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Lorraine and The Borderlands Single Launch at The Edinburgh House Concert April 9th

Fresh from their New Year’s Eve show supporting Deacon Blue, Lorraine and The Borderlands are back out on the road again in a series of concerts to promote 'Good Things', the first single from their forthcoming album. Drawn together through the Scottish music scene, Lorraine a butcher’s daughter from Donegal, Jonee Duggan a techno DJ turned accordionist, Nick Jenkins an Eton school boy turned travelling fiddler and Calum Ingram, classically trained turned folk/ rock cellist, comes a modern folk combination you won’t forget. To book your place please email This email address is being protected from spambots. You need JavaScript enabled to view it. to reserve your seat.
 
 
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Weezer, Manchester Academy

That it's been ten years since Weezer last graced Manchester is a fact not lost on tonight's crowd; the anticipation that bristles through the venue as the house lights dim is palpable. That this is only one of two shows the band are playing in the UK is a further fact not lost, with people coming from afar afield as Hamburg to see them, something which not just adds to tonight's expectations, but is also a testament to the devotion Weezer fans harbour.

Understandably, tonight's set is back-boned by material from their most recent record, and though both 'Do You Wanna Get High?' and 'King of the World' are met with a response that would lead one to assume they're staples of the Weezer setlist, other tracks taken from it fall flat in comparison. Arguably this can be attributed to the fact the record was released only two days prior, and as such remains largely unfamiliar.

Fortunately, the same can't be said for the more established tracks. An early pairing of 'My Name is Jonas' and 'Hash Pipe' tease the crowd with the classic material many have come to hear live for the first time, whilst 'Back to the Shack' reminds us just how far Weezer have come since their neurotic 1990s.

While it certainly seems that it's the band's more recent forays in to power-pop that feature predominantly tonight, The Blue Album is represented fairly thoroughly too. 'Say It Aint So' sees a discordant crowd yelling the eponymous line, whilst the set proper is closed out with a rousing rendition of 'Come Undone'.

Taking barely twenty seconds to reappear for an encore, the band launch straight in to 'Beverly Hills' – their most commercially successful track to date and arguably the one which earned them a new generation of fans. It's 'Buddy Holly' with which the band close the night however, a track that both older fans (of which there's an abundance tonight) and the newer set can appreciate equally.

Having been around for over 20 years, it's obvious that Weezer, at least as far as their live shows go, are at the very top of their game and show no sign of slipping. And while the almost record-like quality of some tracks feel a little too polished for live iterations, there's no denying that they're also one of the strongest live bands around.

 

 

 

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Sunset Sons, The Academy, Dublin

With their debut album out the four piece Anglo- Australian group are embarking on a series of shows through Ireland, the UK and Europe. They are no strangers to these shores having toured last year with Imagine Dragons.

Tonight’s Academy show is a big step up from last year’s headliner in Whelan's. For a Tuesday night the room is filling up nicely if slightly lop-sidedly as the crowd gravitates towards the keyboard and mic setup of lead singer Rory Williams. The bravado of booking a venue twice the size pays off as there are definitely more here than would fill Whelan's. The payoff from our perspective is that there is room to move and it feels far more comfortable than it would with this many in a smaller venue.

It’s an early start as Sunset Sons open with ‘Know My Name’. It is the same song that kicks off the knowingly titled album, Very Rarely Say Die. There’s no chat for the first few songs, just the tunes, but during ‘Tick Tock’ Rory takes up the mic stand and dances away from his keyboard, his hulking frame leaning over the edge of the stage. 

Their similarity on record to Kings Of Leon is mirrored both by Rory’s long hair/ beard combo and by aloof guitarist Rob Windram in his short sleeves plaid shirt. Bassist Pete Harper looks the prototypical Aussie surf dude with his curly blonde mop, barely-there ‘tache, and cut off denim jacket with patches. Drummer Jed Laidlaw gives off more of a Chad Smith vibe beneath his porkpie hat.

There's some banter from the crowd and someone asks Rory if he is going to (famous nightclub/ meatmarket) Coppers after the gig. Rory cracks up after that and giggles his way through the opening of 'She Wants'. Pete said that they couldn't hear themselves over the crowd in Belfast. It's not quite as loud here tonight but the young crowd are lapping it up, especially during the big rock out jam at the end of 'Somewhere Maybe'.

Sunset Sons play harder live than on record and are particularly fond of their rocking codas and reprises. They know how to write an immediately catchy tune too. The new album tracks sound instantly familiar. Rory sounds even more like a young Caleb Followill, but more coherent. 

The Coppers-bound girl continues asking questions between songs. When Rory calls her out on it she says that “My mum wants a photograph.” Rory responds immediately, “She got one last night!” drawing a round of applause for his quick wit, that most treasured of characteristics in Ireland. “I'd invite you up on stage but it might be the worst decision I’ve ever made.” Rory has the last word and, still buzzing from the exchanges, he giggles his way through the intro to 'Lost Company'.

They finish the main set with ‘Remember’ and leave for the encore. “You know how this works, it's all pantomime” the frontman teases as they head off the stage. Yet still we scream when Rory returns for a solo run. I imagine they will hear a lot more of that on their upcoming tour. This is the kind of music that will go down well in the arenas and stadia for which Sunset Sons seem destined. Catch them up close and personal while you still can. This is proper guitar pop played with verve and panache. Bonzer!

1 April EXETER Exeter Phoenix

2 April FALMOUTH Princess Pavilion

3 April CARDIFF Y Plas

4 April BRIGHTON Concorde 2

6 April LONDON Koko (SOLD OUT)

8  April BOURNEMOUTH 02 Academy

9 BRISTOL 02 Academy

 

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The Everlasting Yeah Album Launch Evening

The Everlasting Yeah – featuring That Petrol Emotion band-mates Raymond Gorman, Brendan Kelly, Ciaran McLaughlin and Damian O’Neill (The Undertones) - will be playing at The Half Moon Putney on Thursday May 12th to promote their debut album Anima Rising. Retro Man Blog presents an evening of Melody-Harmony-Beat-Noise from The Everlasting Yeah with special guests Of Arrowe Hill. Tickets are limited to 200 and available now at only £13.50 in advance from The Half Moon or £14.50 on the door. 

The Half Moon Putney, 93 Lower Richmond Road, London SW15 1EU (Tel: 0208 780 9383) 

Advance Ticket link:

https://www.musicglue.com/half-moon-putney/events/12-may-16-retro-man-blog-present-half-moon--putney/

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The Klares, The Grand Social, Dublin

When we last saw The Klares they were playing an all ages gig with Blood or Whiskey last summer in Fibbers .Tonight they are headlining The Grand Social. It’s great experience for the schoolboy band who have noticeably grown up in the past year. Tonight’s gig is more about showcasing their ability and gaining experience than anything else.

The set draws from their two EPs, 2013’s Dirty Birds and last year’s Cookoo. They have added to their set too, with upcoming single ‘Sparks Alone’ and the new song ‘Black Huarache’.

They have managed to draw over a hundred people to the show on a Monday night which is nothing to be sneezed at. And the fanbase that they have established is young, well dressed and rabid. They sing back every word of the old songs and even know the new stuff before it has been released. The Arctic Monkeys influence is still strong but The Klares are beginning to find their own rhythm and their own voice. Singer and frontman, Andy Burke in particular, has grown in confidence and presence. His voice is stronger and he throws himself about between verses, picking out individual members of the audience to sing to.

The music is characterised by the single note riffing and rapid downstrokes of early Arctic Monkeys and Libertines. It’s a high energy performance and there's a casualty in the pit during the first song. It’s a rare outlet for the young rockers of Dublin and they are making the most of it. The occasional pit opens up and there’s some friendly slamming going on. New song, ‘Sparks alone’ inspires some jiving on the dancefloor. The new material proves they know when to hold back as well as how to floor it. Instruments drop out of the mix here and there, and the song breaks down in the middle before bursting back to life with a massive final chorus.

The sound mix is spot on as usual in this venue and The Klares close out with the now traditional closer, a version of Jimi Hendrix’s ‘Voodoo Chile’ with a low end Noel Redding would be envious of.

The boys finish school this summer and have managed to get their parents approval to pursue music full-time. That is probably a greater achievement than anything they have done so far. We’ve been promised new material and some big shows after their exams. Watch this space.

 

 

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Mariannes' Single Launch, Workmen's Club, Dublin

Saint Patrick’s Day weekend is the liveliest time of year in Dublin. This year, it coincides with Easter and the centenary of the 1916 Rising so the city is in extended carnival mode. It’s a good moment for the Mariannes to release their new single, ‘The Black Diary Waltz’, inspired by the trial and execution of Roger Casement.

The Workman’s Club is set up cabaret style with tables and chairs at the front of the stage to facilitate the older members of the audience. The six members of the group fill a stage which offers little room to move at the best of times. Lisa Loughrey opens proceedings with a tin whistle lead melody and her Mary Coughlan influenced voice.

The bands modern take on traditional music combines mandolin, keyboards, guitar, bass and drums. There are beautiful harmonies amid the rock structures of ‘I Still Remember’ while drummer Nathan Maher provides counter melodies to Loughrey’s lilting tones. The band are looking every inch the trendy folkies with plaid shirts and beards as they swap instruments for ‘Maybe Here’ and Jack Cassidy sits at the glockenspiel.

Loughrey puts on a guitar and sings the next song plaintively to slow strummed chords before the rest of the band kick in and the song changes tack unexpectedly. She notes in surprise that “The place is jammers” and the packed house shout encouragement. Indeed there are so many people that they are sitting on the floor between the tables.

Next song, ‘Ache in my heart’, has banjo and slide guitar giving it an Irish-American feel and the densely populated stage gets more crowded when Mongoose’s Muireann Ní Cheannabháin joins the band on cello for the performance of the new single. Cassidy switches to melodica as Loughrey mournfully intones “The battle was lost before the judgment was passed”.

There is more swapping of places for ’Thirty Years a Maid’. Ní Cheannabháin and Loughrey are joined by Handsome Handsome’s Niall Murray for a mournful sean-nós style eulogy to a hard life. The three sing with eyes closed to a reverential silence in an otherwise noisy room with only some reverb for accompaniment.

Loughrey tells the origin stories of many of the songs before performing them. As she is telling the story of the haunting of Saint Audeon’s, about how a catholic girl fell for a protestant boy, it elicits a gasp of mock horror from the audience followed by gales of laughter. After so many years, sectarianism is now treated with the ridiculous response it deserves. The Mariannes finish with a flourish, ‘The Ballad of Darkey Kelly’, a song about Ireland’s best known female serial killer. “And she's with us tonight!”

For a band who are yet to record an album to play well over an hour of original material is impressive in itself. They encore with ‘Lost with All Hands’ and ‘God Fearing Woman’ before exiting to a standing ovation. Granted, most of us were standing already but nevertheless…

Watching the Mariannes is like reading a book. A gothic fantasy that builds an immersive world in which to lose yourself. It's lump in the throat stuff. It ain't cheery but it's moving in such a way that you don't want it to end.

It's not all murder ballads, hauntings and doomed love.

 

But it mostly is.

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