Andy Dangerfield Music

In the summer time

2010-06-29T06:13:00.000-07:00

The festival season is upon us. But some of us aren't convinced.

For some, simply hearing the word Glastonbury, conjures up images of waking up in a mud-sinking tent with the prospect of a day's swamp fishing for one's worldly belongings.

If you're one of those people, then perhaps London's festivals are more appealing. You can see your favourite artists before catching the last tube home and wake-up fresh faced after a decent night's sleep.

Here's my BBC guide to the biggest and some of the more bizarre festival offerings this summer.

Travis talk

2008-11-25T02:25:00.000-08:00

Dreadful band, but there's no denying their frontman's a nice bloke. I interviewed Fran Healy from Travis for BBC News.

X-Ray punk back at Roundhouse

2008-08-23T14:13:00.000-07:00

Long before Pink and even Courtney Love there was another punk diva who made heads turn. In the 70s Poly Styrene of X-Ray Spex wore tooth braces and a military helmet and was rumored to have shaved off her hair around Johnny Rotten’s flat.

X-Ray Spex last played at the London’s Camden Roundhouse thirty years ago, at the height of the punk-rock era.

Poly quit the band within three years and has since joined the Hare Krishna movement and had a child.

But she’s back with the band to play a one-off return gig at the Roundhouse on 6 September. I caught up with her…

Do you consider yourself a punk?

No, but the music I play is described as punk rock. I consider myself to be a spirit soul, a ghost in the machine.

What did you want to be when you grew up?

An actress. But I failed an audition at the Royal Academy and gave up. After that I did a bit of fringe theatre at the oval house but nothing major. I was also training to sing while contemplating being an actress.

Are you still mates with any 70s punk rockers like Johnny Rotten?

Not really. I got on the Pistols guest list last year with Tessa from the Slits. But I haven’t seen John since the 70s.

Are there enough females in rock music?

I don’t think so. You have to have a strong voice to sing rock. I think gender is a secondary consideration, but I would personally like to see more women rock stars.

How does your music differ from other punk bands?

I consider my music to be high energy and I think my lyrics are probably a bit different.

‘Bondage, Up Yours!’ certainly was. What was that about?

It is a cry for liberation from the material world.

Why did you decide to reform?

I was persuaded by the promoter and once I said yes there was no going back.

You lst played at Roundhouse 30 years ago. What can fans expect from your performance this time around?

A celebration of 30 years of Germfree Adolescents.

Can fans expect to hear any new songs at the gig?

We will be playing some songs from the second X-ray Spex album Conscious Consumer and one new one.

Any plans to head back to the recording studio?
Maybe…

You ran away from home at 15 to tour the rock festivals. Are you planning to go to any festivals this year?

Probably not here. I don’t like mud! But I am planning to play at a festival in Texas in November.

Who are your heroes?

Radha & Krishna.

Who are your favourite bands at the moment?

Goldblade. I like there song Psycho and their energy. I think John Robb puts a lot into his performance.

Who are your style icons?

Hollywood sirens from the 1940’s.

What’s the biggest fashion faux pas you’ve made?

A blue foam dress I wore with an army helmet, at the Brixton Academy in 1991.

Interesting outfit. Do you still have it?
I think it went to the charity shop.

You’re originally from Hastings. Do you prefer the city or the seaside?

I prefer the seaside because the air quality is better but I like Millennium Bridge as it is still by water.

How do you relax?

I swim; listen to spiritual music and light candles.

Are you still doing yoga?

I practice Bhakti yoga – a kind of meditation - everyday

If this one’s a success, do you think you’ll be doing any more gigs?

Maybe! We'll see..

Gallows humour

2008-02-12T01:31:00.000-08:00

Band of the Year according to Kerrang, fronted by the Coolest Person in Rock, according to the NME, Gallows release their album ’Live At The 100 Club’ on the same date they return to perform at that venue, 3 March.

I caught up with their bassist Stu, who was on a tour bus somewhere between Boston and Canada.

Why the gruesome name?

It refers to a gallows sense of humour. I recently read an interview with the illustrator Quentin Blake, who said he and Roald Dahl worked well together was because they shared a gallows humour.

You’re rumoured to be big Phil Collins fans. Is this true?

He wrote some cool tunes. In fact, our drummer bought his greatest hits CD in Montreal yesterday. We were going to cover In The Air Tonight at one point. It hasn’t happened yet but we’ll see.

Your sound is quite heavy and punky. Are you fed up all of those clone chirpy indie bands on the circuit?

They’re doing us a favour by sounding as lame and bland as each other. It helps us stand out more. Our band was a reaction to that cheeky chappy crap indie stuff.

Tell me your thoughts on each of the following artists in a word.

Scouting for Girls?

Never heard of them.

Wombats?

No. I haven’t been home for two months so have no idea what’s going on.

Britney?

She’s alright actually. Britney has some good writers. I feel really sorry for her, the way she’s been hounded and persecuted by the press. I think she needs a helping hand.

You’ve worked with North London Rapper Lethal Bizzle. How was that?

We met him at South by Southwest festival in Texas then used one of his samples for a track. He came to the studio, laid down his stuff in about a minute and was really professional. We had a chat afterwards and would class him as a good friend now.

Who else would you like to work with?

Kate Nash would be cool. Phil Collins would be cool too. I’d personally like to do something with DJ Shadow too.

You’re songs confront social issues like date rape? Do you think music is a good way to confront these?

Yes, it’s better than taking it out on someone in the street. Music is a vehicle but it’s not the most direct form of communication as it’s open to so much interpretation. And people don’t always listen to what you’re saying. They just want to bang their heads.

Frank ranked #1 in NME magazine's 2007 edition of the 'Cool List'. Do you think he’s cool?

Yeah he’s alright.

Who’s the coolest band member?

Blatantly me. I’m the bassist and they’re always coolest.

Were you cool at school?

I was born cool.

Who would you rank as the Coolest Person in the world?

Anyone who fought in the First or Second World War. The old dudes. I think it’s pretty cool what they did when they were our age.

What about soldiers who are fighting in Iraq and Afghanistan now?

Yeah they’re equally as deserving. I support our troops.

What’s the most recent tattoo you got?

I got Fuck You written along my tricep.

What’s your favourite tattoo?

That one because it’s my latest.

Why did you get that?

I just felt like it. I had a gap there and it fitted nicely.

Has Frank got his Fuck The NME Tattoo yet?

No, that comment was taken a bit too literally. I can’t see it happening anytime soon.

Do you have lots of fights within the band?

No we get on pretty well. You have to if you’re on tour with the amount of time you live in each others pockets.

Why did Frank leave the band four times before you were signed?

He couldn’t see it going anywhere and wanted to concentrate on being a tattooist.

How did it feel to get the Kerrang Best British Newcomer award?

We kind of expected it. Not in an arrogant way but there wasn’t another new British band around who had achieved quite as much as us so we knew it was coming. There was no way we weren’t going to win. But It’s nice to have on the mantle piece.

Do you like being in the US?

Yeah, when the band’s done I’ll probably move out here. I like the exchange rate. I like how everything is 24 hours and there’s more choice of food. Plus my fiancé is American.

How your US and UK fans differ?

They’re quite similar. Before we came to the States we heard they were more subdued but that certainly isn’t the case, luckily for us. We’ve been playing to all ages and they’ve been really into it and know all the words.

How do you relax on tour?

We sit around, surfing the web, playing video games or watching films.

What’s your favourite video game?

On the bus we play a lot of FIFA.

Who’s the best player?

Leo the drummer. He beats everyone at it.

What’s the best film you watched recently?

Itchy the Killer. It was gory.

Do you like gruesome movies?

If they’re well written. A lot of them are a bit shit.

Frank’s previously said the band won't last past 2009. Do you agree? How do you feel about him saying things like that?

That was taken a bit too literally too. We’re just concentrating on getting the next record done and we’re all on board for that so we’ll see.

Villainous Vincent

2007-10-29T10:52:00.000-07:00

Vincent Vincent and the Villains' unfathomably infectious blend of modern rock 'n' roll has so far been showcased in late-night London dives and on limited indie pressings, but - as with all good things - word is spreading fast. With a hardcore live following, ever-growing fanbase, and new abum out early next year, the band are set for big things in 2008. I caught up with their frontman, um, Vincent.

Where does the name come from?

I’m Vincent Vincent. We were originally called the Vincents but it seemed like there were a lot of bands with Vincent in their name. We wanted something that sticks in the head. Our name’s catchy and a bit weird.

Who's your favourite villain of all time?

Vincent Cassell always played good villains. I also liked Vincent Price.

Any non-Vincent villains you like?

Not really.

What makes you stand out from all the other trilby-wearing guitar bands who hit the Camden circuit?

Our music is heavily influenced by early rock’n’roll. Our song writing’s about all aspects of life and not the same old trite subjects you get from other bands. The sound we make is a real punk din. We take rock’n’roll and bastardise it into a modern sound.

Do you think other bands are too concerned about image?

A band’s image is the first thing people see so all bands are concerned about it. The trouble is when the image overtakes what a band does. That’s something you have to live with. But stay true to what you think sounds good and hopefully in the end even fickle people will come around to it.

Your music is influenced by 50s rock’n’roll. How did you get into that style of music?

When I grew up as a spotty teenager with no social life I used to rummage through my Dad’s vinyl collection. I got myself a record player and started going to record shops and discovering more and more rock’n’roll. There’s so much stuff out there, things always surprise you.

Who are your favourite 50s musicians?

Bo Diddley… Chuck Berry… too many to name.

What about Elvis?

Of course. He’s a massive influence. But It doesn’t help when his estate release all his singles. They’re not releasing his good songs. What about ‘I Beg Of You’ or ‘Treat Me Nice’?

So which Elvis songs are your faves?

‘(You’re So Square) Baby I Don’t Care’. I also like ‘Trouble’, because of the rag time jazz band kicking in.

Are you a fan of Happy Days?

No. I hate it. It was made in the 70s. The only reason I get asked that is because it was set in the 50s.

Some of your lyrics refer to dead end jobs. What’s the worst job you’ve had?

I used to work as a cinema attendant. I may as well have been a wooden dummy with a spike for people to put tickets on. Cleaning up the crap after people left wasn’t too great either. But there’s always romance in it. I did it to follow my dreams so it was a worthwhile experience and I got a good song out of it.

Former frontman Charlie Waller left to join The Rumble Strips. Are you mates with him now?

Yes. We fell out for a bit. It was traumatic time. We got to a stage where people began taking notice of the band and then we hit a brick wall.

What do you think of The Rumble Strips?

That’s a contentious question. Are you looking for a controversial answer?

Naturally

No, I like them. I think Charlie’s a great singer.

Where would you like to be in 10 years time?

I’d like to still be writing songs. I’d probably be too old to be a viable frontman but I’d like to still be writing and recording.

Why should people come to see you live?

Our performance exciting, adventurous and theatrical.

Does It Offend You, Yeah? Barfly, 8 October 2007

2007-10-19T05:12:00.000-07:00

I went to this gig expecting to be offended. After all, the band describe their sound as like "an arcade machine being thrown into a lake".
Not the most appealing description.

A lot of bands have jumped on the Electro rock bandwagon after the success of Klaxons and the Rapture but don’t have the tunes to back up the hype.

But the Barfly was packed with teenagers keen to catch DIOYY on the final night of their 23-date tour.

Their opening number had a sleazy base-line reminiscent of Justice and I expected the crowd to nod along coolly but instead the New Rave fashioned kids transformed the front of the crowd into a mosh-pit.

The band launched into Doomed Now which mashes the fervent Bloc Party-esque guitar rhythms with Daft Punk-style robotic vocals. Impressive stuff.

Cheeky grinned front man Morgan grabbed a cowbell and bounced all over the sound equipment as wild-eyed parka-wearing bassist James wildly sweated it out for the catchy Battle Royale.

Morgan invited a DIOYY T-shirt wearing fan to join the band onstage. Taking this as the signal for a stage invasion, half the crowd had joined the band by the end for their final song, doing all they could to immerse themselves in the music. One guy went for it with a drum stick on a can of Stella while another crashed two beer crates together.

Morgan made the best exit I’ve ever seen at a gig, crowd surfing all the way from the stage to the back of the room and onto the bar.

Ok, so some bands jump on bandwagons and don’t deserve the publicity. But DIOYY deserve every bit of hype they get. They’re touring again in the spring. Go see them. It would be offensive not to.

Prince, O2 Arena, 20 September 2007

2007-09-27T06:11:00.000-07:00

It’s over. After 21 nights, 46 encores and 63 costume changes, Prince’s residency at the O2 arena is finished. I managed to grab a couple of tickets on eBay for 40 quid each. Were they worth it? Probably.

The diminutive pop diva appeared from a puff of smoke in the centre of the ‘symbol’-shaped stage. The funky disco beats commenced and the cat in the hat strutted around in a dapper pink suit proving he hadn’t lost his moves as middle age rolls on.

He belted out his hits from Get Off to Controversy and proved guitar prowess in a cover Led Zeppelin’s Whole Lotta Love.

In fact he bashed out loads of covers to from the Beatles to Kylie. But these were at the expense of some of his other hits including my personal fave Alphabet Street.

Raspberry Beret was cut down to less than a minute in a piano medley with some of his lesser known stuff.

And his encore was Nothing Compares 2 You, which he wrote but I’m sure most people associate with the warbling snake-headed Sinead O’Conner cover.

As he changed his set every night, it was a roulette as to what he played. And on the penultimate night, the crowd were left wanting more. But after grossing a tidy £11million in ticket sales, I’m sure the shrewd little guy will be back soon in a fresh set of threads to lap up more.

The Go! Team, Electric Ballroom, 12 September 2007

2007-09-22T06:17:00.000-07:00

Brighton based six-piece The Go! Team really know how transform a gig into a party.

They would have needed to give out free chocolate cake and ice cream on the door to get people grinning any more at the Electric Ballroom last week.

Rapper Ninja bossed the crowd of twenty-somethings around with ease but they didn’t seem to mind. When she asked everyone to jump they bounced and when she encouraged a bit more dancing they showed they could shake some booty.

Their set mainly comprised of Ninja rapping over songs from their eclectic first album Thunder Lightening Strike, but she also had a go on the maracas, tambourine and drums for a laugh.

The other band members were nearly as lively, going wild for uplifting instrumental Junior Kickstart. Electric guitarist Kaori Tsushi took over for softer yet equally uplifting harmonica-led version of Hold Yr Terror Close.

Ninja dedicated songs from new album Proof of Youth to the ladies and had the crowd chanting ‘hell yeahs!’ by the end of the set.

Their sound was 80s-influenced as were the most of their bizarre videos played on the backing screen. But my favourite film clip had to be a black and white one showing dozens of monkey-masked men cycling really slowly. Weird.

Ninja Go Go!

2007-09-09T10:12:00.000-07:00

Following a sell-out performance at the Electric Ballroom, Go! Team’s new album Proof Of Youth is out this week. I caught up to the bands’ rapper, North London girl Ninja.

Why are you called the Go! Team?

Go teams clear up plane wreckages. It’s a dynamic name and we’re a dynamic band!

Despite the morbid name, your performances are really lively. How do you prepare?

I don’t prepare at all. That’s the best preparation. If I prepared, I’d worry that something’s going to go wrong.

What would you be doing if you weren’t in the Go! Team?

Something fantastic! I’m not someone who would settle for a bog-standard lifestyle. I wanted to be an astronaut before I joined the band. But I’d definitely be something amazing because I’d have to have an amazing life.

Where did you learn to dance?

You can either dance or you can’t. And if you can’t dance naturally, it’s very obvious that you’ve trained. I just enjoy the music so I just do what I’d do if I was at home and there was no-one there.

Where did you learn your cheerleader chants?

I’ve never had training in cheerleader chants but would have loved have gone to an American high school! I would have been a cheerleader and gone out with a captain of a sports team.

The Go! Team sample a lot of 80s TV shows. What are your faves?

I used like waking up really early to turn on channel 4 to watch a lot of Sunday morning cartoons. After the cartoons I’d watch The Waltons or Land of the Giants. But they should do a channel of just 80s cartoons.

Who was your favourite cartoon character?

I used to love ThunderCats. At school I was the fastest runner and they called me Cheetara. I’d think I was her and get into Cheetara mode and speed through the crowds!

I used to be Lion-o

Cool. I think they’re making a movie of ThunderCats now. Panthro was definitely a black guy. If they make the movie and he’s not black I’m not going to be happy! I’d love to be WilyKit or WilyKat in that movie!

I look forward to it

I’m not looking forward to it at all. They should leave it alone. I’m scared what they’re gonna turn it into. It's gonna be a new thing for kids now. They’re stealing my history!

The Go! Team! exchange a lot of their instruments when playing live. What are your favourite instruments?

I learnt to play the recorder in primary school but then I realised they don’t play recorders in orchestras. Then I found out the Go! Team play recorders so I was happy with that.

Do you like playing in Camden?

It depends on the crowd. In general I don’t really like playing in London or the major cities. It’s all industry types. They don’t come to dance. They come to stroke their chins. The fans never get to go there so you don’t get the same energy.

Your influences have been described as varied, ranging from Jackson 5 to Sonic Youth. What music doesn’t influence you?

Blues, classical music and I’m not into the indie-rock scene. I perform at the festivals with the indie-rock bands but never really watch them as I’m never really interested.

The new album is the first involving all six band members. With such varying influences, was there any fighting?

N’ah, we all get on. There are no real egos in the band. We’re all really laid back.

Who are your heroes?

I don’t have any - I might be a weirdo! I’ve never been a person who puts posters on my wall or been desperate to meet someone. I’ve always thought ‘one day I’m gonna be there.' When you worship people, it separates you from them.

You’ve always got a different look on stage. Where do you get your inspiration for your outfits?

I never plan what to wear. It’ll be the morning and I’m scrambling through clothes trying to find something. I’ll just mix and match. I like bright colours. You’ll never catch me in black or brown.

What are you doing today?

I’m being really boring! I’ve got the day off and I probably won’t get out at all. It’s my birthday soon and I really want a bike so I can go for a ride in the park on days like this.

Do you have any blades?

I’ve got hockey skates but the last time I went out on them I nearly killed myself! I ended up on the top of a really steep hill and I had no way of getting to the bottom. It never occurred to me to take them off. I went flying down into the road!

But I didn’t eat dinner at school for a year to save up for skates so I’m not getting read of them! Before that I had the Fisher Price ones where the wheels don’t actually turn.

Rise Festival, Finsbury Park, 15 July 2007

2007-07-21T09:08:00.000-07:00

Move over Beth Ditto. Shingai Shoniwa is now officially the coolest lady in rock. Wild haired, donning gigantic gold shoulder pads and torn florescent green leggings, she didn’t just warm up the crowd at Europe’s largest anti-racism festival - she set them alight.

The Noisettes front woman told us how it’s a dream come true performing between sets by Jamelia and Kelis.

‘We’re all very different but that’s what makes London so incredible,’ she said.
She couldn't have summed-up Rise better.

Shingai’s stunning vocal range stretched from growls to squeals. She showed prowess, playing both electric and bass guitar as she strutted around the stage, jumping off amps and sliding to her knees.

She dedicated a song to her Mum in the crowd who was looking nearly as cool as Shingai and sang along to all the words of the Noisettes’ punk-funk tunes.

Jamelia was looking stylish in black and gold, the highlight of her set being a melodious cover of Gnarles Barkley’s Crazy, which got the crowd singing in harmony.

‘Hey, wazzup!’ Kelis screamed as she entered the stage following a ten-minute instrumental by her band.

Defining sexy in a satin miniskirt and white heals, she got the crowd rocking out to ‘Blindfold Me’, before slowing it down for ‘Lil’ Star’. ‘Trick Me’, showed her fusing rock and R’n’B as only she knows how.

But it was Kelis’ Milkshake that had brought all the boys (and girls) to Finsbury Park as she showed she really knows how to dance and got the entire crowd singing and dancing along too.

Horse play

2007-07-21T09:03:00.000-07:00

They sold out a gig at Koko and toured with the Klaxons. Now North London's New Young Pony Club has decided it's time to release their debut album, Fantastic Playroom, out on Monday. I caught up with the band’s producer and guitarist Andy Spence.

Why New Young Pony Club?

It was Tahita’s (vocalist) choice. She always wanted a pony when she was younger and liked the idea of being in a club. Plus it sounds kinky.

Why have you called your album Fantastic Playroom?

We wanted to describe where we made it. The studio was our sanctuary to play around in. We kept going back to have fun and try out new things.

Describe it in a sentence

It’s a fantastic, futuristic, avant guard pop journey.

What are your favourite toys?

My Pro 5 Keyboard and Sequential Circuit music equipment which makes wiggly noises. I also like my cow bell.

Did you ever have a My Little Pony?

No but I’m sure all the girls in the band did. Plus all the accessories and castles.

Are there too many trilby wearing guitar bands?

I think there are too many indie boy bands and that style’s been done to death. It’s not original. Bands used to want to make music, no matter who they were. Now it seems more like a career choice. They probably offer it at school… would you like to be a surveyor, a police man or a band member? It’s something people choose to do rather than having a desire to make music.

Are there enough female led bands?

There’s a surge at the moment. It seems like positive discrimination.

Who are your fave current bands?

Bat For Lashes are great. I saw their lead singer recently and was mesmerised- too shy to say hello.

Simian Mobile Disco is also really strong. They’re like the next Chemical Brothers.

Are you making rock music sexy again?

I think we’re helping. We’re certainly not making it uglier. We sound like we like having fun. We’ve got some dirty lyrics but we sing about all sorts of things. We’re a sexy nerdy band.

You all seem very stylish. What’s your dress sense influenced by?

We make it up as we go along. We have alot of older influences like the Blondie era. But everyone has their own taste. Tahita loves Iggy Pop but she hasn’t done that look on stage yet.

You’re playing a lot of festivals this summer. Why should people come to see you live?

We’re fresh, fun and have loads of catchy tunes.

What’s your favourite flavour Ice-cream?

It’s gotta be chocolate

Do you ever fall out?

Sometimes. We had quite a big bus on tour so we could sit at opposite ends if we do.

Who’s the sexiest band member?

Me of course. Who else?

Who’s the naughtiest band member?

Probably Sarah (drummer). She seems quite sweet. But at one gig some guys started shouting and she threw a lemon which hit one of them really hard. She’s a dark horse.

Fantastic Playroom is released on July 9.

The Rapture, Astoria, 28 February 2007

2007-03-04T10:50:00.000-08:00

The Rapture showed new rave’s pretenders how to party at their NME show.

With messy hair and funky t-shirts the quartet looked like they’d just come from Camden Market rather than NYC.

Their opening trademark cowbell-led infectious anthem Don Gone Do It got fans making shapes from outset, transforming the Astoria from gig to disco venue in seconds.

The band’s songs are ideal for a live setting as they fuse crashing guitars and mellifluous sax with thumping beats.

There was little need for banter as lead singer Luke Jenner danced and waved his guitar round like his skinny jeans were on fire for the set’s entirety.

He screamed the lyrics to explosive club favourite House of Jealous Lovers, to a raucous reception.

The pulsating rhythms of their encore Olio had crowd dancing like their jeans were on fire too as Jenner dived from the stage to join the party on the floor.

Young Knives, Shepherd's Bush Empire, 26 February 2007

2007-03-04T10:35:00.000-08:00

Seeing the Young Knives is a bit like watching your Dad and his mates perform a drunken impromptu gig at a wedding reception only to discover they can actually play instruments surprisingly well.

Tweed suit wearing lead singer Henry Dartnall admitted to the crowd that they’re probably 10 years older than most bands on the NME tour, but band think its hip to be square and their fans love them all the more for it.

From former single She’s Attracted To, about a nightmare encounter with a new girlfriend’s parents, to B-side Kramer vs. Kramer, they play a set of deftly crafted songs bursting with pop punk guitar energy and catchy, witty lyrics.

There was sharp banter between Dartnall and his base playing brother The House of Lords as Dartnall said they felt a bit adventurous and asked the fans if they wanted him to take his top off. My guess is they probably didn’t given he’d dedicated their entire set to the love of chips.

A riotous crowd sang along as they ended with their spiky feel-good anthem Weekends and Bleak Holidays.

The Young Knives are one of the tightest the three pieces around but their set barely lasted an hour. More next time please.

Riders on the Storm, Camden Roundhouse, 30 December 2006

2007-01-20T17:09:00.000-08:00

Paramedics at the Riders of the Storm Roundhouse gig were probably expecting pace maker failures rather than drug overdoses from wrinkly rockers in the crowd. Maybe they had underestimated Doors fans. One leather trouser clad groupie was so excited he chundered in his pint glass before inanely waving his arms and climbing over the seats for the two hour set’s entirety.

In true Doors style, the band entered the stage half an hour late. Keyboardist Ray Manzarek and guitarist Robby Krieger were the only original Doors members, but lead singer Ian Astbury had Jim Morrison’s look as he shook his tambourine and stamped his feet for opener Roadhouse Blues.

67 year-old Manzarek flippped is leg onto the keyboard to play with his foot with relative ease and shouted, “We’re going to do this for Jim,” as many of the crowd left their seats to head to the front to shake hands with Krieger for the dexterously played Turn out the Light.

Krieger’s flamenco guitar interlude was the low point but things picked up with an unerring acoustic version of When You’re Strange.

Manzarek sang lyrics to Sex Machine which he dedicated to James Brown and fans were stamping in the balconies for the second encore. Manzarek questioned: “What would you like us to play?” As if he needed to ask. The band dragged out Light My Fire for ten minutes to raucous applause.

Red Hot Chilli Peppers, Camden Roundhouse, 22 November 2006

2006-11-29T08:55:00.000-08:00

Now in their 40s, the Chillis may have calmed down a little since their days of performing wearing nothing but socks to cover their dignity, but they certainly know how to churn out an impressive set list of greatest hits.

The Californian funk rock veterans strutted around stage with impressive vigour as striped mitten wearing singer Anthony Kiedis showed unrelenting charisma, robot dancing to opener Don’t Stop.

The band played a set of varied pace as Kiedis gave a strong vocal performance to anthemic slow numbers Scar Tissue and Californiation.

Their cover of Simon and Garfunkel’s For Emily (Wherever I May Find Her) was a dull choice of interlude but they were soon back on the case with more impressive guitar rhythms.

Semi-naked tattooed bassist Flea pogoed around and wild-eyed drummer Chad Smith played with vitality, as fans in the crowd rocked out for the set’s entirety.

But given the band’s impressive back catalogue, the set was too short at just over an hour and I’m sure I wasn’t the only one disappointed that they shunned their most famous song Under The Bridge .

Kiedis exited the stage prematurely leaving the band jamming before Flea shouted “Live long, live strong," leading the band off the stage.

The fact that the Chillis chose the Roundhouse to play their last European gig of the year, shows how the venue is rapidly recapturing its 70s kudos. But offering one type of beer on draft and charging £4.50 for a plastic cup of wine shows it sure ain’t the Summer of Love any more.

Air Traffic, Camden Barfly, 2 October 2006

2006-10-07T16:24:00.000-07:00

I blame Coldplay. Ever since Chris Martin warbled about everything being everything being the wrong colour, introducing bed-wetting music to the mainstream, we’ve witnessed a string of vapid piano-led indie bands trying to imitate their success.

But if bands as banal as Keane and Athlete can do it, so can Air Traffic. The EMI-signed trendy hair-cut band, all in their early twenties, played a set of predominantly two and a half minute, four-chord pop songs, kicking off with their latest bouncy single Just Abuse Me.

Lead singer Chris Wall showed sparks of pianist talent but was constrained by a set-list that lacked originality.

Jarvis Cocker made a good point last week when he criticised bands for thinking more about the money than the music. Air Traffic demonstrated this, communicating well with each other on stage but not saying much to the crowd apart from plugging their t-shirts.

Their set all seemed rather formulaic, Wall even having the lyrics to the sickly-sentimental Shooting Star written on a sheet on top of his piano.

Air Traffic’s drabness was exacerbated by strength of their support acts. Circuits played a set of bristling 70s influenced guitar tunes with zest, but it was Indianan rock band Murder by Death that shone the most.

If you met their short ropey lead vocalist Turla in the street, you wouldn’t expect him to be the type of person to be bellowing deep echoing lyrics about confronting every level of hell. But at the Barfly, he had the crowd captivated as Sarah Ballet’s chilling cello strums fused with his punk guitar sounds.

Air Traffic were inevitably lauded by 400 teenage fans. Having received acclaim from the likes of Radio 1’s Jo Whiley, their chart success may well be inexorable. Catch them at the Dublin Castle on Oct 17 before it’s too late and you can’t get tickets to see them at the Brits.

The Bishops, The Luminaire, 16 September 2006

2006-09-22T12:02:00.000-07:00

Why is there always a group of gangling giants half way to the front of the crowd at gigs? If you’re cheeky enough to squeeze past there’s often enough space to make some serious shapes in front of them.

This was certainly the case at The Luminaire on Saturday night where there were a good few metres to spare between the wall of onlookers and The Bishops.

The band were far from intimidating, twins Mike and Pete Bishop’s matching skinny black suits and mop-top hair cuts attracting cries of ‘John Lennon’ from confused Crimea fans waiting at the bar for the headliners. With wide eyes and toothy grins they looked more Prince William than John Lennon.

Their symbiotic relationship worked well as they played a tight set of snappy songs, heavily influenced by sixties bands particularly the Who and the Kinks.

They were let down a couple of times by their long haired nautical top wearing drummer Chris McConville who looked like he’d turned up on the wrong night to play with a Ramones tribute band.

Lead vocalist Mike seemed nervous when talking to the crowd but was exuberant when playing guitar, shaking his head more than Axel Rose in the shower with a new bottle of Timotei.

They gained confidence throughout their set, their new single ‘Higher Now’ proving popular and finally encouraging some of the 20-something trendies to make show best mod dance moves in all that space.

For their finale of ‘She Said Bye Bye’, Pete slid onto his knees and Mike jumped off the stage to play guitar in the crowd - all very choreographed but quite amusing.

The Bishops won’t revolutionise the music scene- their idols did that forty years ago. They’re unlikely to lead a mod revival but they will remain an entertaining act to watch on the small gig circuit.

UK Air Guitar Championships, Islington Academy, 1 September 2006

2006-09-10T14:40:00.000-07:00

Wild Thing 37 tuned his guitar dexterously with worn black varnished nails. The 18 year-old’s gaze seemed unnaturally aged and menacing.

Quite the showman, wearing pink florescent sweatband, gloves and tights, he ebulliently revolved his arm to strum as he slid onto his knees to cover the powerful guitar-riff led Muse track Invincible. He collapsed with exhaustion onto the stage floor at the climax of the song.

His striking performance conjured up memories of Spinal Tap, except for the fact he had no pedals, effects, backing members, amp, or in fact guitar.

He was one of twenty plus air guitarists battling it out at the UK Air Guitar Championships which were held at the Carling Islington Academy.

For decades many of the UK’s finest air guitarists have reserved their performances for alcohol-fuelled late night indie discos stretching the country.

This is the first year a UK winner will be sent to represent their country at the Air Guitar World Championships in Finland.

The judging panel, which included retired two times world champion Zac ‘Magnet’ Monroe, assessed the competitors based upon criteria including originality, stage charisma, technical ability and airiness.

Following two gruelling rounds, Wild Thing 37 was one of three finalists who had to spontaneously play air guitar to an unprepared track.

An Arctic Monkeys song was chosen and Wild Thing 37 recognised it instantly, singing along to the words and kicking the air just to warm up.

Count Rockula, the first finalist to perform, entered the stage exuding gusto as he high-fived his supporters. Beneath his black robe, he sported lycra cycling shorts and vest with chest hair clearly on display.

But despite a vigorous stage performance, he seemed to forget that he was meant to be pretending to play the guitar.

The handle bar moustached Hoxton Reaper was second up, donning white linen trousers and vest. He was eulogised by newly found screaming female fans at the front of the crowd.

Performing with confidence, he confirmed to the judges that he actually knew how to play a real guitar.

Wild Thing 37’s performance was filled with vehemence. He certainly believed in the music but could have connected better with the crowd. He was narrowly defeated by the Reaper, who was dragged into the crowd preceding a stage invasion.

So did the chintzy contestants deserve centre stage or were they an insult to artists who have spent years perfecting guitar prowess? Well, the tumultuous crowd seemed to be in full support and thousands of pounds were raised for the Teenage Cancer Trust.

Rise Festival, Finsbury Park, 8 July 2006

2006-07-13T05:56:00.000-07:00

Jazz virtuoso Roy Ayers couldn’t have timed his set more perfectly. The sun had just broken from behind the clouds as he launched into his mellifluous “Everybody Loves the Sunshine” to a warm Rise festival crowd.

Looking dandy in a white jacket and trilby, if rather incongruous orange stripe tracksuit bottoms, the 65-year old proved he wasn’t going to be outshone by a five minute vivacious solo by his drummer. He danced around shaking his vibraphone sticks to confirm he was still the great showman he’s always been.

“You have been so good to me over these years. And I think I have been good to you too,” Ayers said bashfully at the climax of his set. Oh yes, Mr Ayers, indeed you have.

Rise was the largest free anti-racist music festival in Europe. Londoners stood together against discrimination and prejudice and witnessed some fervent political speeches from London Mayor Ken Livingstone, who told us that he welcomed asylum seekers, to a Trade Union Council spokeswoman, who demanded we reject what she called the “British National Plonker Party”.

But it was the diverse music, comedy and dance on seven stages that seemed to unite the crowd the most. And we were able to indulge in some great food and drink too.

On the main stage, ex blur guitarist Graham Coxon appeared to be going for a Samuel L Jackson look in a back-to-front black Kangol-style hat. A lot of people around me asked who he was and when they found out, questioned if he’d perform any hits from Parklife. But new songs like “Standing on my own again” confirmed the guitar prowess he had brought to his former band. He played an effervescent set of solo material and gained a few new fans along the way.

Buzzcocks were looking noticeably balder and tubbier than in their heyday but the old guys played with gusto to prove they could still rock. Rumbustious punk kids as young as 10 crowd surfed to the front showing hits like “Ever Fallen in Love” are as relevant now as they were in their 70s prime.

Bob Marley’s old band the Wailers were a perfect end to an eclectic day of music. Aston "Family Man" Barrett led the vocals in a set comprising Bob Marley’s greatest hits. As they broke into “Stir it up”, the crowd began hip shaking in unison. The whole audience sang along in adulation to sublime “No Woman No Cry” and “Redemption Song”.

Exodus was an apt ending to encourage the crowd to make their way home trouble-free as we were told not a single arrest had been made at the festival so far that day. People’s creed, race and colour of face became irrelevant. Londoners had been united, immersed in a great day of music.

Dirty Pretty Things, The Forum, 24 May 2006

2006-06-04T15:58:00.000-07:00

This was always going to be a tough set for Carl Barât. The last time he performed at the Forum was in December 2003 with fellow Libertines frontman Pete Doherty. Their gigs were acclaimed as being some of the greatest in recent years, with showstopping stage invasions and guitars flung into the crowd.

The Dirty Pretty Things’ gritty garage rock had a familiar tone, helped no doubt by backing drummer Gary Powell, another former Libertine, who performed with impressive vigour, but Barât looked considerably cooler - it was half way through the set before he even bothered to take his jacket off.

The sea of fans looked animated but not electrified, while shoulder to shoulder security in front of the stage made the chances of a stage invasion slim. And tellingly it was only the Libertines songs, such as I Get Along - performed at breakneck pace - that got everyone in the gallery standing.

But it was this juxtaposition between the two bands' songs which showed up the lacking in the Things’ material. The raw frenetic energy of the Libertines merely teased the crowd while Doherty’s poetic verve was much missed.

The set ended with a jaded effort by Barât to crawl into the crowd and former guitar tech Anthony Rossomando made a lacklustre attempt at smashing his guitar on the symbols, before he quit early to spend a good minute fiddling with it looking genuinely concerned it might be bust.

A poor replica of Barat’s former band’s glory.

The Kooks, Mean Fiddler, 23 March 2006

2006-03-25T09:30:00.000-08:00

The perfect antidote to a seemingly endless winter, Brighton four-piece The Kooks brought a ray of summer sunshine to the Mean Fiddler last Thursday.

Not having heard much of their material before the gig, I awoke on Friday morning with the four piece’s jangly guitar riffs and catchy lyrics bouncing in my head- I haven’t been able to get them out of there since.

It was all great tunes and very little banter during The Kooks’ 45 minute set. Scruffy curly-topped 20-year old Luke Prichard bounced all over the stage climbing onto any piece of equipment he could see.

Their melodies were toe-tappingly addictive and their thousand-strong army of teenage fans sang along to all their songs. The highlight was their last single, You Don’t Love Me, which shows youthful awareness rarely seen since songs from Supergrass’ and Blur’s debut albums.

The Kooks are growing in popularity at unstoppable pace. They’ve already sold out two nights at the Astoria in May. By the time the summer’s festivals come around, their feel-good sound will be perfect for the main stage.

Rifles, 93 Feet East, London- 9 March 2006

2006-03-11T10:09:00.000-08:00

Back in London after a three week UK tour, this was the Rifles homecoming.

“Let’s make it a memorable one,” lead singer Joel Stoker announced as guitarist Lucus Crowther, threw out cans of beer to the crowd.

The 250-capacity venue sold out six weeks before the gig and the crowd - in their late teens and early 20s - were all up for it.

With their Mod image and Jam-inspired guitar riffs, the Rifles are riding high on the back of the current ska revival.

For Local Boy, which Radio 1’s Zane Lowe has described as “the hottest record in the world”, the band’s mates stormed out from the back, diving from the stage. Support band Milburn were up on stage next- doing the same and then guitarist Crowther was off - he lost his trilby and glasses in his dive.

The crowd were left clapping and chanting “Rifles” for a good five minutes before the band returned for their encore. Crowther asked for his hat back and Stoker quipped: “It makes him the man he is.”

They apologised for taking so long to return to the stage- apparently they were practicing out back. It paid off though- No Love Lost went down well to end this short but storming set.

Orson- 100 Club, London – 14 February 2006

2006-03-07T14:41:00.000-08:00

Hollywood soft rock band Orson were milking the fact it was Valentines night in the intimate 200-capacity 100 Club. Bassist Jonny Bentjen had flowers ‘from his girl’ rested on his amp and singer Jason Pebworth dedicated their songs ‘to the ladies’, who were mainly in their late 20s and dancing at the front of the crowd

Velvet jacket-wearing Pebworth, had sweat pouring from under his trilby as he tried desperately to maintain his cool jazz image.

A female fan told me how she thought they sounded somewhere between The Killers and Duran Duran. Sadly, they were far from being as exciting as either of these bands - the bulk of the set, particularly the piano-led numbers, was like listening to a lacklustre version of Maroon 5.

Their cover of Hall and Oates’ classic I Can’t Go For That was the highlight, Pebworth showing a strong vocal range.

The band got the best reception of the night for their catchy Radio 1 A-list single No Tomorrow, which is about breaking up with a girl - rather inappropriate for Valentines. Adolescent boys with striped shirts and floppy hair pushed through to the front and try it on with the ladies. But they weren’t interest - Orson was their only date for the evening.

Rakes –Astoria, London – 2 February 2006

2006-03-07T14:40:00.000-08:00

No wonder wiry Rakes front man Alan Donohoe seemed so excited. This was the first time they had headlined and sold out the 2000-capacity Astoria.

He danced around like a maniac for the entire set, his hands gesticulating tirelessly. He was hand jiving, doing the Agadoo, and at one point it looked like he was attempting the Birdy Song.

Leeds support band Duel’s electro rock was a difficult act to follow. Lead singer Jon Foulger, looked uncannily like Julian Clary donning yellow lycra trousers.

The crowd, in their late teens and early twenties, were in a frenzy as balloons were released from the ceiling and the Rakes fired up adrenaline fuelled Retreat - they sang along to all the words in this familiar song about binge drinking in London.

The Rakes’ unashamedly cockney sound is like fusing the Clash with the Streets. But the low point of the set was the slower songs in the middle - even bringing their mate Ethan onstage to play the tambourine couldn’t save them.

Their catchy angular rock soon kicked in again for the shamelessly political Strasbourg. Donohoe swang his microphone in the air, lunatic drummer Lasse Petersen went wild and the kids are crowd surfed to the front to conclude this chaotic live performance.

Morning Runner- Dublin Castle, Camden, London- 19 January 2006

2006-03-07T14:08:00.000-08:00

As the crowd awaited the arrival of Morning Runner- Chris Martin’s favourite new band- there was an electrifying feeling in the air.

The Coldplay singer was apparently in the audience but I couldn’t see him. The crowd, mainly 20-somethings, had come to see the tip of 2006.

As the band eased there way through the full-to-bursting Dublin Castle punters, pianist Chris Wheat ‘Fields’ mumbled as he pushed past my mate: “Sorry, I’m in the band.”

Later he came back, less apologetic, more cheekily, to ask for a sip of her drink.

Vocalist and lead guitarist Matthew Greener, an unshaven rockstar in the making, got the crowd going as they launched into their set, their sound resembling Coldplay, but with a punky, grittier feel.

A new fan, a wild eyed man in his 50s, performed air guitar at the front of the crowd and when he disappeared, the band asked: “Where’s the old guy gone?”

Apart from the banter, Greener’s vocal range was superb, while Field’s keyboard and backing harmonies echoed soulfully behind him.

Even a temporary hitch on the night- Greener’s out of tune guitar- didn’t dampen the ardour of the fans.

Radio One’s Steve Lamacq’s single of the week Burning Benches kicked in accompanied by frenzied pogoing from the indie kids.

Not to be outdone, the old guy returned - this time on the floor, kissing the stage.

This piano-led anthem certainly received the best reaction of the night - from people of all ages.