Iteration four of the Pop! South Weekender brought together a bill well balanced between rising stars of the indie scene and those well established within it.

Friday night was a particularly ‘young’ night involving lots of uni-related chatter about essays and disappointing lovelifes. Local trio Joyce Delaney were a good choice to kick off the event (it’s hard to find any fault with a band that references one of your favourite, obscure authors) although in between such songs as ‘Ding, Ding, It’s Me Motherfucker’ the set did take on the appearance of a spoken word confessional. Still, they had probably the best bass of the weekend and a lot of good audience interaction. Jutland Songs came along next with fairly standard indie rock fare, followed by the ever exuberant Breakfast MUFF (last seen on The Spook School’s album launch bill). The usual instrument swaps and thrashed out tunes went down well & by the end of it one third of them didn’t seem too worse the wear for this being his second gig of the night. Bringing things to a close came London’s The Tuts. Despite being a little thin in the vocal department they can certainly hold their own musically as they pounded and thrashed their way through a decent 30 minute set.

Saturday was distinctly a game of two halves due to the practicality of there being a dinner hour built in to proceedings. First off came long-serving troopers Milky Wimpshake. Numbers such as ‘Cherry Pop’ & ‘Without You’ are ageless though and it’s safe to take it as read that such C86 spirit as displayed here & elsewhere during the festival was appreciated as much by the up and coming bands as by the fans. M.J. Hibbett & The Validators maintained the higher average age with an enjoyable and anecdote-filled set including ‘The Lesson Of The Smiths’. Like a musical Robin Ince, Hibbett onstage has a very engaging and self-deprecating manner. Last to go on before tea were trio Mammoth Penguins, who had the misfortune to suffer the first of the weekend’s technical faults & so play the bulk of their set with no distortion on the bass. Spirits undampened they powered through to a suitably entertaining climax.

In the evening current darlings of the scene Chorusgirl (with the second best bass of the weekend) were obviously a big draw and put on a flawless performance of their own material (‘Girls Of 1926’, 'Oh, To Be A Defector') as well as a cover of Bill Callaghan’s ‘This Song Kills’. Not a bad way to start off their tour with Tigercats. Who happened to be next on the bill. M.J. Hibbett was overheard to not think much of the bass player’s haircut and, personally, it was a bit odd to discover the band come from London given the accent Duncan chooses to sing in but that aside theirs was another fun set, punctuated by a good amount of laughter when an audience wit decided the drummer now looked like he was from Glasgow upon the chap in question stripping down to a simmet. Closing out Saturday fell to Trust Fund who unfortunately also had to stumble through their set a bit due to technical issues. Having got their drummer sacked from his job earlier in the day when driving past his workplace in Leeds they were though intent on celebrating no matter what came their way & so the likes of ‘Essay To Write’ and ‘Big Asda’ were performed with gusto & a great deal of humour.

Sunday evening, as befitted the day, was a more sedate affair. First on was Bill Botting, erstwhile bass player with Allo Darlin’. Personable & as happy to share personal information as performers had been right across the three days it was however a minor let down to hear fewer of his own compositions in favour of one’s by Little Feat & Paul Simon’s ‘Graceland’. Amelia Fletcher & Rob Pursey need no introduction really. Currently they perform together as the Catenary Wires, forgetting the odd bits of song & wondering whether they’re still indie or not. Having not been sponsored by a beer or soft drink & sold out arenas I’d say they’ve no worries on that score. Their downbeat songs of the tortured course of love (‘Intravenous’, ‘When You Walk Away’) are easily as good as their earlier work. Gordon McIntyre was an unknown quantity for me although his Ballboy moniker is one I’ve a vague awareness of. He’s quite the wit on stage though, easily getting past forgetting even whole songs (& proving Darren Hayman right in the process) by such methods as deriding the day’s burning car at Glasgow’s airport (no staff booting terrorists this time around) and such compositions as he did remember – ‘Let’s Start A Riot In the Halls Of The Infirmary’, ‘I Lost You But I Found Country Music’ – were very pleasurable to hear.

Following the raffle (featuring Duglas T. Stewart as compere) I nipped off to the strains of Stewart’s ‘Old Age Is Killing Me’ only to discover that Scotrail had a later train available & so Pete Astor need have been the only act I missed (along with Two White Cranes, The Occasional Flickers and The School for various reasons) but by that point it was too late. Still, an exceptionally well put together event & excellent value for money and one you should definitely pencil in for 2017.

It’s really hard for me to know where to start … I mean, there are two other bands on the bill tonight, but really (for me anyway) there is only one. I’m travelling down from a snowy Edinburgh to The Half Moon in Putney, London to see the debut gig of The Senior Service.

Nerves kick in; as they inevitably do when I’m on my own in a strange place. I order a drink in an effort to calm them down. The gig is a sell-out, and it’s very busy already at just after 8pm. It’s a smaller venue than I had anticipated, and the audience is distinctly mature, so I’m in good company.

Of Arrowe Hill, a three piece from London, are already in situ. And they are pleasant enough with their ‘60s tinged indie rock. One particular song ‘Serendipity’ stands out, with is Sgt Pepper-esque vibe.   

Middle billing are French Boutik. Steve Worrall of Retro Man Blog and the organiser of tonight's proceedings, announces that the band have flown in especially for this performance tonight. They are a lively ‘60s influenced modernist band from, funnily enough, France. They have a beautiful sounding Rickenbacker guitar – just gorgeous, and singer Gabriela Giacoman has a very sweet and soulful voice. They are light, bright, poppy, and have a very clean, fresh sound. By their last number, they finally seem to be settling in and begin to let loose a little; I’m willing them to be wilder, but they are way too cool, and unfortunately it’s time for them to wrap up the set. The crowd love them.

And so to the main dish. For those not familiar with their history, let me give a brief introduction. We have Jon Barker on Hammond organ, Darryl Ryan Hartley on Bass, Wolf Howard on drums, and Graham Day on guitar. So that’s ex members of The Solarflares, The Prisoners, Buff Medways, The Gaolers, I could go on. And what’s this? Day and Hartley are sporting some kind of Mexican moustaches. Actually the whole band are very well turned out this evening, looking very dapper.

As The Senior Service are an instrumental band, it has created the space for the instruments to do all of the talking. To most of the crowd (myself included) the songs showcased here tonight are brand new, and yet they have a distinct familiarity, because of course they are based on the music we all love dearly. Whether that happens to be the original ‘60s go-go dance stuff, or the TV and film soundtracks and not forgetting Day’s own distinct songwriting – he’s a fan too; but has the extraordinary ability to take all the best bits and make them into something new and original, dare I say better?

For instance ‘Caballo Sin Nombre’ a number for which Paul and his trumpet are welcomed onto the stage for the first time; the trumpet adding yet another dimension of sound. It has that haunting Morricone Spaghetti Western feel. I can really feel the emotions rise as he hits the high notes, and the crowd are really still; totally mesmerised. Anyone not getting goose-bumps must surely not be in the land of the living.

Debut single ‘Depth Charge’ (review here) really gets the crowd moving, it’s just so upbeat, dance-able and gorgeously groovy...

...and there are many more to come in this vein.

It's songs like slower paced ‘The Intruder’ where Barker’s Hammond really gets it's chance to shine. For the most part he really pushes the organ to its limits, and then some. The depth and fullness that the Hammond lends to the overall sound, when paired with Day’s dynamic guitar playing, creates a tangible and very vivid textured effect - who needs lyrics? Lest we forget the percussion of course. All parts are equally necessary, and each one is fully present; working together in perfect unity. It’s quite special.     

A projection behind them shows various clips of go-go dancers, Captain Scarlet, Batman and a very sexy stripping Sophia Loren, which some of the band seem quite distracted by, but honestly, who can blame them? Dangerous curves indeed.

He’ll correct me if I’m wrong, but I think Day goes through three guitar changes tonight – all of them are works of beauty and look pristine.

The crowd and I are very pleasantly surprised to hear a few covers in the set; 'Come To The Mushroom' and 'Explosion On Uranus' by The Prisoners, and 'South Avenue' by The Gaolers, the latter of the two dedicated by Day to fellow Forefather Alan Crockford, who is in the crowd this evening, looking on like a proud Dad.

For the encore a rendition of Maestro John Barry’s James Bond theme ‘On Her Majesty's Secret Service’ (although I notice that on the set list it’s been renamed as ‘On Her Majesty's Senior Service’, which is sweet), and The Prisoners 'Find And Seek'. “You can sing the words if you like” Day dares the crowd. He literally sneaks in the very last word “al-o-one!” And that wraps up a very successful evening at The Half Moon. Oh, and the crowd go predictably wild.

A huge thank you to Retro Man Steve Worrall, who did a fantastic job in presenting and organising this event. You are truly a star, keep on keepin’ on. With this scene it really is the dedicated music loving fans that keep it going, that includes the record labels and bands themselves – we’re all in it together, and I really got a sense of that at tonight’s show. Steve's blog can be found here. 

I have it on good authority that all the tracks have now been mixed, and The Senior Service debut LP Girl In A Glass Case will be released shortly on Damaged Goods. It’s safe to say that I’m quite looking forward to that … 

Photos: Katy Turner

Mongrel State have been all over national TV and radio in the lead up to tonight’s album launch. They’ve been bubbling under for a number of years now and it appears that all that groundwork is about to pay off. Whelan’s main room isn’t sold out for their album launch but it isn’t far off.

An Introductory tape loop of an atmospheric instrumental leads directly into ‘Quiero Volver’ from new album, Mestizo. It’s a Western style tune like a dimestore version of Ennio Morricone. One punter refers to it as “the Alamo Funeral song”.

The set proper starts with ‘Monster’ and ‘Ten Steps Ahead’, showcasing the band's cosmopolitan range of influences and tight vocal harmonies. They are joined by Kev Foran on trumpet for next song, ‘The Little Boat’. It even comes with a bongo solo from multi- instrumentalist Guillermo Gonzalez Rodriguez.

The band are noticeably nervous about their biggest headline gig to date but settle in with a trio of oldies from 2013 Tall Tales EP. The significant Italian contingent in the crowd are dancing up a storm and old favourite, ‘Man of Habit’, wakes up anyone who isn't already moving.

Mestizo is graced by members of popular American folk group, Kicking Bird, on backing vocals and two of them are here tonight to sing with Mongrel State. The pair come out for a stirring rendition of last year’s single, ‘How Many More Times’. It’s a song that really comes alive when played live. Sebastian Jezzi’s kick drum driving it with a dancey ‘four to the floor’ beat.

There’s plenty of hand clapping and air- punching from the crowd and Darren Flynn acknowledges the new faces in the audience before introducing ‘Zombies’. It gets their biggest reaction of the night. A live classic that has gone unrecorded until now, ‘Zombies’ is the aural representation of Quentin Tarantino directing Mad Max. With zombies.

Mongrel State tone things down for set closer ‘Rainy Day’, a slow- burning ‘OK Computer’ style song and leave the stage before returning to answer the call of “one more tune”. They end the show with the triptych of current single ‘Stray Dogs’, the Tall Tales era ‘Running Fool’, and debut single ‘2000 Horses’. As Darren reminds us that he’s “got 2000 horses/ and Jesus riding shotgun”, it’s sobering to think that that was released five years ago.

It’s a triumphant night for the band and a vindication of their relentless nationwide gigging schedule throughout the last half- decade. It's not for nothing they've earned a reputation as one of the most entertaining and professional bands in Ireland. Vamos!

As a very slow January draws to a close, the music machines begin to kick back in to action. Tonight is the turn of Canada’s leading country starlet Lindi Ortega, accompanied by fellow countryman Jordan Klassen, and the venue is packed as Klassen takes to the stage. His genial manner showing through immediately, he’s full of kind words about the local area and it is fully appreciated by the crowd.

Klassen is packed with stories and the accompanying tracks are powerful. New track ‘Baby Moses’ sounds incredible and despite his soft-spoken manner he has real grit to his tone, which really shines through in ‘Firing Squad’, which closes his set, it is all over far too quick though; Klassen has truly shined tonight.

As Lindi Ortega takes to the stage the mood in the room changes completely, the male-heavy crowd packs in close. Ortega takes to the stage in high spirits, graciously greeting the crowd before launching into opener ‘Run-Down Neighbourhood’. Sauntering around the stage one cannot deny the crowd's enthusiasm has piqued, her heartfelt country ballads providing the backing track to their gazing.

Title track from her latest album Faded Gloryville, goes down a storm with the crowd. There’s a lot of pain and a lot of anguish conveyed in these tracks, Ortega goes to some very dark places in her set. ‘Lived And Died Alone’ is particularly heartfelt, though despite these darker numbers there are some lighter moments in the set.

These are few and far between however; the tub-thumping rhythm of ‘Run Amuck’ is such a moment. The pounding drums and bright guitars providing an uplifting backing-track yet the lyrics still cut through, with tales of an absent “daddy” who has a love for alcohol, coffee and cocaine.

Her delicate cover of ‘Bang Bang’ by Nina Simone, does nothing to abate the anguish displayed in the set. The passion, which she conveys, the hurt and upset is unnerving. All of this is compounded by the closing track which is a cover of the Bee Gees ‘To Love Somebody’, again with Ortega’s own spin she takes the song down a very dour and sombre route.

Despite Lindi Ortega’s chipper mood her songs, particularly those from her latest album display the much darker side of country music. Even in spite of the crowd’s enthusiasm, there is a sinister undercurrent to the set that explodes from the harsh lyrics.

Her set is beautifully delivered though, it’s conveyed with great passion and even if some of the crowd were sidetracked by other elements, we were enamoured by her words.