Mono restaurant & live music venue is in a very interesting and enjoyable position near Glasgow’s Tron gate, it takes its name from the simple fact that it is underneath a now unused railway bridge. It is loved for food, socialising and finding great live music. It was filled to the brim and can I say heaving for the evening’s performance of Philip Seth Campbell, a musician of extraordinary talents.
Beginning about 8.30 pm on came support Alice Faye who is a self titled titan of folk, classical and rhythmic music. The three sat there on acoustics and poured out like a fairytale soft and vivacious melodies like lullabies. She plucks from the world of music a very sophisticated trajectory with a great presence and leading quality.
Philip assumed onto the well positioned stage, a corner of the great room, with an energy that he has sustained for some decades. His whipping songs were in the shape of a simple 3 – piece band of bass, keyboard and himself on acoustic guitar and vocals. His powerful sound screamed in a much larger entourage as it growled into the room.
His life has been in total dedication to music and as a young man he found himself in London, with a voice that should destroy a human being, and perhaps it has. He had lots of fun talking to the crowd who were there with a special feeling including a hugely strongly bonded room shared between everyone. His musical travels have had him take on numerous projects and involvements with bands in his ever so flexible talents that have often been much sought after, he is something quite special.
In his adorably broad Glaswegian accent he headed the gig with a relatively new band who have released this year a new album titled ‘City Lights’ and have released for streaming a single from it called ‘Magical West’ he sells to the point of big success in sell out concerts such as was this evening at Mono.
Mono is part of an historic building with tourist attracting features not least the magically encircling skylight that billows the night straight into the room. They juggled old and new songs in a way that has actually affected this new album with long ago written songs put into fresh compositions.
Full energy of a stadium rock gig, impressively emanated from the group to a crowd lively and bubbling and made him stand put as a hero, with vocals to match as big as the night outside. He has lived an intensely interesting life with his charisma topped so far it was as if it were painful, dragging about reality and physically moving around with ninja speed. A remarkable musician from Glasgow pouring out some of the most lovely and distressing concerts, of adorable music, a fete of magical effort.
Interstellar Soundwaves from wherever the fuc£ they’re from, have just swooped in & out of Edinburgh & Glasgow
EDINBURGH
Voodoo Rooms 28 / 10 /2023
Hurtling through time and space, Zpor (Matthew Whitaker, vocals and guitar) and his intergalactic crew that we humans know as HENGE, landed their spectacular show on planet earth with incredible results. Whilst travelling the galaxy, Zpor encountered many an alien species but none any better than Goo (Pete Turner, Bass Guitar & Synth Bass), Grok (Roy Medhurst, synths), and Nom (Sam Draper, Drums), whom collectively created the phenomenon that became HENGE.
Exploring the universe together for many a year they felt the need to fill their down time with the one element that all living souls cant live without, music. So, in 2015 they gave birth to a new form of musical entertainment called “Cosmic Dross” and tonight live for one night only, the Edinburgh Voodoo Rooms were transformed into a mumble jumble of earthlings and other worldly unidentified species, all itching for a good time. Creating a very unique electronic rock sound in Manchester (their home planet) they ventured out into all the distant corners of the universe to deliver their message of hope, love and togetherness, this they have managed to do in great quantities. Like a time capsule with no boundaries, HENGE have broken all traditions by concocting a never before seen act that electrifies all humans that are lucky enough to be on this journey with them.
As planets go, Earth has it all and so did HENGE. Owning the stage like a lion protecting its kill, HENGE unleashed a torrent of mind warping songs that whipped the audience up into a storm of excitement, solar dancing and applause. Dress code is unquestionable with HENGE as is their music. Its a revelation in many ways. With HENGE’S first release, an EP entitled “Cosmic Dross” in 2017, it cemented their reputation as an alternative festival favourite which took them on a trek to Glastonbury, Boomtown, Bluedot , Doune The Rabbit Hole and Shambala. Conquering the music business is not HENGE’S intention. Its all about opening up peoples ideas to a solar system of endless music that embodies the spirit of what’s inside.
Having time travelled to many a concert and gig over the years, i can truly conclude that HENGE are a one off a kind act. They deliver more than just music. Messages are a clear indication throughout their show and are the threads that hold the music together. The individual sound is memorising, if you can imagine an Arcade game with all its bleeping and pinging noises being tossed around in a tumble dryer then Henge is for you. Like a breath of fresh air to the lungs, Henge is a breath of fresh air to the music circuit. Dynamic, edgy, intoxicating, captivating, intriguing, rocky, soulful but most of all, fun, lots of fun and that’s what makes HENGE. They are a fun band that brighten up every part and place in the Universe, as well as a few Black Holes here and there. Thanks for a memorable night and education on inter stellar politics.
Raymond Speedie
GLASGOW
Stereo 27 / 10 / 23
Glasgow Stereo Venue has its door down a lane close to Central Station, a cobbled lane fit for music and the arts. The basement room itself has very high ceilings and things always feel like a party on these nights. The band I was there to see are called simply Henge and they come dressed in all kinds of out there costumes, when I say out there I mean it.
They formed back in 2015 in the Manchester area, but their very positive vibes don’t reflect the major music that has come from there instead Henge are a mix of synth and rock, or even heavy metal. So as they took to stage it was like a visual invasion of masks and makeup. The 4 piece are on a UK tour this year as they continue to grow in fans, popularity and even legend.
This year has seen the release of their 3rd Album titled ‘Alpha Test 4’ which I’m happy to say has been a self released album showcasing their now well developing sound that to be fair is unlike any other. The sound is a collaboration of druidical referenced, magic making really blending musical style into a fine art of interesting technical fusions.
The songs are deep and rich with proceedings and in revelations he famously invites his crowd with the revealing line, ‘Attention Earth. This is Henge! We have travelled to earth from the far corners of the Galaxy to bring a new kind of music to your world’ this became the shows manifesto.
Doctor Who like masks of aliens and creatures hid the songs that were space like and adventurous. Coming down hard and clean together with a fun filled quirks and a steady rhythm very much footed in a heavy metal appearing rock gig, keeping and creating generous flows. Topping these mixed sounds were the vocals, about strangeness, cultural heritage and extremely well coloured topicality with this weird effect on the mic.
This well accomplished musicianship worked great and for at least half the room, who were obviously fans, it was like a moment on another planet. All of a self confessed new way of making music of charging simplicity and complexity into very pleasant structures and alien beats. Their 2023 tour will take them to 27 venues that by the looks of this one will have a steady support to portray this new sound and give fans a good night out.
These guys are clearly highly creative ticking the great boxes of inclusion, cultural adventure with no little enthusiasm, to bring joy to music in another way. As their popularity grows they may be first of a genre.
I have been nestl’d in the Central Belt of Scotland for nigh on two decades now, during which passage of years & gigs & surfing a very fine festival scene, I have witnessd a great number of the favorite bands from my younger years, whom I never quite caught first time round. The Charlatans at the Glasgow O2 Academy, for example, & James at Electric Fields. But there was always that one band that eluded me – Shed Seven.
For boys from York, they didn’t do too badly at all, creating the perfect Britpop album in ‘A Maximum High’, whose singles dripp’d down from the shelves like almond honey into our pop-rocky & receptive ears. The massive sing-a-longs that escorted Shed Seven thro’ those particular numbers last night in the Glasgow Barrowlands is testament to the infectious quality of the albums beats & uber-hooks. At one moment ‘Going For Gold’ segued into & out of Elvis’s Suspicious Minds,’ which was a bit weird, like, but nobody seem’d to mind, while in one corner of the venue there was a posse clearly on ecstasy raving away like at the Hacienda early 1988, literally screaming out the lyrics. A funny watch when you’re queing up for the beers (£6 each).
Rick Witter, the lanky leprachaun of a front man, is a top singer, like, his lyrics & melodies are brilliant! Rick is actually the only surviving member of the original line-up, tho guitarist Paul Banks has been there since the early days. Shed Seven Mark 2023 has new band members Tim Wills (keyboards and guitar) and Rob Maxfield (drums), plus a youthful brass section, all recreating the old hits, & blasting out stuff from the new album, ‘A Matter of Time’, releas’d next January. I am very much looking forwards to it actually, what I did hear of it sounded eclectic & catchy & well, Shed Seveney, whatever that this. You have to certainly feel the band to know what that is, but they do have the ability to make you do that, & feel them with abundance. That’s their beauty, they speak the universal language, & everybody can’t help but appreaciate the beauty about themselves & life upon hearing Shed Seven in their performing pomp.
Their gig at the Barrowlands was sold-out, & full of serene buzziness, & seeing Rick Witter perform for the first time was a blast. He’s a bit of a comedian really, & full of warmth, including reading shout-outs to folk, during which segment the entire gaggle of Weegies sang happy birthday to Paul Bank’s son, Harrisson, on his 19th birthday, over the phone. Nice touch! Then Witter went, ‘that’s enough of that, let’s play some tunes,’ & they slickly moved straight into Dolphin. Now then, that was the first tune I ever heard of Shed Seven, way back in Carlisle 1995, when my band’s drummer play’d me the tune on CD. A Maximum High came out the next year, I’ve been a fan ever since, & my pilgrimage to my very own Witter-Mecca was well worth the wait. A Matter of Time, indeed!
Broadcast, in Glasgow’s Sauchiehall Street, being a basement venue, like so many in the centre, is host to a multitude of gigs every month which makes it a hybrid of musical genres. Its stage holds a certain freedom. As I descended down its winding staircase the music of Fiza had a very soulful sound. She was there as support of headliner act Skinny Pelembe who I was there to see.
Fiza’s soulful blues and self written music poured from her guitar and vocal. The night was still young so there were only a few of us there to see her, but her style was an accomplishment in the field of female artists with great lungs and vocals even stirring memories of Aretha Franklin herself (perhaps was an influence). It was a pleasure to take in her half hour 8 song set, and in this mood the crowd began to come in.
As Skinny came onto a stage small, tricky and like a cave was a young already vibrant man with something big about to show. The four’s magic brimmed into the room with a confidence and certainty and of course great musical talent. Guitar and vocal, drum, keyboardist and bass kicked in with a strong unfolding presence, with a musical joy to draw us in with immediate effect from a kind of pure delectation.
Skinny is from Doncaster having spent time in Johannesburg, giving in itself a life at least very interesting, these things he amply expressed through a sound and vocal built to fit his essential lyrics. He has developed his sound drawing from a great many pools from 80’s heavy metal, to Jeff Buckley like vocal clearly playing around with his punch of creativity, finding his own new sound. And taking from so many styles of music we could enjoy its sporadic organisation. Coming up with fresh tones and rhythmically well constructed, passionate music making.
His clear ability in looking natural came through as his stance and body language set the scene, grasping the mike stand and turning his back to close in on his group, we could see friends performing to a dancing, edgy turnover of tempo’s quick and mixed in an elevated creativity.
I just found them so well equipped with a real readiness to jump into action directing his attention to the room and the fans there to hear his demanding, conferring lyric. As the song dictated his voice was soft, luxurious and perfect to then reveal some billowing heart ache about contemporary life.
A stage lit with the spectacle of the colour changing lights working their bodies in mysterious red and green. An experience of a rich and reaching exchange with a pulse on a thing going straight ahead, a gig of great reward. This band has become able to transform the inner word into a full bloom concert of critical music and great flavour.
What is the true raison d’etre of a tribute band? Emulation? Recreation? Perpetuation? Well, whatever a tribute band should be, or do, the general sentiment I was feeling after watching Carpenters Gold last night was, ‘where is that ouevre, I’ll be needing to listen to that quite soon, please?‘
The Carpenters are one of the classic groups that kinda bypass’d my ears; well. until last night in the Burnley Mechanics that is, where a selection of their best & most-lov’d tunes were deliver’d with perfect alacrity by our pseudo-siblings, Greg Stevenson as Richard Carpenter, & Vikky Holland-Bowyer as Karen, who apparently, according to the guy sat on my left, pull’d off the original Karen’s sunrisey vocalism with proper on-point accuracy.
Shooting to superstardom in the 1970s, the original Carpenters gave the world songs which seem’d to me firmly nestl’d in the two extremes – either laden with amorous pathos or bubbling with chirpy ebullience. The musicianship seems simple, country pop kinda vibes, & was perform’d wonderfully by the honied-harmony dripping backing band – so much so that I often felt I was in some kind of sonic dream-state. Yeah, it was well good.
That time was better than the last time, & the last time was really good Greg Stevenson (Richard Carpenter)
The show was intervalis’d – the first half pack’d with massive hits such as Yesterday Once More, A Kind of Hush and (They Long to Be) Close to You; & the second half a bit more relax’d, including tunes from the Beatles, stuff like that. Their slower ‘Ticket to Ride’ was actually quite stunning. Throughout both halves I enjoy’d sneakily looking around & watching the audience singing along & really getting into it. I was at a church meeting, really, & Vikky Holland-Bowyer was our slick, stylish, pastor. She also had some fabulous changes of outfits, & all in all the show is a visual treat. All the band wearing 70s wigs, for example, really helps the suspension of disbelief.
Like eating a cream pie with lots of filling, I had a thoroughly good time both learning, & enjoying, & realis’d I am something of a whoo-er. That is to say somebody who yelps out ‘whoo’ quite loudly when come the moments that the audience is invited to show their appreciation. The Burnley audience, btw, was well up for it, & on their feet in droves at the end as Carpenters Gold ran thro’ the hit-medley to conclude proceedings. Before then was perhaps the funniest fake finale I’ve ever seen – everyone knew they were coming back on, I mean the guitarist was tuning up for the next song for example – but it was all great fun, really, for we’d all fallen for the band along the way, so banterlike & beautiful were their inbetweeny bits.
Glasgow’s Sauchiehall Streets Broadcast venue had an inviting glow to it as we stepped into this late autumn gig. It’s just at the edge of the city centre where everyone was enjoying a Saturday night. The attractive layout offers a small winding staircase down to the cellar venue, we sat in the warm upstairs pub waiting for doors to open.
Westerman is a musician from London, with connections to Athens, who’s music is making its way to many hearts, the gig began when support act Joviale (a self titled name) took to stage as an image we could see somewhat silhouetted with great overflowing hair. She bravely and openly performed an acapella with a little haunting flavour before her two man show came to fruition, her sound would rest through vocals, guitar and bass in a performance of two.
Westerman is on a massive European tour this year and I think this Broadcast gig is among his first. This was my second gig by this tempting musician and I’ve got to say it has grown on me developing something that gets me deeper into his style, which is peppered with musical genre as though plucked from anywhere in the last 50 years. With a very gorgeous voice that raises or quietens the room (I’d be interested to see him in a bigger venue).
He comes from a very flexible world in his set up, and has grown so much and to so many ears that his current touring band has the elements of complimenting that sound off and offer his music a really great back up presence. As we were warmed by his support (pertaining to be friends) the stage was empty but stood ready with some interesting looking gear, vintage guitar, amps and a keyboard layout that just looked so handsome.
The basement holds up to 200 which when you see the space seems remarkable, but evening gigs there usually turn out about 50, it soon became clear that this audience were already followers and fans of his, they had their eyes closed in some kind of ecstatic bliss and all of his lyrics were whispered through their lips.
Considering his debut album came in 2020 (some kind of Covid thing) his fast progress is remarkable and his music is filled to the brim with brilliant flourishes. It was titled ‘Your Hero is not Dead’, and was released with a series of singles and was track listed with 12 songs as he brought together his sound that was received in a maverick spirit.
A sound that accompanies dance with electric guitar, racy and experimental drumming and very catching if not haunting keyboard progressions. His appearance, his voice, his songs were engaging in the sense that you’re hooked for the gig, with an edge to make a statement about the modern life we are all in. His attire wasn’t too far away from a costume from the first Terminator movie in the 1980’s.
In his music he is forming a kind of figure head for his ever growing fans who enjoy a band hard at work and as I said embarking on a huge tour this year. He has such a grip that I’m sure there will be those who will follow them around Europe on their great adventure. Very sophisticated, gut grabbing gentility using music as a voice for and a liberation of his wide range of lyrical topics, strange sounding and melodically flowing modern music that was a joy to partake in.
Saint Marks Church on Castle Terrace Edinburgh had the privilege to play host to Jamie Irrepressible , also known as The Irrepressibles. The singer / songwriter and has 7 piece band consisting of Elliot Lyte (Violin), Charlotte Stock (Viola) , Rebecca Thomas (Cello) , Alice Phelps (Double Bass), Anja Kadir (Accordion, Clarinet and Backing Vocals), Sarah Kershaw (2nd Piano, Vocals, Organ & Clarinet), Thomas Twemlow (Folk Kit and Percussion); and on the Lead Vocals, Piano, Mandolin and Acoustic Guitar, Mr. Jamie Irrepressible.
St. Marks Church is a beautiful space and auditorium and was well suited to the orchestral pop like music that has a sprinkle of cathartic-ness. I could sense the acoustics within this religious Ampitheater were going to melt the Autumn chill that filled the air. His tour has coincided with the release of his new EP Self Love and Acceptance which appears to have been written and created through his own personal journey into this chapter of his life. Having already released the heart warming and self thought provoking tracks “In This Shirt” and “Two Men in Love” and not forgetting the internationally acclaimed song “Most Beautiful Boy” this was sure to be an evening of pure musical indulgence.
The Church was full and with a varied audience age the overall feeling was one off tranquility and stillness. Jamie has an ability to bring his fans into a musical haven that creates a closeness between artist and audience . His lyrics are poignant but also with a lathering of love. Jamie’s music delves deep into the soul and unleashes a meditative state of calmness and warmth. Travelling through his set list was like going on a mind and body cruise which touched you with every chord and lyric. If enlightenment, magic and meditation had a sound it would be Jamie and The Irrepressibles. With human love featuring heavily within his creative work, Jamie allows you to open up the doors of your perception and unlock those thoughts that keeps us constricted to our daily do’s and don’ts in life.
The ambience was felt throughout the entire Church and the silence was deafening. The collaborations of so many wonderful musicians was awe inspiring and leaves you with a warm glow in your heart. Moving, relaxing, endearing and beautiful, I left with a big smile from cheek to cheek. If there is any films out there without a film score then Jamie and The Irrepressible would fill that gap perfectly. A wonderful evening with a very talented collection of amazing musicians that delivered a memorable performance.
Mumble Music 