he chatted with the audience.

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During the performance he picked up a sheet of paper and after a brief period of scrutiny and thought asked the audience if they would like to hear song about plums, a song without plums, or a musical song. The crowd loved it, finally being treated to a song about plums! The songs were pleasant, gently sung and openly appreciated by the audience. McKeon is a musician in love with his craft whose aim of entertaining on his own terms succeeded - one couldn’t ask for more.

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Scott Matthews

Scott Matthews is an English singer-songwriter from Wolverhampton, England. His first album PASSING STRANGER was released in 2006 on San Remo Records before being re-released on Island Records later in the year. Janice Long was the first of the BBC DJs to play his music. Soon, tracks from PASSING STRANGER were also being played by Mark Radcliffe and Bob Harris on BBC Radio 2. In April, Scott played sessions on BBC Radio 2 and BBC 6 Music.

Matthews’ first single ‘Elusive’ was released in September. The single received much airplay from BBC Radio. Between 7-10 August, Lowe played ‘Elusive’ once each night as his chosen Single of the Week. Matthews also visited the station to perform this and other songs from the album in May and August 2006. In May 2007, he won the Ivor Novello Award for “Best Song Musically and Lyrically” for ‘Elusive’.

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Matthews has toured the UK extensively in support of his album and appeared in support of the Foo Fighters for their acoustic Skin and Bones concerts around the country in June 2006. Matthews’ second album ELSEWHERE was produced by Matthews and Gavin Monaghan and released on Island Records. His third album, WHAT THE NIGHT DELIVERS, was produced by Jon Cotton.

HOME PART 1 is the fourth studio release from Matthews. The album is the first to be recorded entirely by Matthews in his home studio. WHAT THE NIGHT DELIVERS features guest performances by double bassist Danny Thompson (whom Matthews met whilst performing in Joe Boyd’s stage production of WAY TO BLUE-THE SONGS OF NICK DRAKE) and regular contributing musicians, Sam Martin, Danny Keane and Scott’s brother, Darren Matthews who plays piano on two tracks; ‘The Clearing’ and ‘The Night is Young’.

The album was followed by HOME PART 2 in September 2016, released via Scott’s own label Shedio Records. Tracks include ‘Black Country Boy’, the title of which references the Black Country region of the West Midlands. The album was produced by Scott.

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Review

It’s unusual for me to review a live performance without having heard a single song from the act. But after 19 months of live music hunger it really didn’t matter. However, I did ascertain that Matthews is highly regarded as a singer/songwriter, favoured by both critics and the BBC. He’s also played alongside some musical greats. In sharp contrast to McKeon’s basic equipment, the stage was full of several upright guitars and electronic gear.

Matthews had just released his latest record called NEW SKIN which I have yet to hear so the opportunity to familiarise myself with new songs was welcome. Opening with the slightly older compositions of ‘Virginia’ and ‘Sunlight’ I was struck more by his powerful voice rather than the songs which were pleasant enough but nothing more. I was reminded how just one strong, acutely radio-friendly song can turn fortunes, and there are many examples including one of the most recent, Ed Sheeran.

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For the emotive ‘Eyes Wider Than Before’ Matthews dived into his regiment of guitars to pick what appeared to be a classical styled acoustic. Both playing and vocally the song was one of my picks of the night with its strong melody and lyrics: “Your eyes are wider than before/So little has changed/but your eyes now see much more.” ‘The Light’ followed and the first of his latest batch which arrived with laptop backing and a more bolder modern ballad style.

Matthews played just 4 new songs in a setlist that covered almost his whole back-catalogue. My favourites included the dreamy, electronic soundscape of ‘My Selfless Moon’ which also showcased his wide vocal range and soulful sound, and the more up-tempo ‘Our Time’ with its simple and direct lyrics. My final take on the show was that it offered a diverse range of moods and pace, enough to convince that Matthews is an accomplished and skilled performer. All that was missing was that one breakout tune mainstream enough to smash the airwaves. The audience loved it and so did I.

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Setlist

Virginia
Sunlight
Eyes Wider Than Before
The Light
Something Real
My Selfless Moon
Cinnamon
Mona
City Headache
Our Time
Intruders On Earth
Passing Stranger

New Skin
Beautiful Boy

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Vangelis Juno To Jupiter

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Vangelis JUNO TO JUPITER. Decca

AT THE DAWN OF CONSUMER TRAVEL INTO SPACE, JUNO TO JUPITER IS A MULTI-DIMENSIONAL MUSICAL JOURNEY IMMERSED IN SOUNDS FROM THE COSMOS

THE RECORDING BY VANGELIS FEATURES ANGELA GHEORGHIU, SOPRANO, AS JUNO

CD ALBUM AND DIGITAL OUT NOW VIA DECCA RECORDS

VINYL AND A LIMITED-EDITION BOX SET TO FOLLOW IN 2022

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Decca Records has just released Vangelis’ new album JUNO TO JUPITER. The album is now available on CD and digital formats, with vinyl releasing on 4th February 2022 and a limited-edition box set following on 3rd of June 2022.

The work, inspired by NASA’s ground-breaking mission by the Juno space probe and its ongoing exploration of Jupiter, is a multi-dimensional musical journey featuring the voice of opera superstar Angela Gheorghiu. The album includes sounds from the Juno launch event on earth, from the probe and its surroundings and Juno’s subsequent journey that have been sent back to earth from the probe, which continues to study Jupiter and its moons: 365 million miles away from the earth at its closest point.

The Juno mission, one of NASA’s most challenging and scientifically ambitious planetary missions ever attempted, is named so after Hera (in Roman Juno), who, according to Greek mythology, was the mother of Gods and humans and the wife of Zeus, in Roman Jupiter, who was the father of Gods and humans. In order to hide his mischiefs, Jupiter drew a veil of clouds around himself. However, Hera/Juno was able to peer through the clouds and discover her husband’s activities with her special powers. Similarly, the Juno spacecraft is looking beneath the clouds revealing the planet’s structure and history and how our solar system has been formed.

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‘’I thought to put emphasis on the characteristics of Jupiter/Zeus and Hera/Juno that according to the Greek Theogony, had a special relationship. I felt that I should present Zeus/Jupiter only with sound, as the musical laws transform chaos into harmony, which moves everything and life itself. Unlike, for Hera / Juno, I felt the need for a voice. Angela Gheorghiu, represents in this historical depiction of the mission to the planet Jupiter, Hera / Juno, in a breathtaking way. ” - Vangelis

This July marks the five-year anniversary of the Juno spacecraft’s orbit insertion at Jupiter. Launched in 2011 from Cape Canaveral Air Force Station, Juno arrived at Jupiter on July 4, 2016. Due to its importance the mission that primarily was scheduled to be completed 31st of this July, has been extended by NASA and now Juno will continue exploring the full Jovian system - Jupiter and its moons - until September 2025.

Voices featured on the album, courtesy of NASA, include scientists Randall Faelan (Lockheed Martin, Deep Space Exploration Real-Time Operations Lead), Chris Leeds (Lockheed Martin, Telecom Sr. Engineer), Jennifer Delavan (Lockheed Martin, Spacecraft Systems) and Matt Johnson (Juno Mission Manager, JPL/Caltech).

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Vangelis, a pioneer in electronic music, with his ever-expanding imagination and innovative experimentations, is the one that, as no other, has made the perfect blending between the acoustic and electronic world. His orchestrations for this new album expand once again the horizons of electronic music by blurring the line between it and acoustic symphonic music which culminate in a breath-taking and in the same time soothing musical journey. Vangelis’ characteristic use of synthesizers, bold brass riffs and expansive strings convey a sense of mystery about life beyond our own world and commemorate all those who have dealt and still deal with the observation and the exploration of the stars, the planets and the Universe; and who have dedicated their lives to understanding the final frontier and the secrets of our solar system.

‘’The music of a film is instrumental in the feeling one gets, this idea is clear to all film makers, as the music touches our souls in a way that far surpasses the visual experience. This is the case in so many films that Vangelis has scored and is again true for Juno to Jupiter which provides a new dimension to our connection with nature and humanity’s quest to reach out beyond Earth and touch the part of us that is present throughout the solar system and beyond.” - Dr. Scott Bolton, Juno Mission Principal Investigator

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Martha Wainwright Live

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Martha Wainwright Live in Liverpool
The LOVE WIL BE REBORN Tour

Liverpool Philharmonic, 1 October 2021

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So I’m ‘back on the review/photographing horse’ after nearly two years of forced abstinence through this deadly Covid pandemic. In recent months I’ve pondered on who I’d love to witness live to start galloping again, and then I received Martha Wainwright’s new record LOVE WILL BE REBORN. I was reminded how taken back I was by her eponymous debut LP which still remains one of my favourite records of all time. Then came the invite to her Liverpool show - the last stop on her UK leg of the LOVE WILL BE REBORN tour. And I couldn’t think of a better way to get going again, despite the fact that I don’t make a habit of revisiting live shows from artists - this would be my fourth Martha concert over a period of 15 years. But it was all too tempting - a new and great record, one of today’s finest singer/songwriters and live performers, and back to live!

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I shouldn’t be nervous after all these years of covering live shows, but I am - find a parking space, will the box office have my photo pass? Will my aging carriage survive the Mersey/Birkenhead Tunnel? Is the show lighting going to be viable for shooting? etc., etc., etc. It took 30 minutes to find parking space gold dust and my pass was waiting for me. The Philharmonic is a favourite venue of mine, primarily for the reliable acoustic quality of the place, although photographing has to from the rear of the auditorium, adjacent to the sound and lighting desks. Unlike some venues, staff are friendly, helpful and accommodating so I’m quickly settled in for Martha’s support act, Bernice.

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Bernice is a Canadian indie pop band from Toronto, Ontario, fronted by singer and songwriter Robin Dann. They have twice been long-listed nominees for the Polaris Music Prize, receiving nods at the 2018 Polaris Music Prize for PUFF LP: IN THE AIR WITHOUT A SHAPE and at the 2021 Polaris Music Prize for EAU DE BONJOURNO.

Robin Dann - vocals
Thom Gill - guitarist
Dan Fortin - bassist
Phil Melanson - percussionist

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Although the band has four members only three wandered onto the stage - guitarist/keyboardist, percussionist and vocalist. In front of a half-filled auditorium the trio began with an instrumental introduction before Robin Dann opened proceedings vocally. I’ll admit I had difficulty in understanding the band’s musical aims but by song three they had certainly secured my interest with a romantic ballad that boasted lovely lyrics and a tangible melody. Dann’s voice was all sweetness, light and expression while her compatriots provided a more-than-adequate, minimalist instrumental backdrop. I’ve lost track now of musical genres - there are so many and they are continually being invented - but I reckon the band’s music could best be described as psycho/folk/pop. The audience also learned to love them with enough acclamation to convince they weren’t just being polite (the very minimum I have learned to expect from savvy, friendly and supportive Liverpudlian music-lovers).

http://www.bernicemusic.com/
https://bernice.bandcamp.com/

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