Jun 282022
 

Craig Chisholm reviews Kasabian at The Beach Ballroom, Aberdeen.

Guitarist turned singer, Serge Pizzorno, is a hyperactive and overwhelming presence.

There’s an air of anticipation – and a hint of worry – in the air tonight as Kasabian take to stage for the first time in months in a relatively low key warm up show for their upcoming tour.
There was major upheaval in the Kasabian camp during lockdown that saw lead singer Tom Meighan convicted in court on a rather unsavoury charge of assaulting his then fiancée.

But Kasabian, to their credit, acted quickly and decisively, sacking him from the band and expelling him from their inner circle.

An incident like this may have spelled the end of many a band or, worse, a public show of contrition and the usual carefully worded apology. Not Kasabian, though, who are to be credited with the strong message that separating from their singer sends out.

There’s no messing around tonight. No easing in the crowd gently. No time for reflection or soul searching.

Hitting the stage in disconcerting and overpowering strobe lights they blast into the banging ‘Club Foot’ with such energy that everywhere in a mile radius of the Beach Ballroom must have thought there was an earthquake happening.

Guitarist turned singer, Serge Pizzorno, is a hyperactive and overwhelming presence at the front of the stage.

Moving from side to side, bouncing, running and jumping like a prize fighter in the ring, your eyes are drawn to him and you’re overcome by his intensity and energy.

Any questions regarding his ability to step up to front man – from his usual role of guitarist – or doubts about his voice being able to carry the tunes, are dispelled tonight. He’s a natural frontman, a consummate showman and his voice is perfect for the songs.

Blasting through a 17 song set, the band show they are more ready for their upcoming headline dates and their support slots with Liam Gallagher at Hampden Park and Knebworth among others.

The hits, such as ‘Empire’, ‘Vlad The Impaler’ and ‘Shoot the Runner’ are all played. There’s a live debut for ‘SCRIPTVRE’ from upcoming album ‘The Alchemists Euphoria’ (Due August 5th) and plenty of crowd pleasers in between.

The sprung floor at the Beach Ballroom was tested to its limits tonight and there’ll be a few lugs still ringing the following morning from the aural assault.

Closing with ‘Fire’, the band end a triumphant show that has dispelled any doubts about their future. They’re in for the long haul and will be headlining arenas and festivals for a long time to come.

Set List:

Club Foot
Ill Ray (The King)
Underdog
You’re in Love With a Psycho
ALYGATYR
Shoot the Runner
SCRIPTVRE
Bumblebee
Stevie
Pinch Roller
Treat
Empire
Switchblade Smiles
Vlad the Impaler

Encore:

Bless This Acid House
L.S.F. (Lost Souls Forever)
Fire

Jun 232022
 

Craig Chisholm reviews The Charlatans and Martin Carr at Aberdeen Music Hall.

The Charlatans are treated as conquering heroes to a partisan crowd.

Has it really been nearly ten years since The Charlatans last played Aberdeen? Last time around they played a run through of their classic album ‘Tellin’ Stories’ and the odd b-side from that phase of their career.

Tonight is also a dive into the past – a retrospective set in support of last year’s compilation album ‘A Head Full of Ideas: The Best of Charlatans’

But before The Charlatans take to the stage for what was supposed to be a 30th – now 32nd – anniversary tour, it’s the turn of former Boo Radleys guitarist and songwriter Martin Carr and his band, What Future, to entertain the crowd.

Most of the crowd seem to be in the bar when they come on but by the end of the set the hall is suitably filled with an audience appreciative of his songwriting skills.

Martin Carr

His bright indie pop still retains a knack for the harmonies and hooks that made Boo Radleys stars in the mid 90s. Leaning heavily on his solo material for the 30 minute set there’s only the one nod to his former band with a closing performance of the brilliant ‘Lazarus’ – which is met with an applause as rapturous to the one given when he says “have a good night – fuck the Tories”.

The Thurso born, Wallasey raised, singer and his band may have won a few more fans tonight with both his music and his politics.

Coming on stage to the pulsating ‘Forever’, The Charlatans are treated as conquering heroes to a partisan crowd.

It’s hit after hit, hook after hook, as they blast through over 100 mins of classics selected from their back catalogue.

The LED backdrop plays videos and shows pictures from the past three decades of their career – ticket stubs, tour posters, old concerts and, poignantly, old footage of late keyboard player Rob Collins and drummer Jon Brooks, who tragically died of a brain tumour in 2013.

But this isn’t a wake, it’s not a simple case of nostalgia and they are certainly not resting on their laurels – this is a band that have embraced all genres, mixed up the past and looked to the future.

From the soulful ‘A Man Needs to be Told’ to the Chemical Brothers infused dance beats of ‘One to Another’ to the Stones-y swagger of ‘Just When You’re Thinking Things Over’, it’s a joyous and life affirming set by a band that have never stood still.

Highlights? Everything. There are no mishits, no songs that make you want to go to the bar.

It’s all killer, no filler, as they say.

Closing – as ever – with an extended ‘Sproston Green’, the band leave the stage tired and exhausted as the crowd, reluctantly, leave the exits the in the very same state.

Setlist:

Forever
Weirdo
Can’t Get Out of Bed
Then
So Oh
You’re So Pretty – We’re So Pretty
Sleepy Little Sunshine Boy
Just When You’re Thinkin’ Things Over
One to Another
Different Days
Future Tense (with Ian Rankin) (Spoken word)
Plastic Machinery
I Never Want an Easy Life If Me and He Were Ever to Get There
A Man Needs to Be Told
The Blind Stagger
The Only One I Know
North Country Boy
How High

Encore:

Sproston Green

Jun 162022
 

Craig Chisholm reviews Pictish Trail and Savage Mansion at The Lemon Tree, Aberdeen.

A Pictish Trail show isn’t your run of the mill concert.

It’s a glorious mish mash of one man and his acoustic guitar, a band playing electro-indie-psych-rock and some of the funniest between song anecdotes and asides to the crowd that’s guaranteed to bring a smile to your face and a spring to your step.

Pictish Trail is better known to his Mum as Johnny Lynch. He’s a resident of Eigg, a prolific song writer, the head honcho of the Lost Map record label and, as cliched as it sounds, one of the best live acts around just now.

But before he and his band entertain the crowd, it’s the turn of Lost Map signees Savage Mansion to warm up attendees.

The Glasgow based band play an infectious brand of shambolic indie pop that’s a treat to the ears. There are shades of Pavement in there, a hint of Lou Reed in the vocals, all of which combine to create an enjoyable and listenable experience.

Keyboard player Kate is from Aberdeen and, when put on the spot, is asked to name something good about her hometown. She opts for the number 19 bus, which is given a shout out by singer Craig Angus.

Shout out to Savage Mansion too, for a great set.

Headliner Pictish Trail bravely starts the show with two solo acoustic tracks – ‘Easy With Either’ and ‘Nuclear Sunflower’ before being joined by “Eigg’s sexiest man 2009, Joe” on guitar for another track.

Pictish Trail, of course, moved to Eigg in 2010.

Whereby Joe won the award again, apparently.

This sort of quip is just a precursor for the between song banter and shaggy dog tales, including a tale about a near death experience involving a log filled truck with his passengers, comedians Josie Long and James Acaster.

But the humour and laughs are only a small part of an eclectic and joyful set that shows the breadth and depth of Johnny’s talent.

Songs are well crafted, catchy, and clever. Folkie, indie, danceable but draped in a pop sheen.

As he dances through the crowd at one point, still singing, you’re transported to a place of happiness, an escape from the world and its troubles.

Pictish Trail is no stranger to Aberdeen and hopefully he’ll be back soon – if you can’t wait then be sure to catch him in Glasgow, Dunfermline, Arisaig, Oban, Lockerbie and, more local-ish, Findhorn in August.

Set List:

Easy With Either (Johnny solo)
Nuclear Sunflower Swamp (Johnny solo)
Slow Memories (Johnny and Joe)
Double Sided
Island Family
Far Gone (Don’t Leave)
It Came Back
Melody Something
The River It Runs Inside Of Me
Fear Anchor
Turning Back

Encore:

Natural Successor

Jun 142022
 

Craig Chisholm reviews.

Like every other gig happening just now, it’s a been a long time coming.
It’s been two long years since tickets went on sale for The Modfather’s Music Hall gig.
But Weller hasn’t been sitting idly by – he’s released a couple of albums – On Sunset and Fat Pop Vol 1.

There’s been a live stream – Midsommermusick – and there’s even an orchestral live album out this month.

So, that alone would be a lot to cram into a setlist for the new tour – but add in another 14 solo albums, 5 Style Council albums and another half dozen by The Jam then there’s a wealth of material to choose from.

But if choosing a set from such a large back catalogue is daunting, it must be nothing compared to being the opening act for such an icon.

However, if John Rush is nervous then he doesn’t let it show. In fact, his solo set is a confident and accomplished performance.

Hunched behind an acoustic guitar, absorbed in his songs he is humorous, appreciative and seems genuinely happy to be given the opportunity to perform in front of a decent sized crowd.

His folk-tinged pop tunes go down well, and he even gets a sing-a-long going near the end with the crowd joining in on backing vocals. In front of a crowd that likely didn’t know about him before tonight, he does well and will have gained a few fans.

Striding confidently onto stage in a seasonally appropriate crimson jumper, Weller oozes confidence and is every inch the rock legend.

Flanked by two drummers, a bassist, keyboard player, sax player and, crucially, Ocean Colour Scene guitarist Steve Craddock, he blasts through a set that lasts well over 2 hours but feels like it passes in half that time, such is how enjoyable it is.

It’s a confident and measured set – just enough of the hits to please the more chart minded fans; a couple of tracks by The Jam to send the punk fans home happy; a nod to The Style Council for the 80s fans and a fine spread of solo tracks from the last 30 years for the solo performer fans.

It’s a tricky skill to keep everyone happy but Weller retains that skill whilst ploughing his own furrow, not afraid to cut loose and experiment.

Highlight of the set is a quintet of tracks from the solo commercial high point, the classic ‘Stanley Road’, performed back-to-back – the title track itself, followed by ‘Broken Stones’, ‘The Changingman’, ‘Porcelain Gods’ and a sublime ‘You Do Something to Me’.

But the biggest cheers of the night go to a couple of classics by The Jam – ‘That’s Entertainment’ and ‘A Town Called Malice’ which bring the house down at the end of the night.

An epic set by an epic performer.

Set List:

White Sky
Cosmic Fringes
Peacock Suit
My Ever Changing Moods (The Style Council song)
Hung Up
Saturn’s Pattern
Old Father Tyme
Shout To The Top
Village
More
That Pleasure
Stanley Road
Broken Stones
The Changingman
Porcelain Gods
You Do Something to Me
Still Glides the Stream
Shades of Blue
Above the Clouds
Wild Wood
Brushed
Into Tomorrow
Friday Street
Can You Heal Us (Holy Man)
On Sunset
That’s Entertainment (The Jam song)
Town Called Malice (The Jam song)

Mar 152022
 

Craig Chisholm reviews ‘Nouvelle Vague’ – Lemon Tree, 4th March 2022.

The girl singer covering a rock song in more downbeat, acoustic or similar fashion has become a tired trope over the last few years in the pop landscape.

From Birdy releasing a whole album of whispery covers to the Hawaiian singer Malia J sound-tracking the trailer to Marvel’s ‘Black Widow’ with Nirvana’s ‘Smells Like Teen Spirit’, the style has become mainstream, familiar and, unfortunately, a bit stale.

However, one band are the original and the best in the genre and bring more to re-interpreted cover versions than a lot of others – a swipe of Parisian cool, a knowledge that they were the original trendsetters and a simple, joyous fun to their live show.

Starting off with both singers deep in the Lemon Tree audience, lit only by a single torch directed from the stage, the band start the show in atmospheric fashion with New Romantic electro classic ‘Fade to Grey’, originally by Visage.

What follows is a peerless 90-minute show that takes in an inspired selection of songs by acts as diverse as Yazoo (‘Don’t Go’), The Cramps (‘Human Fly’), XTC (‘Making Plans for Nigel’) and The Clash (‘Guns of Brixton’) among others.

At their best, Nouvelle Vague subverts and twist the original narratives of the songs and add new meaning and added depth to them.
The masculine toxicity lampooned in Dead Kennedys punk classic ‘Too Drunk to Fuck’ is retooled for the modern era and raises issues of consent when sang by a woman. Joy Division’s ‘Love Will Tear Us Apart’ allows us to see the other perspective of a break down in a relationship, far removed from the original male narrator’s perspective. 

It’s moments like those that make you stop and think, to re-analyse the song and the song writer – what is the meaning of Generation X’s ‘Dancing with Myself’ when sang by a woman? What does a female perspective bring to The Undertones ‘Teenage Kicks’?

All valid questions and the punters will all have their own opinions or ideas if they stopped to consider the song in question. However, it’s also a Friday and time to unwind – and The Specials ‘Friday Night, Saturday Morning’ is an appropriate choice, with its tales of drunken abandon and living for the moment.

The range of musical styles in their interpretations also adds to the occasion – whilst they are steeped in the Nouvelle Vague’s original Bossa Nova style, they’re not scared to let go with wild disco abandon or an introspective acoustic led style.

Entertainment is ultimately the name of the game and theatrical flourishes such as synchronised movement by the singers, a toast with a glass of wine before ‘Too Drunk to Fuck’ and a spirited kazoo solo during ‘Human Fly’ make a good show.

The band close their set with Modern English’s ‘I Melt Into You’, an appropriate and timely song with current events in Ukraine, which was written originally under the fear of nuclear war and depicting a couple making love as the bomb drops.

But such weighty topics are no excuse to not party and have a good time – and Nouvelle Vague easily provide that and leave a Friday night crowd in Aberdeen more than happy to carry on socialising into Saturday morning.

Setlist:
Fade to Grey (Visage cover)
Blue Monday (New Order cover)
Dancing With Myself (Generation X cover)
Ever Fallen in Love (With Someone You Shouldn’t’ve) (Buzzcocks cover)
Making Plans for Nigel (XTC cover)
Too Drunk to Fuck (Dead Kennedys cover)
Teenage Kicks (The Undertones cover)
Human Fly (The Cramps cover)
All My Colours (Zimbo) (Echo & the Bunnymen cover)
The Guns of Brixton (The Clash cover)
Enola Gay (Orchestral Manoeuvres in the Dark cover)
Road to Nowhere (Talking Heads cover)
Just Can’t Get Enough (Depeche Mode cover)
Heaven (The Psychedelic Furs cover)
Bela Lugosi’s Dead (Bauhaus cover)
Friday Night, Saturday Morning (The Specials cover)
Love Will Tear Us Apart (Joy Division cover)

Encore:
Don’t Go (Yazoo cover)
In a Manner of Speaking (Tuxedomoon cover)
I Melt With You (Modern English cover)

Oct 212021
 

Review and photographs by Craig Chisholm.

Sunderland art-rockers, Field Music, returned to Aberdeen after a 9 year hiatus to play to a receptive crowd at The Tunnels on Carnegie Brae. Having released their 8th studio album – Flat White Moon – last April the band would have been relieved to finally get the show on the road in support of it, with this date being the opening night of a full UK tour.

First up, however, was local musician Steven Milne.

The Little Kicks frontman was drafted in early that afternoon after original support act – Galaxians – were unable to perform.

Milne is at pains to point out this is his first live appearance in 19 months. Coupled with the late call up, it could have proved to be a recipe for disaster.

However, he is nothing but naturally talented and that talent shone through in his solo performance.

Sitting behind a keyboard, he was captivating and engrossing as he ran through a set of Little Kicks tracks and a cover version of The Blue Nile’s ‘Tinseltown in the Rain’.
And it’s a credit to his song writing skills that his own material more than held its own even beside the sublime Blue Nile track.

A new Little Kicks album is due for April and should be on everyone’s shopping lists.

Brothers Peter and David Brewis have released 8 albums in the last 16 years under the moniker Field Music and tonight’s gig showcases songs across that time span.

Swapping roles between vocals / guitar and drums, there’s a real chemistry and understanding between the two siblings.

The music, the humour – it’s all interchangeable and on the same level between and during tracks. They’re the anti-Gallagher’s in that respect – brothers in music with no friction or individual ambition tearing them apart.

But that’s where the comparison begins and ends – the Brewis brother’s music isn’t steeped in conservative, classic rock, like Noel and Liam are, but in art-rock futurism and forward thinking of bands such as Talking Heads or Scritti Politti.

The set itself leans heavily on the recently released ‘Flat White Moon’ but there’s a dive into their back catalogue, with tracks such as ‘A House is not a Home’ and ‘(I Keep Thinking) About a New Thing’ given an airing.

Personal highlight for this correspondent was ‘Disappointed’, a near perfect pop tune steeped in a light funk backbeat.

The late, great musical genius Prince once tweeted their track ‘The Noisy Days Are Over’ without comment to his millions of followers – and that says a lot.

If anyone could recognise good music, you’d expect it from someone like him.

And the crowd recognise it tonight – it’s a magnificent set that has them clapping enthusiastically and begging for more.

After a good few years without a visit North to the Granite City, it was a joy to see them here again – hopefully they return sooner than later.

Oct 202021
 

Review and photographs by Craig Chisholm.

Just over three decades ago, The Quireboys released their debut album ‘A Bit of What You Fancy’.

Tonight, they revisited their commercial high point with a date at the Lemon Tree in Aberdeen.

First however, the crowd are entertained by up-and-coming slide guitarist Troy Redfern, backed with drummer Finn McAuley and bassist Keira Kenworthy.

Redfern is a virtuoso guitarist.

His guitar fireworks are astonishing to watch, his fingers running up and down the fretboard fluidly and gracefully.

But it’s not just a show in histrionics and shredding, it’s raw, gritty, heartfelt blues filled with emotion and belief.

Watching him, you know that he believes in the music he is singing, that he feels it – and that’s important.

It shows authenticity and a love for the genre.

For him to light up the guitar, he needs a strong groove and foundation to sit upon and his rhythm section are more than up to the job – they provide a solid, thunderous backbone to Redfern’s solos and slide guitar masterclass.

Closing his half hour set with a cover of Jimi Hendrix’s classic ‘Voodoo Chile’ you can see he’s made some new fans in the audience, many of whom are queued up minutes later to meet him and purchase his music.

“It’s 7 O’clock and time for a party” as their song goes – well, it’s not, it’s 9 o’clock when they hit the stage, but the party is most definitely on.

It’s been over 31 years now since their debut album ‘A Bit of What You Fancy’ was released.

It was halcyon times for the band back then – the album hit no.2 in the charts, singles went Top 40. There were support slots with the likes of Aerosmith and The Rolling Stones, on the bill of the Monsters of Rock festival at Castle Donington, appearances on Top of The Pops and huge headline tours of the UK, Europe and beyond.

But time moves on and tastes change – at the height of grunge in the early 90s, the band parted ways and went on an extended hiatus for a few years.

But The Quireboys are nothing but tenacious and not ones to shy away from a challenge.

Certain musical styles never go away either – and in the case of their bluesy, classic rock it’s a style that will always have its fans.

And the fans are out tonight as they revisit their debut, changing the running order to bring new focus on old songs and remind everyone why they had so much success with it.

The singles are all greeted with cheers – ‘7 O’Clock’, ‘Hey You’ and ‘There She Goes Again’ working the crowd on the frenzy and getting them dancing.

And there’s moments of poignancy and reflection such as the emotional ballad ‘I Don’t Love You Anymore’.

‘Whipping Boy’ is a particular highlight – low down and dirty slow blues, underpinned with some bass that reverberates through your soul.

The band seem to be enjoying it – lead singer Spike seems particularly happy to be on stage again after Covid’s shutdown of live music.

Between songs he’s humorous and friendly, speaking directly to members of the crowd, always with a twinkle in his eye.

He also seems to be slightly lubricated; shall we say – despite his quips about having not drank for 10 years.

But it’s Friday night and most of the crowd are on the same level as him and it endears him to them even more.

Once a song starts, however, he is back to being the professional showman and singer. Every song is nailed perfectly, not a note dropped or lyric forgotten. And his voice, that raspy, 20 fags a day sound is spot on.

Despite tonight being a celebration of the past, it also points that there’s a strong future for the band – their unique take on that classic Stones or Faces sound, rooted in the blues, R&B and Country will always have listeners. And with over a dozen albums behind them and the potential for a dozen more, so will The Quireboys.

Oct 082021
 

With thanks to Craig Chisholm.

The Quireboys finally make it to Aberdeen after rescheduling due to Covid restrictions.

They will be appearing at The Lemon Tree on Friday, Oct 15, and will be performing their landmark album “A Little Bit Of What You Fancy”.

To celebrate the 30th Anniversary of that iconic debut album the Quireboys recently released a re-recorded version with their distinctive gypsy rock and roll sound.

“A Bit of What You Fancy is where it all began for the Quireboys,” says the band’s frontman Spike.

“It was an incredible album that launched our career. However, the way we sound and play now doesn’t do it justice. Henceforth, it has been a pleasure updating it to our modern-day gypsy rock and roll sound. I’m sure everyone will enjoy this new version in all its glory, marking its 30th Anniversary.”

The Quireboys have always remained true to their roots from the start. The boy’s mission is simply to keep the spirit of good time rock ‘n’ roll alive and kicking into the 21st century.

The 30th Anniversary Edition of “A Bit Of What You Fancy” can be pre-ordered from www.offyerrocka.com/product- category/artists/the-quireboys

Troy Redfern and his three-piece band will support The Quireboys at all shows.

Hailed as Britain’s King of Slide Guitar, Hereford-based singer songwriter, Troy will perform songs from his critically acclaimed new album “The Fire Cosmic” which features the single “Ghosts” that was playlisted on Planet Rock and many other radio stations.

Says Music News.com:

“Troy Redfern is one of the country’s best players and writers and the album is a blast from start to finish.”

Taking up the guitar as a teen, Troy quickly absorbed his musical influences of the early blues pioneers and the energy of the 70’s and 80’s rock icons. The turning point came when he discovered open tunings and slide guitar.

“I immediately felt like I’d come home the moment I put a bottleneck on my finger and started playing slide, it instantly felt completely natural to me. This style of playing helped me find my true voice on the instrument”

The last few years has seen Troy shift into creative overdrive releasing five full length albums in 2020 alone, all receiving worldwide airplay and overwhelmingly positive reviews from the international press, “Island” and “Thunder Moon” both receiving multiple 5-star reviews.

Tickets are available in person at Aberdeen Box or online at https://www.aberdeenperformingarts.com/whats-on/the-quireboys/

Oct 062021
 

Glasgow’s The Ninth Wave  release new single “Piece and Pound Coins”, a new taster of their next full length body of work, due 2022. By Craig Chisholm.

A compelling piece, “Piece and Pound Coins” was produced by the band themselves and mixed by Max Heyes (Massive Attack, Doves, Lucia & The Best Boys, Primal Scream). Amidst a distinctly chilling atmosphere, rolling piano lines weave their way through chugging percussion with the track standing as a stark examination of grief and loss.

Speaking on the release of “Piece and Pound Coins”, singer Haydn Park-Patterson said: 

“I wrote this song about a friend who passed away a number of years ago. I’ve never really felt like I wanted to/could write about him for a number of reasons, but I guess the main one was because that for a long time, I wouldn’t have known what to write.

“Writing about death is a world away from writing about heartache/love/friendships because there’s nobody to listen to the song and wonder “is that about me?”.

“It’s a strange feeling, to write a song about someone that you know can’t ever hear it. The song also touches on the thought of wondering what he’d be up to now, 5 years on in his life, and how weird a thought it is that we’ve all continued on with our lives but his had a start and end point, and that’s it. No more memories to be made.

“The song also lets out a bit of confused anger that I felt not long after he passed, as I watched how a few people reacted to his death and the way in which they talked about it. That’s the meaning behind the line ‘death makes some people sad and some people ugly / and some people took your name for their own sake’.

“I like to think that he’d like the song, as he was one of the most supportive and positive-minded people I’ve ever had the pleasure of knowing.”

The track has been released alongside a stunning video directed by Rianne White. She commented: 

“I feel completely in awe of this song and Haydn’s ability to frame such an immense feeling. Embraced by the catharsis of nature, the heights of grief and identity are expressed through a journey of Haydn’s internal growth accompanied by a symbolically poignant lone wolf.

I like to think of Hayden and the wolf as one, both finding their way back to their truest states of being with wild untamed hearts of companionship and eternal loyalty. “

The new single arrives off the back of the band’s recent singles ‘Everything Will Be Fine’ and ‘Maybe You Didn’t Know’; their Faris Badwan (The Horrors)-produced EP ‘Happy Days!’ (2020) and their AIM Award and Scottish Album of the Year-nominated debut album Infancy (2019).

Constantly developing and pushing their sound into exciting new territory, sonically The Ninth Wave are challenging expectations and preconceptions of their music with this new material.

Leaning toward influence from contemporaries such as Massive Attack, Young Fathers, Mount Kimbie and Portishead – the quartet assuredly retain their own distinct songwriting craft and approach.

Lyrically the new material also promises to be more upfront than ever before.

Celebrating honesty and real life, The Ninth Wave want their listeners to find comfort in their music. They want their fans to feel safe; to be confident in who they are, and to know they’re not alone with their feelings and anxieties.

“It’s a cathartic thing for both us and the listeners; we want to help with normalising being emotional and finding comfort within your stadness”, the band went on to say.

The Ninth Wave are widely praised across the board from The Guardian to Wonderland Magazine, NME, Dork Magazine, DIY Magazine and more – with radio support from BBC Radio 1 (Jack Saunders, Huw Stephens, Phil Taggart and Abbie McCarthy), BBC 6 Music (Steve Lamacq), and Radio X (John Kennedy).

Elsewhere the band’s music has been remixed by The Horrors, Dream Wife, The Twilight Sad, Mogwai, Low Spirits and Working Mens Club, along with tours and shows with Editors, Pussy Riot, CHVRCHES, Franz Ferdinand, Suede, The Magic Gang, Yonaka, and The Blinders.

The band play a date at Aberdeen Tunnels on 19th October.

Tickets are available here.

Band Website – https://theninthwave.online

Watch, “Piece and Pound Coins”: https://youtu.be/Sods9jZatuw

Stream, “Piece and Pound Coins”: https://theninthwave.lnk.to/PAPC

Sep 072021
 

By Craig Chisholm.

After a COVID induced hiatus, live music is finally making a return to the Granite City and one of the first major events to happen will be a gig by veteran Scottish indie legends Teenage Fanclub at the city’s iconic Beach Ballroom.

Touring in support of recent acclaimed album ‘Endless Arcade’ – their 12th studio album – the iconic band will undertake an extensive UK & Irish tour that includes dates in Edinburgh, a sold-out Glasgow Barrowlands and, of course, Aberdeen.

The band are no strangers to Aberdeen having played some of the city’s most famous venues including the Lemon Tree, Moshulu, Music Hall & AECC. They actually played the Beach Ballroom in one of their earliest gigs in Aberdeen, supporting Primal Scream way back in 1989.

Teenage Fanclub play the Beach Ballroom on Wed, 15th September. Support provided by Poster Paints’.

Tickets to the Beach Ballroom are available on Ticketmaster now.