@bloodredshoesuk

Skulking about Brick Lane a few weeks ago, taking in some new street art with salt beef bagel in hand, the graffiti leads us towards Rough Trade East. Grabbing a (reasonably priced and proper) cup of coffee the caffeine is quickly ingested and slinking about the aisles commences. The main objective, as always, is the giant in-store gig board at the back. A quick scan showed that Blood Red Shoes were playing a gig in a few weeks. Most excellent. An exam over the weekend prevented attendance at their sold-out London gig just this past weekend, but Musos' was going to try and worm their way into this event, but how?

Lady luck must've been sweet on us that day because on our instagram feed we saw that BRS were holding a pop-up listening and swag give-away event to celebrate the release of Get Tragic (25/1/19), their latest album, just around the corner from our dwelling. Rolling up to Mary Wyatt London there was a queue out the door, it was only 4pm. Once in we were given a tote (contents: 1 Beer tin of, 1 Polaroid of Laura and Steven in nerd poses, badges, stickers and caaaaandy) and left to wander our surroundings, think house party vibes with merch. At the back of the shop Steven was tending bar pouring wine out of an emerald green carafe for thirsty fans while Laura circulated and mingled with the crowd.

While the carafe was being replenished we took our opportunity to hit the bar for an audience......and a drink:

Disclaimer: This conversation is paraphrased, it was an open bar and in hindsight my recollection might just be a tad bit hazy. Additionally, I never sound this composed in real life. Factually, it's accurate, to the best of my recollection:

Steven (BRS: Vocals/Drums) What can I getchya?

Cpt: Hey man, congratulations on your album release, it's been a long time coming. I'll take a splash of wine when you get a sec.

Steven: Thanks a lot! One wine coming right up.

Cpt: A few months ago you did a pretty big share on the instagram leading up to the release of Get Tragic talking about what went to putting this album together and making it come to fruition, we think fans really dig the look behind the curtain into the process, not everyone's always into sharing the downs along with the ups.

Steven: Yeah, we thought, fuck-it, 5 years is a long time and we went through a lot of ups and downs to put it together and we're really proud of it so we're going to talk about it.

Cpt: Couldn't agree with you more. Listen, I've got an exam this weekend and can't make it to the already sold out London gig but saw that you're doing an in-shop-gig at Rough Trade East and were wondering if you wouldn't mind having us write a few words?

Steven: Sure man, let's make it happen.

I think my second favourite type of venue for a gig, outside of cramped dives which is the only way to hear new live music, is in a record store. Sure, the sound and atmosphere aren't as mental and you won't get the fear of death put into you from an impromptu pit forming around your person coupled with the spray of beer and human DNA going everywhere but it's where music lives. Gigs here are like free samples at the super market, it's not a meal but we've all gone back for seconds (and thirds) once we've gotten a taste for it. It's about 45 minutes before their set time and there's already people in front of the stage 3 rows deep, 45 minutes later the shop is packed, the lights go down and the band comes out.

BRS is traditionally a duo but with the new record comes growth; the duo turned quartet now has 2 new members. Playing support percussion and keys we've got James (TigerCub) and on bass, Hannah (2:54) who're the new additions to the BRS family for their current touring season.

If you haven't heard Get Tragic yet there are some bangers on there, more than a few, but for now let's talk about the gig as this isn't an album review. The set starts off in classic Tarantino fashion with 'Elijah' the last song of their new album, first. The best way to describe this song is to imagine it playing on the radio of an autonomous murder car on its path of destruction through a densely populated city at night leaving shattered souls in its wake. It's a dark and unhurried juggernaut of a tune, overbearing and large in all the right ways and certainly sets the tone for the new chapter in their career. Although the biblical names like Jezebel and Elijah really don't do much for us (played out across all of Rock 'n' Roll) the lyrics feel eerily semi-auto-biographical in terms of the album, and duo's, turbulent history:

"I heard you fucked up again, Elijah

One day you're up then you're down in this old town

and everybody around, confounded."

This is, for us, hands-down the best song on the album. Live, this track and the rest of the set, you're just left enveloped in these intense thick swelling velvety tones that you'd think you were trapped inside the Black Lodge, inescapable. Steven and Laura have been touring these new songs for a while now in anticipation of finally releasing Get Tragic. Two years ago, another sold-out show, at the Oslo we got a preview of what's to come. 'Eye to Eye' and 'Bangsar' were revealed during an encore. They were playing the tracks they couldn't release, all we kept thinking was how much bigger and louder they were with the addition of new members, distortion and reverb backed up with bass and electro tones.

Back to the present; the track ends and the past has caught up with us. Laura's Fender with emerald pick guard is bumped and bruised with chips in it, Steven's drum sticks look like they've been put through a cheese grater, they were new 5 minutes ago. A sign that tragic times might've been in their past but now it's time for the getting. Through the 15 years they've been together with all of their ups and downs, they've still got a lot of love and sibling rivalry type banter. Steven wants to get onto the next track and starts tapping the hi-hat, Laura moans she needs a drink, Steven taps the hi-hat faster as she reaches for her vino confiding in the audience about Steven's extra large toe on the hi-hat rather than his foot coming down on it, 'aw mate!' is all he can muster in rebuttal. Digs and laughs aside that show and each one that follows always end the same way, not with a tried and tested encore but with the duo in an embrace cups (often times bottles), raised in salute to their audience members who've stuck with them through the years, 'buy our album' Steven says, 'so we don't have to get real jobs and to get our parents off our backs'.

Recently having toured with Alice In Chains, a new album creeping its way up the UK Top 40 (unbelievably a first in their career) and a whole slew of tour dates coming up over Spring, Summer and Fall BRS are on their way up and bringing their fellow Brightonians in their local music scene with them. Their set ends with 'Colours Fade' but we would've preferred the second last song, 'God Complex' instead. Laura and Steven meet center stage and thank the crowd, announcing they'll be signing merchandise at the back in a few minutes and leave the stage. I hang around to grab a set list and as I'm about to tuck it away a wolf like man approaches me with a piece of carry on luggage in tow, 'can I take a picture of this set list? I've never heard of this (not a typo!) Blood Red Shoes before, I'm from Germany. I want to find their music and tell my friends'. Looking rich, well put together and totally out of his element he must've been pulled towards the cliffs by the sirens I figure and wandered in off the street. I agree and he takes the shot with a smile on his face. We part and I make my way towards the exit to hopefully snap a pic of the greet-n-meet. The queue runs the length of Rough Trade, I get there as the first fan (a regular looking suburban lady in her 40s) hands Steven and Laura something to sign. With the look and smile on their faces you'd think their endorsing a check to themselves for millions of pounds but they're just making a fan's day and it's absolutely fucking adorable.

Prolonging The Magic.

Cake (@thebandcake)

The year, 1996, the place, my high school's gymnasium. My best friend (sorry boys, even after 23 years the position is still filled) and I were on the assembly committee (shut-up!) setting up the stage and chairs for a presentation when we first heard the bass line to Cake's 'The Distance' come over the gym's speakers. We'd never heard anything like it before, and we still haven't.

Cake haven't released an album in 8 years and haven't toured the UK since I've lived here, that's the past 7 years. Cake sold out London's Electric Ballroom from across an ocean and from the other side of a continent from a little place known as Sacramento California. If you're at this sold-out gig, with no tickets available on the door, you've paid £37.50 and you know what you're getting into. This isn't the type of gig you're going to because someone left it to you in their will or you've got nothing better to do and just wanted a Saturday night out on the toon. For many in a place like London where there's always action just around the corner there's far better things to do. For us, an eccentric few spread far and wide, this niche performance is definitely the best thing we could be doing on this night, in this place.

I've seen Cake to date play 3 times, twice in the USA in the late '90s and early 2000s, I can't remember the first as it's blotted out by pure rage at the loss of a Kodak disposable camera we took to the show with us. A roadie took it on tour and promised to send it back, never did. Kids, never trust roadies. We waited after the gig at the stage door and got pictures with Xan and Vince (Xan held up a banana and we thought it was the funniest thing in the world). Both gigs were in large theaters because America, you know? My friends and I could only afford balcony seats but of course snuck down to floor level when the guards took their eye off the ball, still too big to enjoy their sound. This time around under the guise of a writer (Muuuuwhahahhaha) I got in early and positioned myself front and center by the barriers. On my way to the stage I passed columns plastered with posters stating the following:

Doors 6:30 Set 1 7:30 Intermission Set 2 Curfew 11:00

No opening act and an intermission? How very. I tucked into my spot and waited to get a couple of great shots of the band for the article before putting my phone away so I could enjoy the gig unencumbered, but oh my brothers and sisters, would you believe it would not be? Double crossed again by my beloved Cake before the band comes out over the PA system I hear a pretentious voice announcing that if anyone is caught recording, filming or taking pictures during their performance they would be promptly removed from the venue. This is not a joke, I have personally seen John (lead vocals/songwriter/backup guitar) stop his performance twice at 2 different shows to eject audience members for this very reason. I was right in front of the mic and paid full price for my ticket (£37.50!) I wasn't about to get jacked, but I was livid. I SHOULD MENTION (in case Cake or their management is reading this) I'd reached out to Cake's management and social media team about an interview/pictures for a week straight via e-mail and instagram DM to no avail, now this? Would the readers mind if we skipped into the future briefly? A few days later on Cake's instagram there surfaced re-posted photography from this and previous gigs from fans inside the venues the moderator of said media outlet going as far as to compliment the shots crediting the followers, pretty hypocritical and extremely irritating both as a long time fan and supporter of the troop, needless to say the article (and my mental well being) will suffer, won't someone please think of the articles?!

After the devastating announcement and some weird two minute nightly news theme song the three long time members stroll out on stage. Vince (trumpet/keys/backup vocals) a ubiquitous Californian next door neighbour type in a button down check shirt who's alter ego is being a founding member of Cake. Vince is followed by John (vocals/backup guitar/lead vibraslap) channeling his inner Grandpa Lebowski in a flat-cap, sunglasses, large woolen zip up and Doctor Strangelove T-shirt with Xan (Lead Guitar) in tow looking like a young Cowboy David Bowie. John's got Cake's pattented 'Vibraslap' in hand, raises it and kicks off their set with album Fashion Nugget's title track 'Frank Sinatra'.

The holy trinity that is Cake's identifying sound is Xan's guitar, a Grestch Bigsby, its iconic sound lacing it's way through Cake's entire discography, coupled with Vince's trumpet and John's vibraslap, who's arrangements and sound transpose from record to stage seamlessly. They're nearly 30 years into their career and haven't lost any of their spunk. Their showmanship matches their music, chill and engaging. The setlist was made up of tracks plucked from each of their records including a variety of covers ('War Pigs', 'Sad Songs And Waltzes' and 'I Will Survive'). I'm sure we've all been there, going to see a band waiting for them to play their 'hit(s)' but with Cake that's never the case. If you're a Cake fan I think at least 85% of their tunes are hits to us so you're never really left wanting or waiting and you can just enjoy the performance (and intermission). Speaking of the intermission, upon returning from it the band gave out a tree to one lucky member who guessed that it was an apple tree (aaaaw yeah, apple pies son!), they had to promise to plant it within a month and send pictures and continue to do so until the were DEAD. Small price to pay I'd say for free apples, I mentioned the pie right? (It'll need to be near another one for pollination help - Ed.) I'm happy AF they came back with an encore consisting of 'THE DISTANCE', man, that bassline gets me every time. I think with time their audience engagement has come a long way too and John has certainly mellowed out since the last time I'd seen him. When they played 'Short Skirt Long Jacket' John split the crowd in 2 and had them compete in a shouting match of Na, Nas (x11) that made the already nearly nonsensical and teasing tones completely lose their meaning entirely giving way to a shouting match that left the audience hoarse. It was fun, don't get me wrong, but this brings me to the paradox that is Cake's front man.

What vibe the band as a collective builds on stage, John's antics smash to pieces with things like coaxing the audience, I kid you not, into heil salutes while encouraging their decision to give up individual thought momentarily in lulling tones to let the crowd understand 'how good it feels' to do so. I don't know if he's trying to gauge the type of people that now form the Cake audience or fan base but it's in poor taste. For a Californian he's a pretty politically and outspoken sort of dude, the type that rams his opinions down your throat during a gig, think Mussolini-meets-Madonna type. He'll stop playing and won't start until you're listening again, be it to his music or rhetoric. He will have you ejected from a gig for not listening. Riding the coattails of the Na Na Na Nas' teasing tones John rubs the audience's noses in Brexit, "How 'bout that Brexit, that hard Brexit? I like a hard breakfast myself". Later in the set he brings up Brexit again but to his credit mentions they're in the same boat with Trump as a lead into their new track, 'Sinking Ship' which if I'm honest I'm not really a fan of (sounds slapped together and lacks all soul). Don't drink the Kool-Aid though kids, John has a clenched fist that he shakes at the sky at all of life's woes, politics, meat and capitalism but these ethical standards are waved away once you pop by their merch table and pick up a Gildan branded (Haitian low cost labour) T for £25 to go along with the £37.50 entrance fee. Hey John, how do you afford your rock and roll lifestyle? Excess ain't rebellion.

In the end can I really fault them for their antics? I guess not, their lyrics are cynical, cutting, dark at times, both romantic and sad, if you're a Cake fan you know what you're getting into. If you're a fan or maybe even if you aren't, you'll enjoy their show and I do recommend you seeing them live because if you're anything like me you love singing their lyrics because they're easy to remember and it's like speaking with a melody. They haven't released an album in 8 years but I don't think anyone can argue they aren't prolonging the magic. If you do get an audience with one of the band members, roadies or merch guy ask them where the fuck my camera is and to get back to an e-mail sometime this century.

Setlist:

Set 1

1. 'Wheels' 

2. 'Sad Songs And Waltzes' (Willie Nelson Cover)

3. 'Opera Singer'

4. 'War Pigs' (Black Sabbath Cover)

5. 'Long Time' 

6. 'Stickshifts And Safetybelts'

7. 'Sheep Go To Heaven'

Set 2

1. 'Sinking Ship'

2. 'Love You Madly'

3. 'Meanwhile Rick James....'

4. 'Walk On By'

5. 'Never There'

Encore

1. 'Short Skirt Long Jacket'

2. 'I Will Survive' (Gloria Gaynor cover)

3.  'The Distance'

Illustration by Davor Mihalji (@davor.mihalji).

Photographs by Steven Velentzas

The Saturday headline slot was filled by the obvious big draw of electronic/industrial pioneer Gary Numan. Various t-shirts from past tours were in evidence throughout the camp all day and people we chatted with had seen him anything up to a dozen times since he started out. Anticipation was naturally high and it’s fair to say that there was little room for disappointment. ‘Are Friends Electric?’ was rather too industrialised (with the quiet passages being almost acapella) but aside from that the material both old and new was delivered in consummate fashion. Certainly a pleasing show if, like me, you’d never seen him before.

Sunday saw us starting early again to see Squid at Noon. And well worth it they were too. An eclectic, Parquet Courts-influenced (or I’m a Dutchman) quintet, they had bags of energy and a lot to say about houseplants and older movie icons. Too-short trousers were in evidence again (something, along with moron antennae, the general age of the crowd thankfully means few of) but musically they manage a sound beyond their years & so should hopefully gain wider acclaim as 2019 progresses.

Post-Sunday roast the earlier momentum was somewhat lost by the pedestrian Yassassin. They were making all the right musical noises but I failed to engage. Lorelle Meets The Obsolete were as good as expected but still rather too dreamy to hold my attention for long, particularly when a good seat couldn’t be found. Standing up for shoegaze isn’t as fun as it used to be.

Rounding off the shows in the smaller hall tonight was another first sighting for me – Luke Haines. Given the equipment littering the stage for the bulk of the weekend it was almost a shock to see him there with just his guitar, to deliver songs about “wrestlers, terrorism & Peter Sutcliffe”. But deliver them he did, to the obvious enjoyment of the numerous fans in attendance. Merriment ensued at one point when, having merely raised his arm to illustrate a point in a song, he broke off to assure us he'd not been attempting a Nazi salute & then had to be reminded where in the song he’d been, all the time laughing at what an odd moment he’d just given us all. Not a manner in which you’ll often see acts trip themselves up.

Eddie Argos had been watching Luke Haines although the arm incident wasn’t something he included when mentioning the fact later on upstairs. ‘Cult Band’ was the song being introduced at the time, the inference being that Haines is a cult figure. Which seems fair to me. Art Brut were the third of this weekend’s acts I’d previously not seen but was keen to and they were on the bill in just the right spot. Whipping the crowd up, despite a rather long bit of waffle during ‘We Formed A Band’ and another later on when Eddie dithered about the stage wondering whether to get into the pit or not (he did eventually then regretted it) they were on point and got the crowd bouncing along, with the newer material  from Wham! Bang! Pow! Let’s Rock Out! sitting comfortably alongside the older songs. His Mum would have been proud.

Echo & The Bunnymen were the final act of the weekend. Still arriving onstage to the accompaniment of Gregorian chants they're clearly back in love with their own material as there was none of the cover version malarkey from the same event four years ago (although apparently some random Doors lyrics were bandied about later in the set) so the adoring fans were well served. And that was it for another year. The Jesus And Mary Chain have already been announced as the main headliner in 2020 so get booking and start the year of perfect vision in fine aural style as well.  

Photographs by Steven Velentzas

Hogmanay’s but a dim memory so it’s time for the first festival of the year. With temperatures high enough that a jacket’s largely superfluous this time Bognor Regis once again proves that it makes sense to head South in January for Rockaway Beach.

Having broken the journey up this time with a London overnight (during which it has to be noted that the excellent Feet were seen live at The Shacklewell Arms. An ideal act for a daytime slot at RB2020) we arrived in good time for dinner rather than rushing in to drop luggage and then try to catch some of whatever performance started at 7pm, as has been the case in the past. Slow time arrival is definitely the way forward.

First up then were Madonnatron, a perfectly decent early afternoon act who suffered from looking a bit bored and not really being that engaging musically. Benin City were unfortunately even less to my taste so dinner was sought out with the hope that the much anticipated Goat Girl would open the evening’s proceedings in good form and the event would finally take off.

Sadly they appeared to be off form and going through the motions, rather than the lively shot in the arm which was required & which you’d have easily been forgiven for expecting if you’ve ever heard them on the radio. Cutting our losses at this point (having never been Maximo Park fans) we called it a night.

Having a pal along this time around meant there was encouragement to give the earlier acts of the day a look on Saturday, so it was that the heavy sounds of John J. Presley were taken in. An impressively weighty trio, suffering only from the Rhodes & whatever device was atop it not coming through much in the mix they, and later act Desert Mountain Tribe provided good, full-on sets of a vaguely gothic rock which certainly whetted the appetites of those who saw them.

Band merchandise was a bit thin on the ground this year but The Spook School, as well as turning in their usual fast, energetic & witty performance, certainly got top marks for their t-shirt designs and keen pricing. Good to spot them later on being punters too. They were followed up by Leeds’ Menace Beach, the first of a number of acts utilising A LOT of equipment. Questionable trouser choices aside theirs was another no nonsense and engaging performance, ably replicating their recorded work & then some.

Rounding off the Reds shows for today were Atlantean quartet Algiers who complimented their array of store-bought equipment with what looked to be a guitar body with a couple of snare cables fastened to it, for use both as something to be stamped on as well as beaten. Pretty effective it was too. This was probably the most energetic & emotionally charged set of the afternoon and, whilst I’ve been advised they’re less accessible on album, they are definitely an act you should try to catch in a small venue if you get the chance.

Barry Adamson opened up the Centre Stage tonight and his ease & knack with the crowd was a pleasure to witness. His private detective/film noir schtick isn’t for everyone though and, lovely bloke though he obviously is, I took a walk after a few songs as none of it was really reaching me. Next up the scheduling was a bit awry, placing as it did Halifax’s Orielles in between Adamson & the headliner. They performed admirably (certainly more in keeping with expectations than Goat Girl) and clearly had fun doing so but their sound’s rather too light to build on what went before & amply set the mood for what was to come. What their inclusion did do though was further highlight how well the festival gets the gender balance right, with a great number of acts including one or more women, something other events should definitely be taking note of.