Tag Archives: De La Warr Pavilion

Live review: Seth Lakeman at De La Warr Pavilion, Bexhill 7/3/19

This review was originally published by The Stinger here

It doesn’t seem too long ago that Seth Lakeman was being hotly-tipped as one of the young rising stars of the contemporary folk scene and, back in 2005, was being nominated for the Mercury Prize. Now in his early forties and a father of three, but still maintaining those boy-band good looks, he’s become one of the folk scene’s seasoned figures and has no problem packing out the De La Warr.

For this tour he’s supported by singer-songwriter, Carus Thompson. The singer/guitarist does a nice line in Aussie-flavoured Americana, including a love song that was inspired by playing in a maximum security German prison. Once part of Australian folk/country band Carus & The True Believers, Thompson’s music is well worth checking out.

Lakeman has the audience onside from the first song and takes us on a thrilling but thoroughly modern folk-rock romp. The set-list includes material from his 2018 album The Well Worn Path, as well as highlights from across his now-considerable back-catalogue – both traditional and self-composed.

Set highlights include ‘The Educated Man’, a song from the new album which is surely destined to be an audience favourite for many years to come. Another favourite is ‘Portrait of My Wife’ a traditional ballad that Lakeman initially performed as part of the Full English folk collaboration back in 2013. It’s just Lakeman and his fiddle right at the front of the stage for this – the band and even the microphone are dispensed with. The impact is stunning and the crowd join in the song’s chorus of ‘raise your glass to the one you love’.

Accompanying Lakeman, who alternates variously between fiddle and acoustic guitar, are Kit Hawes on guitar, Ben Nichols on double bass and Evan Jenkins on drums. Nichols’ bass playing produces a deep and powerful sound and Jenkins’ drumming really gives the band that folk rock oomph. However, it’s the interplay between Lakeman and Hawes that proves crucial to the dynamic on stage tonight. Whether it’s acoustic guitar versus electric, banjo versus acoustic, electric versus fiddle or acoustic versus fiddle it’s never less than totally captivating and the sound from the two musicians is glorious.

Lakeman tells us we’re the best audience of the tour so far and the band are clearly delighted with the response they get from the De La Warr tonight.

I volunteer for this project called Gig Buddies which is about giving adults with a learning disability opportunities to have an independent social life and I invited my gig buddy, Glenn, along to accompany me to this gig. The final verdict on Seth Lakeman’s performance tonight, therefore, goes to Glenn and he writes: “I enjoyed seeing Seth Lakeman and I love his songs. He was fantastic and I got to meet him afterwards.”

(Additional reporting by Glenn Harris)

https://www.sethlakeman.co.uk/

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Related reviews:

Seth Lakeman at Folk by the Oak 2014

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Live review: Holy Holy perform The Man Who Sold The World & Ziggy Stardust at De La Warr Pavilion, Bexhill 17/2/19

The Bowie-inspired supergroup Holy Holy, featuring original Spider from Mars Woody Woodmansey and David Bowie collaborator and legendary producer Tony Visconti, first got together in 2014 when they toured Bowie’s groundbreaking The Man Who Sold The World album in full, which both men played on. This was followed with a 2017 tour playing The Rise And Fall Of Ziggy Stardust And The Spiders From Mars in full. Now, in 2019, Holy Holy are back with another tour performing not one, but both of these legendary albums in full, back-to-back. Bexhill’s De La Warr is absolutely packed out for an evening of Bowie worship. Fronted by Heaven 17’s Glenn Gregory, Woodmansey and Visconti are joined by James Stevenson and Paul Cuddeford on guitar, Berenice Scott on keyboards and Jessica Lee Morgan on saxophone, guitar and additional vocals.

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Beginning with The Man Who Sold The World set, the heaviest of Bowie’s early 70s albums, the band don’t hold back on songs like the doom-laden All The Madmen and The Supermen as well as the lighter but no less brooding ‘After All’, not to mention a majestic rendition of the album’s title track. As I observed on a previous tour, Gregory is a powerful singer and great performer who does a nice line in Bowiesque vocals but without ever descending into play-acting or parody. Although the venue is all-seated tonight, many in the crowd don’t need much encouragement at all from Gregory when he says they are welcome to make their way to the front (even if the venue management appear to take a slightly different view).

If the atmosphere for the moody, dark proto-goth vibes of The Man Who Sold The World is reverential when the band switch to performing Ziggy Stardust, however, it’s one of unadulterated, joyous celebration. This is exactly as it should be for one of the truly classic albums of the second-half of the twentieth century. From ‘Five Years’ (track 1 side one on the original vinyl) through to ‘Rock n Roll Suicide’ (track 6, side 2) the classic songs keep rolling one after another, each one greeted with tumultuous, affectionate, thunderous applause.

Yes, those on stage didn’t write these songs and (in the majority of cases) weren’t the ones to originally perform them. Their creator, together with two of his three Spiders From Mars band-mates, is no longer with us. And yet, and yet… this is very much a band, not a disparate collection of musicians and competing egos coming together to reel off a tribute, but a band – one that has genuinely gelled musically, one that works the stage together and one that laps up the love shown by tonight’s audience. Everything about this performance screams out that this is something special, that this is something way beyond the myriad of Bowie tributes that can be found up and down the country.

The encore sees a surprise rendition of Bowie’s 2013 hit ‘Where Are We Now’, something the band only hit on part way through the current tour, Gregory tells us. That’s followed by a triumphant ‘Life On Mars’, a superbly energetic’Changes’ and a gloriously raucous ‘Rebel Rebel’.

Bowie’s music needs to be kept alive and deserves to be kept alive and, really, no-one does that better than Holy Holy.

Set-list:

Width of a Circle
All The Madmen
Black Country Rock
After All
Running Gun Blues
Saviour Machine
She Shook Me Cold
The Man Who Sold The World
The Supermen

Five Years
Soul Love
Moonage Daydream
Starman
It Ain’t Easy

Lady Stardust
Star
Hang On to Yourself
Ziggy Stardust
Suffragette City
Rock ‘n’ Roll Suicide

Where Are We Now
Life On Mars
Changes
Rebel Rebel

http://www.holyholy.co.uk/

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When Darren met Woody…

Related reviews:

Holy Holy at Shepherd’s Bush Empire 2017

Mike Garson perfoms Aladdin Sane at Birmingham O2 2017

 

Live Review: Steve Harley & Cockney Rebel at De La Warr Pavilion, Bexhill 19/12/18

This review was originally published by The Stinger here

Steve Harley and his band-mates take the stage and launch straight into George Harrison’s Here Comes The Sun, a top ten hit for Harley and co, in 1976. It’s well received by the audience and I’m instantly transported back to the previous (and only) time I saw Steve Harley and Cockney Rebel, one blazing August afternoon at the Reading Festival back in 1983 when that song worked its magic on the crowd. It’s a great start. The trademark combination of electric violin, electric and acoustic guitars and keyboards all in place, the band have the audience on side straight away.

After a couple of energetically performed hits, however, he takes us into some of the more reflective songwriting of his later solo career. Harley is a hugely talented and award-winning songwriter, but my view has always been that with an instantly recognisable but fairly limited vocal range, Harley’s voice is better suited to the more upbeat pop-rock material. That was confirmed for me tonight. There’s some beautifully heartfelt songs and some absolutely superb musicianship. Original Cockney Rebel drummer, Stuart Elliot is still with the band and Paul Cuddeford is an absolute whizz on guitar. Between songs Harley is a witty, sincere and, at times, a surprisingly emotional host. However, much as I admire his evident songwriting skills on the slower, more sensitive material, the delivery didn’t always quite work for me.

After a short interval though we’re back on to some of the rockier material where the band excel, particularly the aforementioned Cuddeford, and where Harley’s vocals are perfectly suited. And as we come to the end we start to get another blast of the hits. Over the course of the evening we are treated to Mr Soft, Love’s A Prima Donna, Best Years Of Our Lives, Sebastian and many more. Struggling to move around following a recent hip operation Harley tells the audience he’s not going to hobble off stage, wait in the wings and hobble back on for an encore as he introduces his best-known and one of the most memorable pop songs of the past fifty years. Now in use by Pfizer as the soundtrack for a Viagra ad, he jokes that he offered them Mr Soft but they insisted on this one.
The normally genteel, all-seated De La Warr audience start to get up and make their way up to the front to dance along to a wonderful, life-affirming rendition of Make Me Smile (Come Up And See Me).

I learnt a lot more about what makes Steve Harley tick tonight. For someone who did not always endear himself to the media circus back in the day, he comes across as genuinely likeable and engaging. I’m still always going to love him more in glam rock god mode than in sensitive singer songwriter mode, much as I have a deep love for both genres, but this is a gig I am certainly glad I did not miss.

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Photo credit: Sarah-Louise Bowry

https://www.steveharley.com/

Dweezil Zappa at De La Warr Pavilion, Bexhill 13/10/17

This review was originally published by The Stinger here

‘Dweezil Zappa plays whatever the f@%k he likes’

As soon as I saw those words on a seafront poster advertising the show at Bexhill’s De La Warr Pavilion this was on my list of gigs to see this month. There have been ongoing and fairly ferocious spats between the Zappa siblings about how they take forward their late father’s legacy. And with admirable chutzpah from Dweezil this is being billed as ‘The Cease & Desist Tour’ following the lawyer’s letter he received.

Performing to a packed-out De La Warr, the performance is a vivid reminder of what a fantastic range of musical styles and influences Frank Zappa incorporated into his output, as well as what a fantastically accomplished writer and musician he was. From perfectly polished orchestral pop pastiches, to improvised jazz rock work-outs, to exquisite blues rock guitar solos the versatility of Dweezil and his band is truly impressive.

Of particular note, alongside Dweezil Zappa’s beautifully dexterous guitar playing and obvious love for his father’s music, are guitarist/lead vocalist Adam Minkoff, who has joined the Zappa band for this European tour, and female lead vocalist Cian Coey, who delivers some truly stunning vocals.

Set-wise, it being the fiftieth anniversary of the release of ‘Freak Out’, the debut from the Mothers of Invention, songs like ‘You’re Wondering Why I’m Here’ make an appearance, alongside later material like ‘Cruising For Burgers’ and ‘Studebaker Hoch’ as well as surprises like a wonderfully smooth rendition of the James Bond theme. There is no support tonight. Save for a short interval it’s just three exhilarating hours of Zappa. Climaxing with an inspired rendition of the Beatles’ ‘I Am The Walrus’, the audience are up on their feet for a rapturous standing ovation. Band and audience alike seem very pleased with their evening spent in Bexhill.

Succumbing to cancer in 1993, Frank Zappa was an early reminder of the mortality of that generation of musicians from rock’s late 60s/early 70s golden age. Such deaths are now reported with alarming regularity, of course. But whether it’s Zappa, Bowie or any number of rock ‘n’ roll’s true creatives, legitimate questions do arise about how we continue to celebrate their respective legacies. While few of us would opt to be stuck in an endless repeat cycle of non-stop tribute acts (or, God forbid, hologram shows) we do clearly want to find ways of continuing to enjoy such music in a live setting. In this respect, Dweezil has put together something that is creative, ambitious, affectionate and totally appropriate.

Dweezil Zappa does indeed play whatever the f@%k he likes. But he plays it so well. And he does his father proud.

Set-list:

Latex Solar Beef
It Can’t Happen Here
You’re Probably Wondering Why I’m Here
Bow Tie Daddy
Harry, You’re a Beast
The Orange County Lumber Truck
Motherly Love
Any Way the Wind Blows
Mom & Dad
Tell Me You Love Me
Cruising For Burgers
James Bond Theme
Studebaker Hoch
Rollo
Advance Romance
I’m the Slime

– Interval –

Zomby Woof
Would You Go All the Way?
Wind Up Workin’ in a Gas Station
Dirty Love
Daddy, Daddy, Daddy
What Kind of Girl Do You Think We Are?
Bwana Dik
Lumpy Gravy
Village Of The Sun
Echidna’s Arf (Of You)
Let’s Move to Cleveland
Inca Roads
Duke of Prunes
Doreen
Dinah-Moe Humm
I Am the Walrus

https://www.dweezilzappa.com/

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Photo credit: Simon Putman

Frank Turner and The Sleeping Souls at De La Warr Pavilion, Bexhill 10/12/16

My review was originally published on The Stinger independent music website here

Having been warmed up very nicely by the support acts, Felix Hagan & The Family and Esmee Patterson, the place is absolutely throbbing when Frank Turner comes on stage.

“I believe first impressions count,” declares Turner a couple of songs in. And bang – he certainly achieves that. Opening with ‘I Knew Prufrock Before He Got Famous’ from his 2008 album ‘Love Ire and Song’ he combines anger, affection, passion, celebration and wry humour – and that’s all in the space of a single song. In terms of delivery and audience response it’s more like an encore than an opening song but that level of energy is maintained song after song after song.
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Six albums into his solo career, it has only been the two most recent that have made it into the top five and his singles have hardly ever troubled the charts. Yet he’s built up an absolutely devoted fan-base. Deservedly so, from tonight’s performance.Turner and his excellent band pack in many highlights from his solo career in a two-hour set, including a good smattering of songs from his latest album ‘Positive Songs For Negative People’, in addition to an old Million Dead song ‘Smiling at Strangers on Trains’ as part of his encore.

From a well-connected, well-to-do family, Turner’s libertarian brand of politics has attracted strident criticism in some quarters, and he’s been notably hammered as a right-winger in the Guardian. I can’t pretend I’ve analysed Turner’s philosophical beliefs in great detail but of his between-song interventions tonight three could be described as vaguely ‘political’ in one way or another.

The first was a plea urging support for the charity War Child, an undeniably worthy humanitarian cause. The second was a passionate speech in support of the Safe Gigs for Women campaign, highlighting the unacceptable nature of the harassment and abuse that far too many women are forced to endure while trying to enjoy a live gig. And the third was pretty much a theme that ran through his chat throughout the course of the evening; namely the very collectivist ideal of urging the audience to look out for one another and to take some of that spirit away with them into the outside world.

Indeed, the only performer I’ve seen place a similar degree of emphasis on that whole ‘audience-as-community-thing’ was the avowedly-socialist, veteran folk singer, John Tams. What Tams never did was follow that through with stage-diving into the audience and being transported from one side of the hall to the other by a rapturous sea of fans, but you get the point…

A passionate advocate for live music, Turner tells us that tonight is his 1,995th solo gig. Judging by tonight’s performance one suspects there will be many thousands more, and he’s promised to come back to Bexhill soon.

The greatest voice on the contemporary music scene? Probably not. One of the most charismatic and compelling performers of his generation? Almost certainly.

More info on War Child can be found at: warchild.org.uk  

More info on Safe Gigs for Women: sgfw.org.uk

Setlist:
I Knew Prufrock Before He Got Famous
The Next Storm
I Still Believe
Losing Days
Try This at Home
Long Live the Queen
Glorious You
Polaroid Picture
Silent Key
Plain Sailing Weather
Wessex Boy
Mittens
Cleopatra in Brooklyn
The Way I Tend to Be
The Opening Act of Spring
The Road
If Ever I Stray
Out of Breath
Photosynthesis
Smiling at Strangers on Trains
Recovery
Get Better
Four Simple Words

dlwp-frank-turner-and-the-sleeping-souls-840x561Photo credit: official tour publicity

http://frank-turner.com/home/

The Divine Comedy at De La Warr Pavilion, Bexhill 25/10/16

My review was originally published on The Stinger independent music website here

Perhaps one of the most unlikely outfits to come to prominence during the 90s Britpop era, Neil Hannon’s orchestral pop ensemble The Divine Comedy still retains a devoted following, is still selling records (the Foreverland album released in September hit number 7 in the UK charts) and is still filling venues.

The De La Warr Pavilion tonight is completely sold out and is absolutely ram packed by the time Hannon and his band take the stage.

Songs from throughout The Divine Comedy’s eleven-album career are greeted with a wave of affectionate familiarity as soon as each one starts up, not just the hit singles.

We are most certainly in the presence of a hall full of true fans. For the more casual observer like myself, I took the precaution of going along with a hardcore super-fan lest I needed anything explaining about the world of Neil Hannon and The Divine Comedy.

I needn’t have worried. The evening was effortlessly and infectiously enjoyable.

Besides the ever-present Neil Hannon, The Divine Comedy has had a changing cast of supporting musicians over the years but he has certainly assembled a very talented bunch as they swoop through a vast variety of sounds and styles throughout the course of the evening.

There may be a wry tongue-firmly-in-cheek mode about many of the lyrics but the music is always delivered with absolute sincerity, authenticity and passion. Theatricality and musicality thus combine.

A few songs in and Hannon has donned a bowler hat and brolly for his scathing account of the global financial crash ‘The Complete Banker’ and later on he’s striding around the stage in full Napoleon outfit: ‘Napoleon Complex’ is the opening track on the new album by way of explanation.

One highlight is an unexpected but perfectly fitting cover of the late Cilla Black’s hit ‘Alfie’ before the band go on to perform Hannon’s own ‘Becoming More Like Alfie’

Hannon certainly has a gift for crafting lyrics. As a witty but bitter-sweet observation of everyday life ‘At The Indie Disco’ would even give some of Ray Davies’ finest tunes a good run for their money.

The small strip at the front of the stage starts filling up as a trickle of people leave their seats to dance along to it. “It’s fine by me,” says Hannon, “come on up.”

Soon the De La Warr Pavilion becomes its very own indie disco as more and more people squeeze to the front to dance away to this gloriously catchy tune, audience and performance melding into one.

From the back of the hall it couldn’t have looked any better if you had spent a week choreographing it.

It’s not long before everyone is out of their seats.

The whole place is on its feet for National Express, the bands biggest hit which has probably done more for brand awareness of the UK’s largest coach operator these past twenty years than any amount of paid-for advertising, even if the jolly hostess with the trolley does still struggle to get by to charge those sky high fees…

An utterly charming and naturally witty performer and a talented singer and song-writer with an ability to cross genres and elicit a whole range of emotions, in a different era Hannon would probably have been labelled an all-round entertainer.

For sheer talent and showmanship The Divine Comedy is clearly deserving of the loyal following it continues to attract.

http://thedivinecomedy.com/

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The Equatorial Group at Music on the Bandstand, Bexhill-on-sea 6/8/16

Independent record stores that have managed to survive firstly the big chains, then the rise of Amazon then the downloading craze have tended to be the ones that made themselves far more than just a place to buy records and CDs. The Music’s Not Dead store in Bexhill-on-sea is a classic example. Its thirst for promoting music seemingly limitless and unconditional. Not only do they host regular live performances in store, they also hook up with the De La Warr Pavilion over the road to put on numerous events including this outdoor mini free festival on the terrace of the pavilion by the seafront. The first band on today The Equatorial Group particularly caught my eye.

“Sounding like Crazy Horse colliding with Fleetwood Mac on a dusty road” as their Facebook profile has it. Gentle acoustic guitar, some nice pedal steel, harmony vocals and some great laid-back lead guitar solos, their blend of slow, countrified Americana was just perfect for a hot August afternoon with a few beers by the sea. They’ve got some good original songs, too. And as you could pick up both of their self-produced EPs (2014’s Glebe and 2015’s Elvis) on CD for a fiver it seemed silly not to buy them and explore this band a little further. I’m impressed.

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The Eastbourne-based band have been around since 2011 and are now happily on my radar for the future. Anyone into this type of music is well advised to keep an eye out for them. And well done to both Music’s Not Dead and De La Warr Pavilion for giving a platform to acts of this calibre.

https://www.facebook.com/theequatorialgroup/?fref=ts

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Oysterband with June Tabor at Bexhill-On-Sea 27/9/14

If you think you’ve seen the run of charming but fairly samey faded seafront concert venues, Bexhill-on-Sea’s De La Warr Pavilion is something quite spectacular. A beautiful and lovingly restored 1930s modernist building it proves to be a worthy setting for Oysterband and June Tabor.  Following an acoustic set from singer-songwriter (and talented guitarist) Sam Carter as support, the band initially do a set on their own featuring songs from their latest album, Diamonds on the Water, as well as older favourites.  The Wilderness, one of the new ones, was inspired by the band’s trip to Canada where, on a day off from touring, they experienced the natural wonders but also the potential dangers of the Rocky Mountains and its fearsome bear population. “You’re not the master here” goes the chorus of this poignant reflection on man and nature.

After a short break, Oysterband perform their second set with guest singer, the great June Tabor. Both band and singer have illustrious back catalogues and both are stalwarts of the folk and festival scene. But the two combined produce something very special indeed. Their first collaboration was in 1990 on the acclaimed Freedom and Rain album. They followed this up with a further collaboration in 2011, Ragged Kingdom, and live collaborations have continued on and off for many years. Their set tonight delivers songs from both of these albums, a superb mix of traditional folk songs, like Bonny Bunch of Roses and Dark Eyed Sailor, together with inspired folk-rock covers of such marvellously un-folky material as Velvet Underground’s All Tomorrow’s Parties and Joy Division’s Love Will Tear Us Apart, which Tabor and John Jones of Oysterband sing as a duo.  Seeing is believing for anyone who has the slightest doubts about the beauty of these songs in the hands of Tabor and Oysterband.

The band has a distinctive sound. It’s folk-rock but, unlike their predecessors who pioneered the genre, having emerged in the late 70s rather than the late 60s the cultural references are different with a more contemporary feel and this is reflected in the sound. Allied with Tabor’s unique voice it is little wonder that this has been hailed as one of the most successful musical collaborations in the world of folk and folk-rock. The audience tonight is clearly in agreement. The appreciation and warm affection for both are clearly apparent throughout tonight’s performance.

http://www.oysterband.co.uk/

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