I’m in Soho for the first time and was previously unaware of the kind of place it is. The venue I am looking for is the Soho Revue Bar.

Sex shop, sex shop, sex shop, Safeways, sex shop, sex shop, Soho Revue Bar.

The bouncer asks me for ID to prove I am over 18; I won’t be cursing my baby face when I’m older. I’m on the guestlist and even get a gold V.I.P. wrist band; also greeted with buckets of free drinks, I take a bottle of water.

As I enter the intimate room equipped with boudoir décor and stripper poles I spot Luke Concannon of Nizlopi on the stage playing a tambourine and he gives me a friendly hello.

I decide to sit right at the front for the best view, but come to realise that there are only music industry type people and Nizlopi’s friends in this room, I guess I class as the ‘music industry’ despite being a student radio DJ. My friend and I soon learn there is a free bar and then waiters emerge with canapés on trays, and as a student I take more than is polite to.

Nizlopi were amazing, opening with a rendition of ‘Start Beginning’, the first track off their new album ‘Make It Happen’. They started off in the middle of the room, no mics, to demonstrate the quality and projection of Luke’s voice; it did, however, mean that John Parker had to carry his double bass around for a bit. Nizlopi consists of only Luke and John, so the instruments are limited but these guys are flexible and John often provides the percussion by beat boxing and using his double bass as a drum.

For another of their songs, two Senegalese musicians are invited on which really compliments their style and introduces an aspect of world music.

Nizlopi are definitely a band to see live, they really try to involve the audience, and I found myself along with the rest of the crowd singing along to their powerful choruses.

To my delight they gave out copies of their album ‘Make It Happen’, which is out in March, and is definitely worth listening to.

I imagine that back in the heady days of 2006 buying a ticket to a Babyshambles gig was more a bet on whether Pete Doherty would turn up than a simple cash-for-ticket transaction.  In that year things got so bad the band had to cancel the end of their UK tour to assist Pete’s rehabilitation. Little more than a year later, the situation has transformed. Reflecting the more coherent sound of “Shotter’s Nation”, Babyshambles are now a tight, almost disciplined live act giving their fans exactly what they want. Tonight’s gig in Brixton academy proved this. The venue worked, spacious yet retaining a degree of intimacy. The crowd was excited but not overly rowdy (except a certain plonker wearing the full Libertines regalia - check out the cover of the greatest hits album - he was wearing that whole get-up!) . As part of the NME Awards Show tonight the main act was proceeded by a distinctly indistinct indie-pub-rock band, The Courteeneers, and a poor but amiable group, The Beggars.

First up were The Beggars who did little but pass the time; the whole crowd seemed to agree that they weren’t great, although some complaints were worded a little more harshly than this. To be fair to The Courteeneers they do have a few catchy tunes and an occasional spark of imagination. However this spark is quickly stamped on, doused with a fire extinguisher and forgotten due to the fact that they are telling exactly the same stories  as every other two-bit indie band around at the moment (about clubs, pubs and luuurve) and using riffs and beats that have been heard a thousand times before to tell them. So, the support bands clearly lacked the poetic touch of say, Babyshambles. Arriving on stage around half nine there was little in the way of opening banter. Instead the band launched straight into a set crammed full of crowd pleasing anthems. “Delivery“, the rock-pop highlight of the latest album, arrives early and is done full justice. “You Talk” is equally bouncy. However, it’s the less jaunty songs from Shotter’s Nation that show Doherty is an artist of substance, not just a tabloid plaything. The guitars delicately chimed on “Unstookietitled” and “Unbilotitled” fires a clear shot at the people around Doherty he perceives as fakes and users : ‘You say that you love me/ Why don't you f**k off?/ You think that you own me/ You're ripping me off.’ Here the poetic element of his work shines through, nowhere more than on Baddie’s Boogie : 'It’s a lousy life for the washed-up wife/ And the permanently plastered p****d-up b*****d'. The crowd revelled in bellowing out this tongue-twisting belter of a line.

Although the band as a whole were excellent, all eyes were predictably on Doherty. Seeing him live is strangely like visiting an ill relative. You find yourself saying peculiar things like “Oh there’s much more colour in his cheeks than the last time I saw him” and “It was a bit touch-and-go for a while there but I think he’ll pull through.” Tonight he didn’t slur a single word, his vocal delivery swinging from crisp and sharp to raw and biting. The bands first album, Down In Albion, was fully incorporated into the set as well. “Pipedown” crunched brutally and “Back From The Dead” skipped playfully. As the show neared its end the band left the stage for ten minutes, but returned with the big guns from the first album. Their most straightforward pop hit to date, “Killamangiro”, whipped the crowd up into a frenzy only intensified by “Albion” and “F**k Forever”. The two final tracks complemented each other perfectly. “Albion” the anthemic winding ballad and “F**k Forever” the near-perfect nihilistic punk rant. The final song got the entire crowd flailing about widely and screaming out the chorus.

This gig confirmed Babyshambles, in my mind at least, as one of the best bands in Britain today. Some argue that Babyshambles have lost their true spirit, that of a band in complete chaos who occasionally pull something great out of the hat.  However, from this performance, an organised Babyshambles are the true force to be reckoned with. As for Pete Doherty, a few years ago it seemed as if he would implode and follow the sorry path of decay travelled by countless rock stars before him. However it now seems just as likely that Doherty will have a long and productive career and in many years time may even be relaxing in the rock star retirement home now frequented by Jagger and Richards, chatting to Carl Barat about the glory days.

After a long wait with a couple of run-of-the-mill bands playing their sets behind schedule, (both capturing the audience with a few catchy tunes), Heartstring finally made it to the stage. Heartstring had been bumped from the headline slot by a more established band, but it is credit to them, (or to the last buses and trains…), that the audience was largest when they played.

Although opening with a wall of sound, (Liverpool venues seem always to struggle with their sound levels for unsigned bands…), Heartstring played rousing renditions of Lost and I Want and actually the loud volume powered them along. They stood out for a start by having the only female vocalist of the night, but their alternative musical sound is their main draw. Whilst comprising the standard set of instruments – electric guitar, bass and drums – their diverse musical influences comes through in their music to set apart their sound from that of the other bands playing that night.

Although often met with a similar reaction as one would receive when saying hello to a stranger on the tube, Alicia’s rapport with the audience is lively. She successfully inspired the now obligatory audience can-can in Lost – although more conservative members of the audience like myself did not partake, my excuse being I was taking photos at the time.

Solace was understandably a little shorter live than the recorded version I am more familiar with, (I think). I recommend you seek the recorded version to hear the extended end that shows of Alicia’s impressive vocals in the upper range. It can be heard here. I wasn’t so keen on Sacrifice the Western Life, a song inspired by drummer Alexander’s trip to Africa. From the title, I was expecting a Wild West sound…

Next up was Breaking Away, arguably the stand out song from Heartstring’s latest crop. There’s a more mature tone in the vocals and the music sounds more assured. Whilst it’s a slower number, none of the power is lost in the live performance of this song. The full recorded demo version can be heard in the middle of the podcast of Show 3.14 of The Matthew Rimmer Show.

I’ve seen the crowd-pleaser Frozen Lake performed better. It’s perhaps a casualty of having been passed down as Heartstring’s line-up has changed a few times over the years, the song dating back to their days as Selador. It has lost some of its original energy through reinvention and inheritance. That said, some fine-tuning could reclaim its strength as it still remains an audience favourite.

The final track Fire to Kill has not stuck in my memory to the time of writing this review. It being another newer track, I am sure I will become more familiar with it upon further listening.

All in all, another cracking perfomance from Heartstring who are going from strength to strength at the moment, securing gigs at respected venues across the North West in Wirral, Liverpool and Chester and further across the country in places such as Keele, Manchester and Leeds and having received airplay on both Rare FM and Home Grown Radio New Jersey. Their first album, Hybrid Calling, (following a couple of EPs), is due later this year - although as they remain unsigned it will not be available in shops. I imagine it will be available via their website.

You can find out more about Heartstring on their website, www.heartstringtheband.com.

They are performing live next at the Pacific Road Theatre in Birkenhead, Wirral. Full details of the gig can be found here.

Date: Thursday 21^st February 2008
Time: 7.30 p.m.
Venue: The London Palladium
Director: Jeremy Sams
Choreographer: Arlene Philips
Producers: Andrew Lloyd Webber and David Ian
Starring: Connie Fisher as Maria Rainer and Simon Burke as Captain Georg von Trapp

The London Palladium in The Sound of Music mode.

Photo by me.

Let’s start at the very beginning, a very good place to start.

Upper Circle, E1 – that was me. End of a row, high up, but still with a surprisingly good view despite vanishing nuns, Nazis and children, etc., at times as the curve of the balcony obscured stage left.

I was here, like so many others, to catch the How Do You Solve A Problem Like Maria? winner, Connie Fisher, in the role of Maria before she departs on Saturday. And she didn’t disappoint.

I’m only familiar, as I suspect most people are, with the film version of The Sound of Music with Julie Andrews and Christopher Plummer – a film I rate in my top ten all-time films, (how cool am I?). The West End version stands on its own two feet working from Rodgers and Hammerstein’s original stage version.

Act I

After the Preludium from the nuns, a sloping stage revealed Maria ready to be swept away with The Sound of Music up on the mountains. The set was impressive, even if the rocks looked a little flat viewed from my high angle. (My criticisms are mostly pedantically nitpicky points like that…) The nuns then discussed Maria and once one got to grips with the spoken lines largely being played for comic effect, one warmed to them quickly. Margaret Preece shone as the Mother Abbess in My Favorite Things [sic.].

I could now write that Fisher, (no, I’m sorry I’m going to call her Connie – Fisher’s a bit too formal) – Connie inspired confidence in her performance with I Have Confidence, but I won’t go to such an obvious cliché. Except I just have. My only major quibble with Connie’s performance was her repeated breaking of the fourth wall – too many lines and looks throughout the show were shot at the audience. Oh and she waved her arms about a tiny bit too much for my liking, although I was relieved to see this arm waving had calmed down since the performance extracts I’ve seen on TV. (See, my criticisms really are petty.)

Maria Rainer (Connie Fisher) arrives at the von Trapp villa.

Photo by Tristram Kenton © 2007 The Really Useful Group, David Ian Productions and Live Nation

The children were brilliant. All were clearly focused on their parts and they won the audience as soon as they entered with their brilliant march. Connie worked well with the children and Do-Re-Mi was great fun.

Rolf and Liesl performed a playful and well-choreographed Sixteen Going On Seventeen before the storm broke loose, leading to My Favourite Things (Reprise). Then funny things happen with a certain set of curtains.

Paul Grunert made Max Detweiler a likeable rogue and showman and got the audience on side after nearly dropping cup he was putting down on a table, stumbling on his line and starting over twice, the second time after an exaggerated pause. Now, I hate the fourth wall being shattered, but for once I didn’t care. Grunert played with the audience and we appreciated his calm humour.  (Which, on reflection, reminds me of the last show I saw at the Palladium – Oliver! – many years ago, in which the brilliant Barry Humphries, (Dame Edna Everage), as Fagin accidentally dropped something into the orchestra pit and he and Oliver proceeded, at comic length, to retrieve it.) This became the unique moment for our The Sound of Music, which as with all West End shows, is performed endlessly on a juggernaut schedule. To have a moment an audience can call its own is special.

A song exclusive to the stage musical followed – How Can Love Survive? This was when the film got the better of me – I’m so used to Max and the Baroness not singing that seeing them do just this seemed incongruous. I think they work better as non-singing characters, although it is likely I only think this because that’s how the film is. I can’t be sure. It seems an obvious candidate if any songs needed cutting for time for the film at any rate. Also, although I tried hard not to compare like with like, I’m afraid the film’s Baroness won out for me, (Eleanor Parker turning in such a subtle performance in the film).  Don’t get me wrong, Fiona Sinnott did a sterling job – I just think Parker has the role nailed and so it was hardest for me with the Baroness to detach the film from what I was seeing. Also, I felt Connie and Simon Burke as the Captain lacked the instant spark of attraction on their first meeting that Andrews and Plummer have in the film, making the Baroness and the Captain’s relationship seem less destined to fail than it ought.

The Lonely Goatherd filled the stage with a lively town seen, Ländler brought Maria and the Captain closer and I started to hear sniffing from members of the audience from So Long, Farewell onwards and certainly I was getting that tingling feeling that only very good live theatre or top-rate television can inspire in me.

Climb Ev’ry Mountain was a tour de force for Preece and whilst I’d have liked to have seen the original revival Mother Abbess, Lesley Garrett, do this, it just goes to show these parts live on regardless of who’s playing them and so I suspect Hollyoaks’s Summer Strallen will do well as Maria when she takes over next Tuesday.

INTERVAL

Act II

In which it’s Nazis vs. nuns and the ending’s slightly different from the film, providing a few surprises, (which I won’t spoil – and no, it’s not that they don’t end by going off over the mountains, ‘cos they do – I’m talking a few character moments.)

The audience shuffled back to their seats, post-interval and the orchestra piped up with Entra’Acte. Sadly, I didn’t get the traditional ice cream, having run out of cash, so instead I bought expensive drinks and crisps from the bar to get the total over £5 so I could use my debit card. I was thirsty. The Palladium with a near full house of just under 2 286 punters, a full orchestra and cast and crew gets very hot and heat rises. Thankfully, it was not as hot as when I went to see Oliver!

Max and the Baroness sang again, this time with the Captain. Another stage-only song No Way To Stop It is a better song than How Can Love Survive? and it was now that I realised that Max and the Baroness singing works theatrically as in counterbalances Maria’s singing associates, the nuns. Here, the Captain can sing away with Max and the Baroness as Maria does with the nuns and it works in the musical context.

The Baroness’s departure was all to brief and Something Good was a little too comic for my liking. Burke seemed a little over-theatrical on just this one number, (otherwise he was excellent), and so the gentle romance lost some of its poignancy. (Oh, it’s so easy for me to nit-pick – I don’t mean to, I’m just trying to be honest with my opinions. But what do I know?)

The Wedding Processional, like the wedding in Les Misérables, was a triumphant moment. Sixteen Going On Seventeen (Reprise) was a good character moment for the now Maria von Trapp and Liesl. A slight slip on the timing of a harmony prompted a small mocking laugh from some portions of the audience which I felt was unnecessary. So what if a few lines are fluffed here and there, (which they were a small number of times throughout)? It’s live theatre. That happens.

Maria von Trapp (Connie Fisher) offers her step-daughter Liesl von Trapp (Amy Lennox) some advise.

Photo by Tristram Kenton © 2007 The Really Useful Group, David Ian Productions and Live Nation

The concert scene, (Do-Re-Mi (Reprise), Edelweiss (finally), So Long, Farewell (Reprise)) was magnificent and really drew the audience in. I wanted to be one of the Austrian audience members that sing along in the film. I didn’t burst into song in the theatre, though. Hardly appropriate behaviour. I won’t tell you what happens at this point, (although I mistook it at first for a fire safety curtain coming down in an emergency), because it would spoil the superb scene change that happens at this point should you go and see it. You really get a sense of the Nazi oppression as well at this point, all aided by this scene change.

There are a few differences towards the end between the film and the stage version. I won’t spoil them, but note, should you go and see it, Rolf during the Nazi’s searching of the Abbey and the more militant Nuns, (who at this point are less comic than those in the film).

Climb Ev’ry Mountain (Reprise) ensured everyone left with a smile on their face. The cast took their bows. Lots of bows – although much of the audience, including myself, gave a standing ovation – so they were deserved bows. And it’s fun to clap, so I didn’t mind too much. Then we all left into the night…

On the technical front, I’d just like to note that the orchestra, lighting and much of the set were all fantastic. The Palladium is also a magnificent theatre. Not as big, (because I was smaller), but as grand as I remembered it, it’s an astonishing bit of architecture in the heart of London. The microphones, whilst providing clear sound, did sound a little too electronic at times and, nitpicking again, having worked on the fly floor at the UCL Bloomsbury Theatre with UCLU Stage Crew, I did notice some of nice-looking trees didn’t meet their ‘deads’ as they were lowered to the stage – the result being some slightly hovering trees. Never mind. They looked good. Oh and on the sound front, being able to hear a chattering from the assembled guests in the party scene, who at that point were hidden away upstage, as though they were stood behind me, was very effective – although I mistook it at first for someone on a mobile…

After the show

Doing an almost complete circuit of the Palladium, I finally found the Stage Door and found myself near the back of a fairly large crowd of eager fans. The Ensemble and Swing cast members all darted through the crowd. Shame, I’d have happily got their autographs too if they’d formed an orderly cue. You have to feel a little sorry for them as no one really recognises them off stage. Even some of the leads took a while to identify in their normal attire. The von Trapp children kept being mistaken for children from the audience. I didn’t get near enough to get the children’s autographs and they seemingly vanished into thin air as Connie came out.

Before she did, I got Liesl actress Amy Lennox, Max Detweiler actor Paul Grunert, Captain Georg von Trapp actor Simon Burke and the Mother Abbess actress Margaret Preece to sign my programme. I got to chat briefly with Burke and Preece – neither of which I thought I would end up getting autographs from as I suddenly found myself sandwiched between them as they signed other people’s stuff and I’d lent my pen to some old ladies… Both were really nice, although slightly bizarrely, Burke included his website address after his signature. Mind you, I shamelessly self-promote my own radio show and this website that I manage, so it’s pot calling the kettle black, really…

Connie finally made it out and managed to weave through the crowd rapidly meaning it dissipated quickly as people left satisfied. I was impressed that despite being quick to move around, she was quite happy to stop and chat, have photos taken by and with people and sign things. Considering she must have to do this night after night, the fact that she remains genuinely nice and friendly to her fans as oppose to being blasé about the attention is a real credit to her. She told people about the next projects she has lined up post-The Sound of Music – from what I could hear she’s presenting some awards and doing some TV work. She also revealed she was off to the pub. When she got to me, she happily signed my programme and brochure and I got a photo with her.

I would like to stress that my criticisms really are just nitpicks – I had a great night out watching a truly brilliant West End show with a superb cast and I was pleased to catch Connie before her exit – she has a stunning voice and has proved herself a very worthy winner and Maria.

Connie Fisher and I after the show. She was really nice.

Date: 20^th February 2008

Channel: ITV1 (The Brit Awards 2008) and ITV2 (The Brits Encore)

Venue: Earls Court

I wasn’t there, but I watched it on TV and reviewed it as I watched…

The Awards were opened with aplomb by Mika with Love Today, Beth Ditto of The Gossip soon joining him for a rendition of Standing In The Way Of Control. This unexpected combination worked very well. Ditto vanished behind a red curtain leaving Mika to sing Grace Kelly alone and the audience seemed enthused by the start of the annual music awards.

On came the Osborne family – the four TV ones at any rate – to host proceedings, all clearly delighted to be back in the limelight. Tom Baker man announced the nominations, whilst Fearne Cotton provided the narration and interview links for ITV1. Sharon was as over-the-top as ever, whilst Jack looked a little awkward.

British Live Act:

Nominees: Arctic Monkeys, Kaiser Chiefs, Klaxons, Muse, Take That

Winner: Take That, (clearly nervous collecting the award)

Presented by: Chris Moyles, (who provided the first worrying moment of the night with a string of jokes that got little reaction)

Rihanna and Klaxons performed Umbrella, sampling the ooo-ooo-ooo-aahs of Golden Skans and I have to say Rihanna was excellent live. Sadly, Klaxons seemed a little overshadowed by both Rihanna and Earls Court’s stunning lighting array.

Critics’ Choice: (a new award introduced this year)

Winner: Adele, (who was very good on BBC Three’s dreadful show Lily Allen and Friends last night)

Presented by: Will Young, (bland)

British Breakthrough Act:

Nominations: Bat For Lashes, (who? – they didn’t breakthrough to me, obviously), Klaxons, Leona Lewis, Mika, Kate Nash

Winner: Mika, (ecstatic)

Presented by: Jonathan Rhys Meyers, (I know the name, but can’t place him)

Kylie was the next live act with her poppy Wow. Not her best song, but your standard Kylie-fare.

Fearne did a quick interview with Adele and Mika – Adele was still championing Leona for British Single for Bleeding Love as she was on the dreadful Lily Allen and Friends, despite being stood next to Mika who’s up for that award with Grace Kelly. Realising her social faux-par, the two laughed it off.

International Male Solo Artist:

Nominations: Michael Bublé, Bruce Springsteen, Timberland, Rufus Wainwright, Kanye West

Winner: Kanye West, (smug, via recorded video acceptance)

Presented by: Kelly Rowland, (apparently back with new material)

British Male Solo Artist:

Nominations: Mika, Newton Faulkner, Richard Hawley, Mark Ronson, Jamie T

Winner: Mark Ronson, (deserving of an award, but as he doesn’t sing, making him the first non-singer to win this award, this award seems a little odd – at least he acknowledged his collaborators in his long acceptance speech)

Presented by: Beth Ditto, (larger than life…)

Kaiser Chiefs were up next performing Ruby live. I preferred Karl Kennedy actor, (and friend of Rare FM), Alan Fletcher’s Waiting Room version of this song as seen on the Neighbours documentary Neighbours On Five on Sunday.

International Female Solo Artist:

Nominations: Alicia Keys, Bjork, Feist, (oh, she’s an individual, not a group…), Kylie Minogue, Rihanna

Winner: Kylie Minogue, (friend of David Tennant)

Presented by: David Tennant, (in a shiny T-shirt)

Next up live on stage was Leona Lewis. Belting out the over-played Bleeding Love, she didn’t sound at her best. Don’t get me wrong, I think she has an amazing voice, but I’ve heard her sing that better.

International Group:

Nominations: Arcade Fire, Eagles, Foo Fighters, Kings of Leon, The White Stripes

Winner: Foo Fighters, (well-deserved, accepted via recorded video)

Presented by: Denise van Outen and Lord Andrew Lloyd Webber, (Webber is not funny)

British Female Solo Artist:

Nominations: Bat For Lashes, PJ Harvey, Leona Lewis, Kate Nash, KT Tunstall, (PJ and KT seemingly having forgotten their names, although they’re not as bad as that k.d. lang, who’s forgotten capital letters as well…)

Winner: Kate Nash, (surprisingly beating Leona Lewis)

Presented by: James Nesbitt, (who came on with the announcement that Manchester United are losing)

International Album:

Nominations: Arcade Fire – Neon Bible, Eagles – Long Road Out of Eden, Foo Fighters – Echoes, Silence, Patience & Grace, Kings of Leon – Because of the Times, Kylie Minogue – X

Winner: Foo Fighters – Echoes, Silence, Patience & Grace, (accepted via recorded video and increasingly arrogant – oddly I predicted Arcade Fire would win, so started typing them in this slot, or at least intended to, I actually wrote Foo Fighters and then the announcement was made that they had won, weird…)

Presented by: Michelle Ryan, (EastEnd Bionic Woman)

In a Mark Ronson medley, Ronson and Adele covered Coldplay’s God Put A Smile On Your Face. They sounded good together. Adele was then replaced by Daniel Merriweather for Stop Me – one of the weakest of Ronson’s covers, I prefer the original, Stop Me If You Think You've Heard This One Before by The Smiths. Out popped a drained Amy Winehouse who took a while to get going and looked to struggle throughout their cover of The Zuton’s Valerie, (the recorded version of which is a cracking cover of a brilliant track).

Oh look, Louis Walsh is in the audience and a transmission error puts Sharon and Kelly in freaky slow-motion mode.

British Group:

Nominations: Arctic Monkeys, Editors, Girls Aloud, Kaiser Chiefs, Take That

Winner: Arctic Monkeys, (second year running, shame – I wanted Editors – they collected the award dressed in hunting gear and the arrogant bunch had to be dismissed by Kelly Osborne)

Presented by: Sir Ian McKellen

Amy Winehouse was seemingly well enough to perform again. She performed Love Is A Losing Game, not a song I’m familiar with so it’s hard to judge if it was performed well. It was hard to decipher the lyrics, (I sound like an old man saying that), so it took me a while to find out what the song was called by searching on Google with string of lyrics.

British Single:

Nominations: James Blunt – 1973, The Hoosiers – Worried About Ray, Kaiser Chiefs – Ruby, Leona Lewis – Bleeding Love, Mika – Grace Kelly, Kate Nash – Foundations, Mark Ronson feat. Amy Winehouse – Valerie, Sugababes – About You Now, Take That – Shine

Winner: Take That – Shine, (just pipping Leona Lewis to the post and clearly having drunk a lot)

Presented by: Alan Carr, (drunk and making jokes about Amy Winehouse…)

[Sharon and Kelly appear to be padding as the Awards seem to be running ahead of schedule.]

MasterCard British Album:

Nominations: Arctic Monkeys – Favourite Worst Nightmare, Leona Lewis – Spirit, Mika – Life In Cartoon Motion, Mark Ronson – Version, Take That – Beautiful World

Winner: Arctic Monkeys – Favourite Worst Nightmare, (again as last year, drunk and useless as ever)

Presented by: Vic Reeves, (drunk and useless as usual)

Sharon’s mic. seems to have been left on and she is heard to say “Bloody hell, what have they come as”, as Arctic Monkeys fail to make a speech and are cut off as the overrun in their slot.

The Outstanding Contribution to Music Award:

Winner: Sir Paul McCartney, (obvious and deserving choice, short and sweet speech – Ozzy was very pleased as he’s a huge fan)

Presented by: Kylie Minogue, (she and Paul should do a single together – that would be interesting…)

McCartney performed the whistley Dance Tonight, although he struggled to whistle live. It’s a nice song, but hardly representative of McCartney’s illustrious career. Ah, Live and Let Die, that’s more like it. His backing band really shone on this and McCartney provided a fresh take on the classic track. Oh I see, solo, Wings, The Beatles. A look back through his career. He rounds off with Hey Jude. McCarntey really worked the audience and provided a fitting ending to what has been a successful BRIT Awards.

There were few classic BRIT Award moments, but the live acts were entertaining, Mika and Beth Ditto, Rihanna and Klaxons and Mark Ronson and Adele particularly standing out. The winners were largely deserving, although as ever there were a few surprises and some people were robbed, (Leona Lewis, particularly, missing out on four awards), but that’s always the way.

Bit cruel sitting Leona next to Kate Nash on The Brits Encore on ITV2 afterwards. Leona, not having won anything, had to sit next to Nash who beat her to British Female Solo Artist as they were interviewed.

The Brits Encore was presented by Lauren Laverne, Emma Griffiths and Matt Willis and included a shocking cover of Leona’s Bleeding Love by Willis. Viewers were also treated to Paul McCartney’s extended set – he continued playing after the Awards came off air. The extended set consisted of great renditions of Lady Madonna and Get Back, McCartney announcing they were on “ITV2, where nobody goes…”

The Brits Encore offered the usual collection of highlights from the night and quick interviews with winners, performers and commentators on their way to the after show parties, official and unofficial. We learnt that Will Young’s Dad owns a pub, so Will Young can drink, and saw Matt Willis freaking out as a man knocked nails into his face and the unexpected combination of Simon Pegg, David Tennant and Adele joined Laverne and Griffiths in the studio.

Oh, Jonathan Rhys Meyers, he played Henry VIII in The Tudors.

So to re-cap, the winners were:

British Live Act:                                               Take That

Critics’ Choice:                                                 Adele

British Breakthrough Act:                                 Mika

International Male Solo Artist:                         Kanye West

British Male Solo Artist:                                   Mark Ronson

International Female Solo Artist:                     Kylie Minogue

International Group:                                        Foo Fighters

British Female Solo Artist:                               Kate Nash

International Album:                                        Foo Fighters – Echoes, Silence, Patience & Grace

British Group:                                                   Arctic Monkeys

British Single:                                                   Take That – Shine

MasterCard British Album:                                Arctic Monkeys – Favourite Worst Nightmare

The Outstanding Contribution to Music Award: Sir Paul McCartney

Released: 28^th April 2008

Record label: Worst Case Scenario Records

Dirty Disco is definitely one for the dance floor. Appropriate that, considering the band is called The Dirty Disco. B-side RetroseXXXual is everything you could hope for from a B-side to a dance track – nothing much. It’s catchy enough and I’m sure sandwiched in the right set would also work on the dance floor, but it’s understandable why it’s relegated to B-side status. Oh, I’ve just read it’s a double A-side – oh well, in that case RetroseXXXual isn’t up to scratch and should be a B-side…

Released: 28^th April 2008

Record label: Polydor, (distributed by Wild)

Delays’s press release describes them as ‘British rock’s best kept secret’, which may be true, although a quick glance at my past playlist reveals I played their track Stay Where You Are on my second ever show on Rare FM way back in November 2005. If Delays can capture the likes of The Feeling’s audience, perhaps they will make it big(ger). Offering joyous and unashamedly happy pop – but respectable pop – music, Delays are a breath of fresh air. Hooray is a bright and breezy affair, as is Keep It Simple. Touch Down really stands out and wouldn’t sound out of place as background music on Smallville – that sounds like an insult, but I happen to think Smallville picks its music well. Love Made Me Visible is the calmer track one needs to break things up on a pop rock album. Still lively, it is well-placed on the track-list slowing the pace down before the final track, Pieces. Pieces is even more of a melancholy affair, as Rosé is for The Feeling, and although it shows off Delays’s musical ability, I feel the sampler would have been better served ending on a more upbeat track. However, that’s just me nit-picking, this is an enjoyable body of music and it will be interesting to see what 2008 has to offer for Delays.

Released: 17^th March 2008

Record label: EMI, (distributed by Upshot Communications)

With what I describe as a “burnt indie voice”, (when a lead singer seems to exaggerate their accent and does not enunciate every syllable), The Enemy’s lead singer Tom Clarke proves as reliable as every. However, wondering why he sounds like many of the young lead singers of unsigned bands I have seen, a Google search soon revealed Tom Clarke is only 19, (or possibly 20 now). Not as rousing as some of The Enemy’s offerings, such as the anthemic Had Enough, This Song Is About You offers a steady, more chilled out sound. With a tune slightly reminiscent of some of The Lightning Seeds’ songs, This Song will not instantly grab you, although I suspect it will grow on you.

(Oh and it comes in the brilliant train station arrival/departure board-style sleeve that The Enemy have adopted for their new album and current crop of singles.)

Released: 3^rd March 2008

Record label: Virgin Records, (distributed by EMI)

Brilliant. I’ll be playing this on my show. Although at times the vocals verge on sounding like those of a death metal track, Man In The Machine gets away with sounding metallic because this obviously suits the title. Sounding like a more mainstream The Divine Comedy mangled through a machine with lilts of The Killers, Royworld capture the current indie rock scene perfectly with Man In The Machine. The first B-side is the full length version of the track offering a whole 15 seconds more than the Radio Edit. Thrilling. The second B-side is more interesting – an instrumental version of the track and it’s on listening this that one appreciates the richness of the strings section incorporated seamlessly into your keyboardy/pianoy/guitary muggubins.

Released: 29^th February 2008

Record label: Speed of Sound / Holier Than Thou Records, (distributed by PHD Digital Music Distribution)

Nice band name, shame about the songs. Heads n Tails is uninspired, derivative noise. Not an original note in it. Filth is better with a stop-and-start rocky instrumental introduction, but it outstays its welcome after the vocalist kicks in. Love Junky offers your standard rock track and nothing more. The vocals sound better on Take Or Leave It – less like the lead singer is trying to put on a scary tone. Bordering on being good, Take Or Leave It never quite makes it. The last track on the EP, House of Sin, passes by at Thunderbird 13’s rockiest, but by now my interest has waned. I’m sure Thunderbird 13 have their fans, but I will not rank myself amongst them. Frankly, I’m glad I only got the sampler and not the full album…

Released: 25^th February 2008

Record label: Dejamus, (distributed by Cadiz Music)

Given to me as I walked into Rare FM’s Music Meeting, Camille Purcell’s R&B sound is not my usual cup of tea. Not that I drink tea. Or coffee, for that matter. U Ain’t Getting Me would clearly get R&B fans on the dance floor, whilst Tank Is On Empty, although repetitive, does demonstrate Camille has a good voice. Stay is dull and unoriginal. I’ve heard enough R&B to know this does not stand out. The lyrics are predictable and uninspired. U Got Me, presumably in contrast to the earlier track U Ain’t Getting Me, is reminiscent of Justin Timberlake’s Cry Me A River just with a woman singing. It’s certainly better than Stay but it hard to identify anything unique about Camille. She sounds so much like many other R&B singers that there is really little to recommend her on.

Dawn Kinnard

I saw Dawn Kinnard headline at The Enterprise in Camden, and she gave out free copies of her debut album which I snapped up without a second thought.

She is amazing live; Dawn Kinnard is a tall blonde with great presence. The audience were awe struck when she performed, she said she never had an audience so attentive, but she really does command attention with her voice. Her voice is perfect, she is a natural singer with a husky quality, and if I had to give you a flavour of it then I would refer you to Lisa Hannigan who sings on Damien Rice tracks. You fall in love with her over the duration of her performance, her songs have such emotion that you empathise with her, and coupled with her presence and voice she is like a fallen angel.

It isn’t just the voice, she is technically very good on the guitar, and the keyboard accompaniment adds a lot (unfortunately I cannot remember the name of the keyboard player).

This young lady from Pennsylvania produces songs which can make you feel elated (“No different Now”) or desolate (“Start and Stop”) with beautifully crafted lyrics. The album shows diversity but mainly evokes a lethargic feel, it’s an album to lay back and reflect, but still contains an edge. The instrumental at the end will lull you into a state of euphoria. 

Dawn Kinnard will be big this year, she has to, otherwise my faith in the music industry will be destroyed!

Check her out at http://www.dawnkinnard.com/

The North Yorkshire band ‘One Night Only’ are releasing their debut album ‘Started a Fire’ on 28^th January, and I have listened to the album sampler.

A few tracks have received a lot of attention by Radio 1, such as ‘Just for Tonight’ and ‘You an Me’, so they have sufficient radio play under their belts.

The keyboard in this band plays well off the guitar, and at times produces some unique noises to give some kind of identity. The synthesised notes, however, make the songs reminiscent of 80’s pop, which I’m not sure is the sound they were going for. They lack depth and energy with tracks such as ‘Hide’ and if it wasn’t for the keys, the band’s sound would be pretty bland. George Craig, the lead singer, doesn’t have a distinctive voice, but is one you can still associate with the band.

One Night Only produce fairly light music, not offensive, but not very special.

Tom Williams and the Boat came together and evolved from Tom’s previous solo work, and I am thankful they did. Tom Williams captures reality along with a strong personality in his song writing, which is enforced by the rest of the band. He has a great voice and plays guitar and harmonica with a quality to match, every member of this band is a fantastic musician.
It is difficult to describe what music a band plays when they are so unique, so I leave it up to you to listen for yourselves.

Check them out at www.tomwilliamsandtheboat.co.uk

With this being possibly the most anticipated comeback in pop history following her man/baby/drug/boob/law/drinking/fashion/ mistakes over the past year, Britney had to make this album not just good, but plastic-fantastic! So how does it sound?

Honestly…..its pop-tastic! With remnants of previous Britney hits as boys and slave (for you) this album certainly lives up to the hype and the opening track, Gimmie More, does exactly what it says on the tin by setting a fantastic electro-pop tone for the rest of the album, leaving you baited for whats to come.

Possibly the most talked about track on the album by those whom have heard it is Piece Of Me. Reason being the lines: “I’m Mrs lifestyles of the rich and famous, I’m Mrs omg that Britneys shameless” tied with others which basically through back in out face the gossip collum image of Britney we have followed in recent months. All I can say in addition to that is; good on you girl! Its one thing to go on GMTV (*cough cough* heather mills *cough*) saying how sick you are of the press but its another to write a track on a sure to be best selling album.

My personal favourite tracks are Get Naked and Toy solider. Both perfect ways to start your night out by getting instantly getting you in the mood for a beat. They’re both great hip-hop tracks which thankfully both avoid quite well her inability to rap, so they work really well. Maybe take a hint Madge?

Now sadly despite my clear admiration for this album, its not perfect. One might stop and ask Britney on the street if she was out doing a bit of shopping; if she actually remembers how to sing? As although the album is certainly a good return into the music limelight – there are occasionally more groans and whines that words, making it a little bit porn really. Having said that she thankfully (and do mean thankfully) did not put a single track on Blackout of a Ballard nature. Britney; good call.

Anyway, Blackout is all in all a great pop achievement and a well deserved comeback.