From the archive : The Civil Wars - London 2012.

The Civil Wars are no more.

The Americana duo were truly a blessing for music and offered not only one of the best debut albums in Barton Hollow but a truly intense live experience.

I was privileged enough to see them twice, once at the Night And Day Cafe in Manchester with no more than 20 people and then at the Shepherds Bush Empire, London. 

I wrote this review shortly after the gig in London in 2012. Enjoy a stroll through the archive

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The Shepherds Bush Empire is seething with people. We’re all here for the same reason, that’s the Nashville duo of Joy Williams and John Paul White. They had played to big crowds before when supporting Adele but this crowd is theirs. John Paul is sophistication personified as he strides out in a dinner jacket and tie, greeted by a glass of bourbon and followed by the poise and elegance of frock wearing joy. She can barely contain herself, with smile after smile sneaking across her face. It’s infectious. The crowd can do nothing but smile back and listen to her stage patter as she proclaims “Why are you all here?” The answer is simple. The Civil Wars are Exceptional.

They ease in and out of songs from their debut album “Barton Hollow” and throw in neatly reworked covers, like “I want you back” by the Jackson Five, which is no longer the upbeat sing-along you remember, rather a deliberate romantic, encounter played with precision and hair-curling harmonies. Something is quite haunting about the harmonies that these two produce as they bend their bodies from the microphone to add to the splendour of songs such as “My father’s father” and “C’est La Mort”. A trait seemingly taken straight out of the Gillian Welch and David Rawlings handbook, especially accompanied with the simplicity of their stage. There are no extra musicians, no banner sporting their name, no gimmicks. It’s about the music here. Apart from Joy occasionally slinking over to a piano to accompany such songs as the utterly seductive “poison and wine”, they stand together. Their chemistry on the stage is like a perfectly rehearsed play, they seamlessly act out their set.

  

The crowd are transfixed by this special blend of country and Americana music with a folky core. As every song is being absorbedly listened to, the crowd is an eerie kind of silent. Every note dances its way to the back of the venue, reaching every person. When the music stops, the place erupts. Leaving White and Williams to stand and take the plaudits they so sorely deserve and are humbled to receive. 

They quip about Adele using them and on the evidence of tonight ,coupled with the fact they have sold out their UK tour and will return to the US to play numerous festivals, they could well be right.

The highlight of the night is the barnstorming title track “Barton Hollow”. Its burly guitar riff piques all interest, encouraging everyone in attendance to move, Joy stamps her foot through every line and sways with the melody. They launch into the tune with fierce vocals, played out in perfect harmony. Their voices brawl to the finish, Williams with her hypnotic gothic sound and White with his striking power intertwine faultlessly. It calms to finish as they show remarkable control and drift into its complete opposite “falling”, which is an enchanting love affair which cools everyone down after warming them up. Its moments like this that proves they are deserved of their double Grammy success. 

A stunning rendition of “Billie Jean” closes the encore, a song which is played with real satisfaction from both parties. London shows its appreciation with rapturous applause which doesn’t end until Williams and White are most likely back on their bus. 

At one point during the night, a voice climbed out from the crowd proclaiming “CONGRATULATIONS”. This is most likely in response to Williams’ news that she is an expectant mother; however it could equally simply be recognition of them achieving something truly special. From a backroom writing desk in Nashville they are building their legacy, succeeding with an air of class and sophistication. The Civil Wars will be around for a long time to come. Join the revolution. 

Setlist:

Tip Of My Tongue

Forget Me Not

From This Valley

20 Years

I’ve Got This Friend

Sour Times (Portishead Cover)

Barton Hollow

Falling

C’est La Mort

I Want You Back (Jackson 5 Cover)

Birds Of A Feather

To Whom It May Concern

My Father’s Father

Poison & Wine

Encore:

Billie Jean (Michael Jackson cover)

Dance Me To The End Of Love (Leonard Cohen cover)

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Hepkatt FM 

Nineteen Forty-Seven Until Two Thousand And Sixteen

Another planet holds you now.

I bet you've already changed the way they dress, the way they feel and the way they view the world. 

On behalf of a generation, we weren't worthy but we're grateful. 

This is for you.

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Pull the blinds down on your eyes 

Block out what you see

When you see the light

You'll see you were standing next to me

Staring at your reflection

In a revolving door

You changed our view on reality 

And showed us what to look for

Fantasy or illusion?

The results of a drugged up dream

You were the proof

That life is not what it seems 

A thunder storm of emotion 

Always thinking, never sure 

The lyrical ramblings of a mad man

Preaching philosophy found on the floor 

Pull the blinds down on your eyes 

Block out what you see

You never found the light 

But thank you, David Bowie

"I don't know where I'm going from here, but I promise it won't be boring" DB 

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HepkattFM 

Roll tape...

A movie can be made or failed on a soundtrack.

It can either be the perfect accompaniment to that heart wrenching scene (You know, the sort of song you play in your head as you stare out of the bus on a rainy day pretending you're in a movie montage. We've all done it) or it can be an annoying inconvenience. Like that one person on the back of a bus playing Kesha out loud on his phone. We get it, you've got a Sony Ericsson, kid. 

Many movies have their music composed especially for the piece but we are going to leave those to one side, metaphorically of course, nobody puts Hans Zimmer in a corner. Instead, we are going to be focusing on those that have taken songs already in circulation and tried to bend them to fit their own narrative. 

So I present to you the good, the bad and the down right offensive movie soundtracks.

The Good. 

High Fidelity

John Cusack and Jack Black star in this film entirely about vinyl and a failing record store. Well. There is some love story in there but I concentrate on the bits I find important. It's based on the book of the same name by Nick Hornby which is well worth a read. It features some great songs but crucially they fit the bill for what the movie is about. Songs by Elvis Costello, The Beta Band, The Kinks, Bob Dylan and Stevie Wonder all help this film to progress. And that is what a good soundtrack should do. 

It should drive the film forward, slow it down at the right time and bring it to a big finish. Kind of like the perfect mixtape. (Inside reference for all those who have seen High Fidelity)

Special Mention - Death Proof - This falls under the category of a good soundtrack, bad film. If only for the scene which is accompanied by The Coasters, Down In Mexico. 

The Bad.

Wild Wild West

Rule number one. DO NOT LET THE LEAD ACTOR SING THE TITLE MOVIE TRACK. When Will Smith released both film and song at the same time it just didn't work. It was as if the Fresh Prince of Bel Air was performing in a talent show, threw on some cheap white suit and hat and pranced about the desert. Don't get me wrong, I have a friend who can do the whole rap and it's well worth a giggle. But I'm not sure that will make the producers feel all that better. 

By the way, what's Steampunk? 

The Down Right Offensive.

Spiderman (Toby Mcguire edition)

Nickleback. Yep. That happened. Actually it wasn't the whole band, just the long haired one. What? They're all long haired? Oh! Well, one of them performed with another hairy guy he found on a roof and they called it Hero. On the nose? Just a little bit. I don't think I need to say too much more about this.

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Sure.

These aren't necessarily the best films in the world but that's not the point. The point is that the music in a film can be equally as important as the actors and plot line. 

If plot is the lead, then music is the supporting act. 

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HepkattFM

Music and Mental Illness

I panic at far more places than the Disco.

For the past few years, I've been living with mental illness and just trying my best to push it to one side. The one thing I learnt. That's not possible.

Finally, I surrendered, got help and started working toward managing my day to day life. I was scared at first. Lots of things had to change. I quit drinking and boy, did I drink a lot, I stopped going out as much and so lost friends but worst of all, I had to stop performing. 

I've been a drummer for the past 10 years and played in a handful of different bands. That rush before taking the stage, that relief at coming off at the end knowing you did a great job, they're feelings that just can't be recreated and it was all over. The cymbals had stopped shaking, the kit was in the van and I was all at sea.

At the same time, I realised that this was only for the best. The incredible feelings I got before playing were replaced with severe panic attacks and an overwhelming desire to just get it over with and when that happens, well, you're just not a musician anymore. I was just there to make up numbers. At least that is how I felt.

That's when Hepkatt was born. I stopped feeling sorry for myself and realised there is far more to music than just playing it. I started reading, excessively, about music theory and researching upcoming bands, venues, equipment, you name it I've been looking at it. Then I thought, why not write about this? This 'thing', this 'noise', that can bring us together and divide us all at the same time, make you feel lost and found in the same split second. 

Now.

I'm not going to go as far as to say music has saved me but it sure makes being here that so much easier. I'm excited to hear the next big thing and to find the dingiest venue that offers the best experience. It gives me desire and it gives me hope that even though I can't be doing it any more, others are and the industry is safe in the hands of every young kid who picks up an instrument. 

Music is free from all the things wrong with the world these days. We don't care about religion, politics and we're not about to go to war over who should be number 1. We're all here for the same reason. So from me to all musicians, all music lovers, writers, technicians, lighting engineers and so on and so forth, thank you. 

I'm a believer in music, fucking hallelujah.

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HepkattFM

Suds and Songs: Lippy Kid

Up the local in the rental.

Today we look at Derbyshire based, ambient loop creator, Lippy Kid. 

First things first. Let me tell you that this isn't just music, this is theatre. Using minimal loops to create powerful melodies you're forced to visualise before you, what you hear around you.

You can't just listen to this, you have to put shape to the sound and become, well, transfixed.

You can find multiple releases by this alter ego (Think more Ziggy Stardust than Tony Clifton) but a great place to start is with Anatomical, released in 2014. Three Digit D.I.S.C.O is a mind bender. It sounds as though it is taken from the boss level of a Nintendo game fused with a cross country car trip from an indie movie and I mean this as the highest compliment, because that's what I saw. That's what this music forces you to do in a way that very few others can.

Lippy Kid isn't one to go it alone either and is always looking for collaborators. On his last project, he asked his Twitter followers to add one word to the statement 

"We Search The World To Find....". The result was, one word, stunning.

And it is for that reason, the desire to want to mix with others and make something unexpected and beautiful that I'm pairing this with a Whiskey Cocktail known as the Brain Duster.

Now.

This fits in two ways. First, Brain Dusting is honestly a great way of describing Lippy Kids' music. After a few hours of watching (remember not just music, theatre) his creation you will feel well and truly refreshed and inspired, a good old brain dusting.

The second way is that this is blend of things that shouldn't go together but hell they create something spectacular. Whiskey, Italian Vermouth and Absinthe. It's classy, goes down smooth and leaves just enough of an impression to make you question everything, and that's just Lippy Kids' music.

Minimal.

Melody.

Theatre.

This is Lippy Kid.

https://lippykid.bandcamp.com/track/three-digit-d-i-s-c-o
http://www.lippykidmusic.com/

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HepkattFM

Suds and Songs: Milk Carton Kids

MILK CARTON KIDS AND JACK DANIELS:HONEY

Sing.

Sparrow.

Sing.

They're the words of messrs Kenneth Pattengale and Joey Ryan who form Contemporary Folk duo Milk Carton Kids.

I first heard of these guys when a friend of mine performed a cover at one of his gigs. Queue hours of You-tubing their performances and one thing became glaringly obvious. No matter the venue, no matter the size of the crowd, they always offer an intimate experience. (For the most gorgeous of performances check out the Tiny Desk Sessions courtesy of NPR)

Their stage presence is still but full of movement, very Gillian Welch and Dave Rawlings. Their most recent album, Monterrey, offers a gluttony of swaying guitar crawls and perfect harmonies. Recorded on stages of theatres throughout America, without a crowd, without the nitpicking over each bar, it makes you feel, well, human.

So what do you pair with this? 

It's cliche but the sound created does go down like Honey and leaves you burning up as you wish you were as good as them, so why not pair it with Jack Daniels with Honey.

While you sip on this, you can slip away to the ambient vibes created from songs such as Sing, Sparrow, Sing and Asheville Skies.

Wherever you are in the world, whatever music you like, you need to unwind and appreciate talent, these guys have it in abundance. 

Stop the search.

We've found the Milk Carton Kids. 

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http://www.themilkcartonkids.com/

http://www.npr.org/event/music/156679789/the-milk-carton-kids-tiny-desk-concert

http://jackdaniels.com

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HepkattFM

Suds and Songs: Turbowolf

TURBOWOLF - BREWDOG

Music.

Alcohol.

Fewer things go as well together as the above. Whether you're in a dingy working mens club ordering pints of warm John Smiths waiting for the out of tune, out of time support act to finish or simply spinning vinyl at home with a choice tipple, it works.

In a new regular spot, I'm going to give you my thoughts on what goes well together.

First up is one of my favourite bands of 2015, Turbowolf. The first thing you notice from this Bristol based band is that their energy isn't just limited to the stage. Their records are just as lively and full of punch as their live offering.

I was able to catch them earlier in the year at The Harley, Sheffield (I spent most of my university life in this place and it's still one of my favourite haunts. Well worth a visit if you've never been) and saw first hand just how their brand of punk rock can grab you by the arm and drag you through a full throttle trip of psychedelia and moustaches.

I'm pairing this with Nanny State from Brewdog. The more experienced drinker among you will notice straight away this is non-alcoholic. The fact is, I quit drinking 6 months ago after a rather life changing experience but I've done my time drowning barrels. 

Not drinking is hard and I sure miss the sweet nectar now and then again and this is why I'm grateful to Brewdog. They have actually produced a non-alcoholic drink worth it's salt. It's a true punk drink for a true punk rock band.

So for you to truly relax and enjoy the album above (Turbowolf - Two Hands) with a beer, pick up one of the first ever Brewdog beers and enjoy a pint of Punk IPA. Once you've got the taste you can head over to Brewdog in Sheffield and experience this straight from the tap.

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https://www.brewdog.com/bars/uk/sheffield

http://www.theharley.co.uk/

http://turbowolf.co.uk/

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HepkattFM

Welcome happenin' cats

1931, two musicians sit at the bar in a run down speak-easy, the kind filled with more smoke than people. On the stage, a young man sways to the beat of his band and lurches forward with intent at his Saxophone. 

Now the two at the bar were no strangers to performance and could cut it with anyone who said they played an instrument. Their interest was peaked and their eyes shifted from the bourbon before them to the sounds around them.

“This kid ain’t bad, takes a bounce on that stage like the best of em” says one to the other.

“Yeah...he’s a real Hepcat”.

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Welcome.

I'm a musician with a keyboard as an instrument. 

Here you'll see my thoughts on all things music from reviews to the perfect playlist.

So let's pack up the gear, jump in the van and make some noise together.

HepkattFM

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