New Music: Lindi Ortega

Normally when I go to gigs I take notes. I'm just that kind of girl. Even before I was blogging I would write myself little notes about the songs the headline act had sung and, if deemed worthy, the name of the support act. My notes from last Tuesday's James Vincent McMorrow gig at Leeds City Varieties just say one thing next to the heading support act..."WOW." I bothered to capitalise and everything. It was that good.
Lindi Ortega bought to the beautiful surroundings of the City Varieties her own brand of country-pop-folk that could not only bring a room to a stand still, but it could also make the hair stand up on the back of my neck. Ortega appeared alone, with her signature little red boots and began to wow almost instantly. It's all too easy to compare artists, especially female singer-songwriters. They all seem to get lumped together names as disperate as Alanis Morisette, Emiliana Torrini, Dolly Parton, KT Tunstall and Laura Marling all get chucked around. And frankly its lazy journalism. Although comparisons could be drawn between Ortega and say Dolly Parton and KT Tunstall they are all fairly superficial. Yes, Lindi Ortega is a girl with a guitar, and her music has a country music lilt but her music is all her own. Singing from her own experience about love lost and shoes worn Lindi winds a tale like a country singer of far more advanced years. However as someone who sings opera at sheep when let out of the tour bus Ortega maintains a youthfulness that is so refreshing. She isn't jaded or angry like many of her contempoaries, she's upbeat, quirky, sexy and fun. And most definately worth checking out.

Lindi Ortega is playing at The Hope in Brighton, and The Lexington in London next week, unfortunately she hails from Canada and so spends most of her time on the other side of the pond. If you don't get a chance to sample her live go and check out her myspace and may I heartily recommend listening to Litte Red Boots and Little Lie!

Lindi Ortega - Little Lie from Last Gang Records on Vimeo.

Live Music: James Vincent McMorrow at Leeds City Varieties

In the last couple of years my life has changed almost beyond recognition. Three years ago, almost to the day I embarked on the most terrifying chapter of my life to date. I packed up my life in Leeds, with less than four weeks notice, and moved to Limerick. I was following my dream of an academic career and I did what had to be done. I was offered a position, so I booked a ferry, packed up and fucked off. A year ago, almost to the day, I returned home to Leeds. I was having a break down in Limerick, I was terribly lonely, and I needed to get away. That said, I've come a long way in the last few years and my experiences in Limerick weren't all bad. I met some wonderful friends, I started the PhD I am now in the process of finishing and I think I know myself much better. I'm much more comfortable in my own skin.
Limerick was not only an academic education, it proved to be something of a musical education. I've always enjoyed Irish singer-songwriters, but I've never been close enough to the source to get on the train early...if you know what I mean! However, when I was in Limerick I spent vast amounts of time trawling the listings at Dolan's Warehouse for gigs and band names and new music. One of the true diamond's of that trawling was James Vincent McMorrow.

I first saw James play upstairs in Dolan's about two years go. There can't have been more than about 30 people there and James was very much a one man band. His nerves were obvious, there was very little banter, but his music spoke for itself. A beautiful, haunting, rendition of songs he had written and recorded himself locked away in a house in the outskirts of Dublin.

On Tuesday evening I was lucky enough to see what a difference two years make. Leeds City Varieties played host to James along with a full band. The City Varieties, like James and I, have come a long way in the last four years. The venue closed not long after I first came to Leeds for a full refurbishment. Dilapidated, run down and generally failing the City Varieties received Lottery Funding and along with an awful lot of fund raising they have managed to return the building to its former glory. One of the oldest surviving examples of a Victorian Music Hall the renovations have been done with great sympathy with the addition of a very modern box office Leeds has gained (or re-gained as the case may actually be) a wonderful addition to its live venues. Being greeted by enthusiastic box office staff and shown to our (extremely comfortable) seats in the stalls by an usher in a dinner jacket with a white carnation just added to the experience. Add to this the inclusion of a bar and a wonderful acoustic to the room and I'm sold.
Any how, I digress. I will talk about James' superb support act Lindi Ortega at a later date (she deserves a post all of her own, and I need to do my research) so I'll get on with the main event: James Vincent McMorrow. McMorrow appeared on the stage with an accompanying band and was utterly engaging from the off. The band, comprising of a bassist, a guitarist/banjo player, a mandolin player/pianist, a keyboard player and a drummer/percussionist gave McMorrow a confidence he lacked earlier. Time, acclimatisation and some back up obviously suits McMorrow as he proceeded to wind his way through a 14 track set including two cover songs and a comprehensive selection from his début album Early in The Morning. In addition to songs though, there was craic and a lack of the almost oppressive nervousness that so obviously plagued McMorrow the last time I saw him. The songs sounded so much more up beat with a band that the meaning of the album almost changed. The songs became less melancholic and more celebratory. It was truly awesome to see! McMorrow captured the audience and stunned them into silence. He talked about how Bono gets everywhere in Irish music, and about how you never make eye contact with Prince (who apparently used to employ a guy to catch his guituar in the 80s!)and seemed so relaxed on the stage. It seems that time and practice has made McMorrow confident but not cocky and although the songs on the album feel like they chenged on this tour, the change was certainly not detrimental.
In short if James Vincent McMorrow can sell out a US tour he should sell out a UK tour four times over. His music is beautiful, he plays in beautiful venues and this really is a name to watch.

Set List:
1) Sparrow And The Wolf
2) And If My Heart Should Somehow Stop
3) This Old Dark Machine
4) Hear the Noise
5) Breaking Hearts
6) Down the Burning Ropes
7) We Are Ghosts
8) Higher Love - Steve Linewood cover recorded for Headstrong and all proceeds donated.
9) Early in the Morning
10) Follow You Down To The Red Oak Tree
11) From the Woods!!
12) We Don't Eat
13) If I had a Boat
ENCORE:
14) Wicked Game - Chris Isaack's Cover. Truely beautiful.

Just a matter of time...

Photo: Elliott Morris by Chris Vaughan
I'm rubbish at playing the guitar, I don't like practising, and to be honest, learning things takes patience, something I am wholly without. However occasionally I come across something that will make me try to play until my fingers bleed. (Yes I have a blister on my little finger...Dire Straits reference go me!)
I was lucky enough to spend some time hanging around the BBC introducing stage in the Quarry tent at YNOT? festival last weekend and found a couple of gems, that pushed me to wanting to play to blister level.
Elliott Morris was one such gem. I was captivated when Morris took to the stage alone and proceeded to provide not only his own guitar music but by deft changes from playing the neck of the guitar, striking its body and stamping his feet Morris managed to provide the aural illusion that there was an entire band on stage. It really has to be seen to be believed. Seemingly long gone are the days of learning three chords and starting a band; Morris is joining a tradition of talented guitar-playing songwriters that precede him. Morris names the likes of Frank Turner and Andy Roach as influences, and the Newton Faulkner comparisons are almost too easy to make but what Morris brings to the party is a youthfulness and a raw talent that cannot be underestimated. He's the kind of musician that makes you go home, pick up your guitar and play until your fingers bleed.
Morris' songs are catchy, better live than on tape and he is totally worth checking out. May I recommend heading over to his MySpace (nope, not dead yet) page and checking out Man On Wire.


For now I think I'll stick to the three chords I know, keep trying to start a band and leave the good stuff up to the experts.

You, Me and The Bougeosie

The summer is upon us. Wimbledon is around the corner and the Great British weather is playing its usual tricks. The garden is in full bloom, and nothing makes the dinner table unless it is full of vegetables and sunshine. The following recipe is a wonderful accompaniment to a summer salad, turning a plate of "rabbit food" as himself so happily calls it into a meal that will satisfy even his appetite for things dunked in butter and cholesterol.

Garlic Dough Balls:
The following recipe serves 4 with a main meal or 6 for pre dinner nibbles. They are perfect served warm with the accompanying butter but also great with olive oil and balsamic vinegar to dunk them in.



250g plain flour (nothing special, I just use the value stuff)
1/2 tsp yeast
1/2 tsp salt
1/2 tsp sugar
2 tsp olive oil
140ml warm water (I use about 40ml boiled water added to cold water in a jug.)

Mix everything in a bowl.
Add the water little by little, you may need a little more, you may need a little less.
When it all comes together as a smooth dough knead for about five minutes. The dough will change in texture whilst you are doing this.
Once kneaded leave the dough in an oiled bowl in a warm place covered with a damp cloth.
The dough can be left to rise for as little as 20 mins or all afternoon. The longer you leave it the better as the yeast has more chance to do its magic.

Once risen you can separate the dough into 16 balls, or 8 sticks and put on an oiled baking tray. This recipe also makes brilliant pizza bases.
If making pizza you don't need to let the dough rise again, otherwise leave the dough somewhere for about 10 mins, (or more if you have time!) Then all you need to do is chuck them in a pre heated oven (180 degrees C) for 10-15 minutes until they are golden brown on the outside.

I serve these with garlic and herb butter:
2tbs Butter
1 tbs Mixed fresh herbs, Basil is particularly good, also oregano, rosemary, you get the idea
Drizzle Olive oil
2-4 cloves garlic (we like LOTS of garlic, but its a personal thing)
Couple of grinds of salt and pepper.
Chuck everything in a bowl, and mix it up. Perfect for dunking.


Continuing the theme of summer I said in my post about The Mountain Goats Live at the Brudenell recently that the support act The Submarines deserved a post all of their own. I was originally sceptical having heard heard that The Submarines provided songs not only for iPod/Phone adverts but also a song for the Nip/Tuck sound track. Most American sound track fodder makes me feel a little ill. I remember the hype for the O.C sound track, and all that really brought us was The Fray and a feeling in the stomach that one only really gets from having eaten too many sweets. However I was pleasantly surprised by The Submarines. California based John Dragonetti and Blake Hazard form a wonderful male/female vocal that is just quintessentially summery but not saccharine. With surf rock undertones evident the lyrical content make The Submarines thoroughly more interesting. You, Me and the Bourgeoisie is perhaps their most well known track, the chirpy melody but with a darker lyric is infectious. Hazards vocal us unfalteringly beautiful both live and on record, and Dragonetti doesn't fail to deliver supporting Hazard's leading vocal with a beautiful backing and utterly wonderful guitar playing.
Their music is undeniably American, and not strictly deep or unusual, the riffs and choruses come where one would expect them, but the songs are up beat, and summery. And when the weather will do what it will, summer may well have to be found in music.

Live Music: Anais Mitchell, Brudenell Social Club, Leeds 31st May 2011

"This feels like story time at the library" - the opening words of Anais Mitchell when stepping onto the stage at the Brudenell Social Club. And indeed she was right, there was an element of 'story time' about the evening. The audience, myself and my friends included, had begun to fill the lower floor of the Brudenell Social Club during the support acts, not standing, and staring meaningfully at our shoes, as is oft the case at a folk gig, but sitting on the floor. Sitting and staring intently, wondering if we ought to stand up, but secretly wishing we could remain sat, nursing our pints (there is Red Stripe on tap after all)and being told stories. Our wish was granted. Mitchell seemed more than happy with the sitting arrangement and began to tell us stories immediately.
Anais Mitchell, the American singer song writer and folky extraordinaire was preceded in the evening by two support acts. Sam Airey and Pengilly's. Pengilly's were in all honesty not my cup of tea. Although musically very worthy, there was just too much going on. The sound was off and there were far too many instruments and vocal lines produced by the six strong band, comprising of two guitarists, a drummer, cellist, at times two violin players and someone with a key board. On second listening to their myspace offerings I understand the music they were trying to create, but it just didn't translate into a small live space like The Brudenell Social Club. In direct contract to this however was the beautiful simplicity of the first support act Sam Airey. Airey, a Leeds based singer song writer had the early doors crowd paying full attention whilst he played songs from not only his debut E.P but also numerous other songs that were both lyrically beautiful and musically elegant. Airey confessed to having not written a set list but along with his cellist he meandered through a few beautiful songs. All in all Airey is certainly worth checking out, his E.P has been in my car for the last week on constant repeat, which is no mean feat.
When Anais Mitchell took to the stage she played an extensive set with extracts from her Hadestown album taking the fore. Mitchell's 'folk opera' tells the story of Orpheus and Eurydice and their journey to Hades yet it is set as Mitchell said in a "post apocalyptic waste land in the depths of a recession." The following rendition of "Flowers" was a request from the crowd that Mitchell played with pleasure.
Anais Mitchell, Flowers, Live The Brudenell Social Club 31st May 2011 by Zi_ish
In fact Mitchell frequently stopped to check that there were no particular songs people wished to hear, and did finish with the personal favorite, and request of my friends C and R, Old Fashioned Hat
In addition to her own songs Mitchell also played a couple of more traditional and older folk songs. Mitchell's rendition of Johnny Barbary, about the seduction of an Englishman's daughter was utterly beautiful and captivating. I'm sad I don't have a recording of it. Her voice whilst singing it made the room stand still, the bar went quiet, all eyes were on Mitchell. I'm loathed to use the word haunting to describe it, but I can come up with few better words; it definitely made the hair stand up on not only the back of my neck but also my forearms. Mitchell also played her version of Harry Robertson's beautiful Ballina Whalers.
Along with the inclusion of some new album tracks, which left us all with baited breath for the next instalment of the Anais Mitchell catalogue, it was a thoroughly beautiful evening. Mitchell had the crowd in raptures, like a group of primary school children listening to a fascinating story teller, except we had the addition of a bar and thankfully the omission of the usual mental hippies schools seemed to get in during the late 1980s to sing songs about animals and God.

Live Music: The Mountain Goats, Brudenell Social Club, Leeds 28th May 2011

The Mountain Goats have become one of the bands I have obsessed over this past year. I had heard some of Tallahassee but really knew very little else. I really was very late to the party. That is until my friend C began to share her obsession. C has unrivaled taste in music in my opinion and anyone C hails as her "favourite band" must warrant further attention. And with the back catalogue on loan and in my car, I became hooked. The first time I saw 'The Goats' was 8th of September 2010, at the Brudenell Social Club in Leeds, and that was, frankly the final nail in the coffin. I was in love. True, mad adoration, the kind where you have to look up everything about the band, you have to have heard everything they have every played. I'm not ashamed to say I obsessed over John Darinelle (JD to those of us in the club) and spent vast swathes of time wondering how possible it would be to take him up on his offer of a tour round the micro breweries of West Texas.
As you would expect from such a gushing fan girl this is a good review of an amazing live band. JD commands the audience, and even when feeling quite ill as he was on Saturday he managed a 16 song set, with requests, banter and a few tracks in the middle of the set solo, without the rest of the Mountain Goats. The set itself covered most of the Mountain Goats back catalogugue from the 1997 Full Force Galesburg to their most recent offering All Eternals Deck. Perhaps the most special song they played was the following: Minnesota
The Mountain Goats, Minnesota, Live Brudenell Social Club 28th May 2011 by Zi_ish
In addition to this JD played Love, Love, Love and the room stood silent and still. It was wonderful.
The final song and encore consisted of a hearty, raucous rendition of No Children which has always been and will always be my favourite 'Goats' song and finally California Song:
The Mountain Goats, California Song, Live Brudenell Social Club 28th May 2011 by Zi_ish
The only thing the September gig lacked in my opinion was suitable support. Chad Valley in my opinion was just not right. Squeaky and sweaty and just not in keeping with the headline act. However Saturday nights gig put that mishap right. The support act The Submarines deserve a post all of their own. Which they shall have in due course. Needless to say they were fanctastic and really worth looking up!

Like Busses

I could have posted about 300 times last week. I had plenty of opportunity, I even had time, but to be honest it just wasn't happening. I was struggling to come up with music I really wanted to talk about and frankly dinner for the last week has been whatever I can grab on the quick whilst I'm on my way out of the door. I would like to pretend life has been hectic, but it hasn't really it just seems that the mundane has taken over, as has going to the gym...don't laugh.
Music wise life has been consumed with trying to find the perfect summer sound track music. I love this time of year for music, somehow things sound better when the sun shines. That said I am always looking for new stars in a cast of favourites.I frequently revert to my beloved play list that comprises of the likes of Ray Charles, The Kinks, Elbow, The Rolling Stones, Noisettes, Belle And Sebastian, Lupe Fiasco, Maximo Park and I am Kloot to name but a few. Schizophrenic I know, but some how it all seems to work. Last summer I seemed unable to escape the addition of Laura Marling, the year before the addition came in the form of Mr Scruff. This year's unavoidables may well come in the form of Aloe Blacc and Michael Kiwanuka.
Blacc's song, I Need a Dollar is instantly infectious, it gets in your head and spins round and round all day. It's written with an oomph of American blues, meets soul, meets motown that I thought died with Ray Charles. Blacc is in the process of flooding the radio waves and I think you'd probably have to be living in a cave to have missed him. As a stand alone track I need a Dollar is truely splendid. The rest of the album isn't too terrible either; some offerings are a little saccharine (I'm Beautiful made me feel a little ill, as do most songs by that name...) but by and large Blacc's Good Things hangs together as an album nicely. Blind World for example is the kind of rap music that by-passes the clichés, the lyrics are well informed and the sample is ssooouuullll. In a word I'm happy, it is an album full of GOOD THINGS.
Michael Kiwanuka is perhaps a less obvious summer selections, there is no rumbling base line or catchy hook. There is however undoubtedly a summery rolling soul and funk edge to Kiwanuka's music that in my opinion lends itself perfectly to summery afternoons. London based Kiwanuka's influences are easy enough to spot, Bob Dylan, Bill Withers and Otis Reading are there without a doubt but Kiwanuka adds something else. The 23 year old Londoner brings the Soul Music of the late 60s back to the fore and I for one can't wait to hear more. His inclusion on the bill of Bushstock (Shepherds Bush's answer to Woodstock) on June 4th is almost incentive enough for me to brave the inside of the M25. His EP Tell me a tale is available at Amazon and I tunes, although as yet no physical album seems to exsist...but it is awaited with baited breath.

Smoke Fairies and Sea of Bees, Brudenell Social Club, Thursday 30th January 2011

Last Thursday my dear friend C and I ventured into the bitter Leeds evening and found accommodation in the warm bosom of The Brudenell Social Club. The Brudenell could be no more perfect in my mind if it tried. Established in 1913 as a Gentleman's social and recreation club, (thank you Dr Wikipedia) the Brudenell has established itself over the past few years as a fantastic venue to enjoy up and coming bands in Leeds without gaining any of the pretensions and high bar prices that so often go hand in hand with rising fame as a venue. It maintains the best elements of working mens clubs and shuns the less desirable aspects of cool. That said, anywhere with Red Stripe on tap (still hanging on to my youth and drinking cheep larger in dirty clubs...) is all good by me.

Last Thursday saw no exception in the calibre of act offered by the Brudenell. We were treated to not one, but two wonderful post-folk bands. The opening act was the wonderful Sea of Bees, a musical project by Julie Ann Baenziger a Californian self taught singer-songwriter heralded in the last year by the Guardian as a "wondrous talent." Julie with support from a friend and bassist Abbey provided a wonderful set of haunting magical songs about being in love and as Baezinger herself put it "dreaming and floating over a prairie in the sun." Every song came with a beautiful dream like introduction and ethereal vocal. It is possible to liken Baensiger to Emiliana Torrini and Kate Bush, but that would be too simple. Baenzinger's talent is all her own, and wonderfully indescribable. We were lucky enough at the Brudenell to be able to buy copies of the Sea Of Bees album Songs for The Ravens which is due to be released 7th February 2011 and which I can heartily recommend.

Following Sea of Bees were the British folk duo Smoke Fairies.
The band made up of two front women, Katherine Blamire and Jessica Davies along with a Viola player, drummer and third guitarist filled the tiny stage at the Brudenell. The music of the Smoke Faeries will not have been missed by anyone with an ear to the ground on the folk scene over the last few years. The name Smoke Fairies is often found in the same sentence as Laura Marling and Noah and the Whale, and yet more often than not the Smoke Fairies offer something quite different. Many of the songs of the new folk scene seem to have lost the storytelling that went with the folk music of the 60s. However Smoke Fairies seem to resurrect that storytelling with style. Their work references not only British folk, but American blues and to some extent there is a country vibe that is unmissable. Although their stage presence was seemingly far more awkward than Baenzinger's Sea of Bees, (they came back on for an encore at great speed professing to fear that people would leave before they came back) there was an endearing quality to their lack of self assurance. Their music is undoubtedly beautiful and the quality of sound they produced was amazing. You really must excuse the quality of this recording, I was stood near the bar (quel surprise?) however this is Gastown:


Their recently released album Through Low Light and Trees is certainly worth a listen and the Smoke Fairies are on tour until 3rd February taking in both Bristol and London.