Written by Erin Clark
Edited by Eve Moat

Allow me to set the scene, dear reader. It’s a disappointing drizzly Thursday evening, as me and my partner are racing down the M62 towards Halifax – both suitably tired from days of respective master’s thesis writing and production running, yet both seeking solace in the fact that our shared evening was soon to be soundtracked by the wonderful musical stylings of Michael Kiwanuka. A short car ride, and a good few navigating steps later, we joined the masses that had gathered despite the adverse plans of the weather eagerly anticipated the arrival of the artist – ponchos donned and pints clutched. The Great British summer. 

To the setting of a warm orange glow, and the soundtrack of thunderous applause, Michael Kiwanuka graced the stage. Not only equipped with his own awesome musical talent, the singer also took to the stage with an arsenal of exceedingly talented individuals providing support in the form of both impressive backing vocals and instrumentation. Each as adept as the next, the group of performers on stage convened in their mutual musical interests to provide a deliciously heartly feast for the adoring crowds. Though I’m sure that all in attendance would be in agreeance that the weather could undoubtedly have been better, the masses were satiated purely basking in the warmth conjured by Kiwanuka’s musical warmth. 

The congenial music introduction of Kiwanuka and the amassed crowd was the 2019 single ‘Piano Joint (This Kind of Love).’ Though this wasn’t the most energetic start to a gig that I’ve ever seen, I am definitely in favour of a gig start which provides an accurate cross-section of the artist’s discography, rather than providing a high energetic standard which most artists fail to maintain following the start of the set. The winding road of the song invites the listener to enter into existential introspection alongside the artist : 

“All I know is
My oh my, this kind of love
It’s taken me from my enemies
Don’t let the pressure get to me
My oh my, it’s bad enough
Could you stay with me?
Don’t let me go
Sadness and fury is all I know”

Image Credit: Rhodes Media

An energetic gear shift came in the form of the perpetually upbeat single, ‘You Ain’t the Problem,’ which was welcomed by the crowd as if the song was a much-adored old friend – which may be partly accounted for by the track’s soundtrack of the 2020 Men’s Euros and the subsequent popularity from this accolade. The irresistible groove of the song entailed that the crowd was soon pushing through any sort of rain-induced blues by dancing to the beloved single – with the very literal act of dance being twined with the metaphorical dance of repeatedly putting up and taking down rain hoods in time with the intermittent rain spells. 

A few songs later came a truly unexpected sonic treat, in the form of a surprise duet with critically acclaimed singer-songwriter Lianne La Havas. The two formidable forces met and vocally mingled over the common ground of Kiwanuka’s ‘Rule the World’ from his sophomore album Love and Hate, released in 2016, which adeptly provided the musical landscape for both musician’s talents to be thoroughly exercised. Kiwanuka’s dulcet soft tones fused beautifully with La Havas’ capacity for effortlessly strong belts which resounded throughout the historic walls of the venue. This performance was equal parts delectable and refreshing, a truly goosebump-inducing surprise. 

As the appreciative crowd’s rapturous applause gradually toned down, the instantly recognisable primary notes of Kiwanuka’s anthem ‘Hero’ enounced from the stage. The politically-charged anthem encapsulates the artists experience of racist prejudice, and perception of perpetual global violence against Black people, existentially questioning if his heightened cultural platform over others makes “him the Hero now” – masterfully combining heavy lyrics with equally heavy, wailing and climatic guitar riffs. The whole of Kiwanuka, but ‘Hero’ in particular, is exemplary of the artist’s emotional, existential and ultimately heartfelt musicianship – an album which so well-deservedly received the ultimate accolade of the Mercury Prize. Kiwanuka is truly a master at his craft, and this single’s performance in particular reiterated my love for the musician’s absolute artistry. 

Image Credit: Rhodes Media

As the musical tendrils of Kiwanuka’s backing band exited the stage, the artist was revealed in his stripped-back acoustic form, reminiscent of the theme of the artist’s first album – the eloquently tender Home Again. Following a touching introduction about his personal mental state prior to the release of his critically-acclaimed debut, the artist (acoustic in hand) strolled through performances of ‘Rest,’ ‘I’m Getting Ready,’ and ‘Home Again’ in a simultaneously rapid and relaxed succession. This tripe bill of some of the artist’s oldest work highlighted his touching journey from an exceedingly talented, yet unguided uni-dropout to the thoroughly well-rounded and artistically ambitious individual who stood in front of me atop the stage. 

Image Credit: Rhodes Media

Providing a performance formidable enough to distract from dire weather conditions, Michael Kiwanuka did nothing but exceed every expectation I had prior to witnessing his mastery.  

Immense musicality and ethereal vocals, coupled with visually beautiful graphics behind the artist, provided so much more than a gig experience. And there we have it, a brief synopsis of Kiwanuka’s succinct, 18-track set neatly compacted into an exceptional sensory experience. Kiwanuka is an artist who’s artistry needs to be physically witnessed in order to be fully appreciated. 

This event is part of the summer series ‘Live at the Piece Hall 2024’ sponsored by TK Maxx; for more information about the upcoming gigs including Loyle Carner, Pixies and Noel Gallagher’s High Flying Birds, visit https://www.thepiecehall.co.uk/culture/.

Written by Erin Clark
Edited by Eve Moat

Reaching into the depths of my childhood memories always reaps a reminiscence of the much-loved score that soundtracked my upbringing. With parents with vastly different music tastes, the score featured the contrasting musical stylings of Michael Jackson, INXS, Gladys Knight, Del Amitri, Electric Light Orchestra and Savage Garden, to name but a few – with the sole meeting place of their separate interests being their mutual love for Alanis Morisette’s ‘Jagged Little Pill.’ A crown jewel in my mother’s affinity for Australasian rock, and a solid installation in this constant musical rotation was the discography of Crowded House – specifically their revered album Woodface. Unbeknownst to them, Crowded House are very much the genesis of my love for biting and snarky social critique enveloped in thoroughly thoughtful and witty lyricism. 

This explains how I now find myself in the crowd at their gig at the Halifax Piece Hall, as a now 22-year-old, at least 20 years younger than the next youngest attendee. The one night the brand grace this stage brings with it a warm, balmy summer evening which shattered a streak of recent dreary rain spells – with the irony of this not being lost on those in attendance, who were undoubtedly hoping for the band to bring ‘the weather with them.’ After quickfire energetic support from the eldest son of the band’s frontman, Liam Finn – which seemed more akin to a standup set than a supporting slot due to the musician’s quips – the audience was eagerly anticipating the main event. 

To rapturous applause, the five-piece graced the stage. Due to a both artistic differences with former guitarist and keyboardist Tim Finn (and frontman Neil Finn’s elder brother), and the untimely passing of former drummer Paul Hester, the current lineup looks somewhat different to the band’s string of previous incarnations. Since 2020, the lineup has consisted of the two mainstay pillars vocalist Neil Finn and bassist Nick Seymour, as well as renowned producer Mitchell Froom on keys, and Finn’s sons Elroy and Liam joining on drums and guitar respectively. The marvel of the venue and the sweeping landscape is not lost on the band, as Neil Finn proclaims his love for both the sublimely romantic county, and (on a more relatable note) the wealth of good alcohol West Yorkshire produces – with the one exception of this love being the wave of hipster artisanal IPA’s, with the vocalist jesting that he has never desired to drink something with an “aftertaste of dandelion.” Harkening back to the historical origin of the architectural marvel of the Piece Hall, bassist Nick Seymour humorously remarked that the sole remnant of the venue’s cloth trading legacy was the band’s own merch stand – a tongue-in-cheek plug for merch sales which received a great laugh from the good-natured crowd. 

With remarkable energy, which was reciprocated by the gathered masses, the band sprung into their 23-track set, storming through their first two tracks, ‘World Where You Live’ and ‘Teenage Summer.’ These two tracks paved the sonic way to the first real hard hitter of the roster, which came next in the form of the adored Woodface (1991) single ‘Fall at Your Feet’ – at this point, I would be lying to you if I said that at this point it was easy to hear Neil Finn’s stunning vocals above those of the crowd. The achievement of a pleasant harmony on behalf of a West Yorkshire crowd is something that I never thought I’d witness, and from the looks on the band’s faces they were equally as surprised as I am. The passion was palpable, and the reciprocal love from band to audience member was incredibly moving. Skilfully leaping from varying temporal excerpts within the band’s four-decade career span, the five-piece provided a fulfilling musical buffet which was sure to adequately entertain a fan at any age, from any walk of life, and with any subjective musical favourites. For a band no longer in their infancy, their talent is certainly as robust as ever. It was at this point where the paternal origin of Liam Finn’s humour became apparent, as his father Neil began to freely omit and edit lines to Temple of Low Men’s 1988 ‘Sister Madly’ to include one of the Piece Hall’s marketing phrases hung from a balcony banner reading ‘independent stores to explore across every floor,’ a phrase which the singer became hyper-fixated with, mentioning the slogan a healthy few times throughout their set. Just as Liam Finn was at the precipice of a climatic guitar fill, he froze in motion with left arm raised – only become unfrozen when his father sang to the tune of the bridge “My eldest son, he always goes to extremes.” 

Image Credit: Rhodes Media

The production commendably saw to the inclusion of all audience members and their needs, providing an accessible viewing platform, a team of congenial festival angels offering out sun cream by the dollop, and a wealth of friendly staff who were ready, willing and able to provide any assistance to the some 6,000 gig-goers. A definitive contender for stealing the band’s thunder was the enthusiastic BSL interpreter to the left of the stage, who not only ensured the inclusion of any hard-of-hearing attendees, but she also managed to keep up adeptly with the band’s improvisations and off-the-cuff setlist edits. One such edit was in the spontaneous addition of a Split Enz cover of the 1975 single ‘Sweet Dreams,’ which reached the band through written request aboard a paper plane thrown from an audience member – a plane which Neil Finn remarked was ““not very aerodynamic.” Indicative of the band’s reverence for their adoring fanbase, they appeared ever-willing to fulfil this request. 

A few songs later came the much-anticipated double bill of their two most commercially successful singles, ‘Don’t Dream It’s Over’ and ‘Weather With You.’ As Elroy Finn left his stationed drum set towards the rear of the stage for a front-row guitar playing stand beside his father, Neil Finn remarked that the barrage of guitars (now totalled to four – including bass) was “like the Eagles.” To which his eldest son Liam retorted “You should join them next, Dad,” (a callback to Finn’s membership of Fleetwood Mac since 2018) which earnt him a quick “Fuck off.” Arms waving and lights held high, 6,000 Yorkshire-accented voices joined Neil Finn in rejoicing at the altar of Crowded House, united by a shared love of the band’s most popular songs. 

Image Credit: Rhodes Media

The band’s penultimate song was Woodface starting tune ‘Chocolate Cake’. The biting lyricism of the anti-capitalist take on Western consumerism and its pitfalls, dictate that this has long been my mother’s favourite of their singles, and by what can only be described as purely biological reasoning – is subsequently one of mine also. Though the single received little critical attention in America, due to its heavy social critique of the country’s cultural, the track has long been an adored undercard for the most devout of fans. Showcasing some of the best examples of Crowded House lyricism, ‘Chocolate Cake’ (much like its culinary namesake) was a musical treat which has sparsely been enjoyed during the band’s tours – but its scantness only makes it all the more delectable: 

“Not everyone in New York would pay to see Andrew Lloyd Webber
May his trousers fall down as he bows to the queen and the crown
I don’t know what tune that the orchestra played
But it went by me sickly and sentimental

Can I have another piece of chocolate cake?
Tammy Bakker’s got a lot on her plate
Can I buy another cheap Picasso fake?
Andy Warhol must be laughing in his grave

[…] The excess of fat on your American bones
Will cushion the impact as you sink like a stone”

Rounding off the set with 1988’s ‘Better Be Home Soon,’ the night’s events shifted down the metaphorical gears via the soothing ballad. To rapturous applause which I’m sure travelled far from the confines of the open-air venue into the surrounding rolling hills, the band bowed simultaneously and expressed their upmost heartfelt gratitude to their adoring fans. Another great gig banked for the legendary act. Soundtracking a dazzling evening with their arsenal of intricate, sun-drenched songs, Crowded House effectively refashioned the historic Piece Hall into a languid oasis at which their adoring fans could gather and collectively bask in the sonic glory that is Crowded House. 

This event is part of the summer series ‘Live at the Piece Hall 2024’ sponsored by TK Maxx; for more information about the upcoming gigs including Loyle Carner, Michel Kiwanuka, Pixies and Noel Gallagher’s High Flying Birds, visit https://www.thepiecehall.co.uk/culture/.

Written and Edited by Eve Moat

Albert Hall, Manchester. 10.05.24. A warm spring evening. A crowd. A band. 2 supports. And now you. It was like I Saw [Them] in a Dream.

Amber Bain’s musical alias The Japanese House played to a sell-out show at the majestic Albert Hall: one of my favourite venues and beautiful to see in the daylight. Usually as I head to the Albert Hall under the cover of dark, the venue usually looks very different, but this time, due to the clock’s just being turned back, sunlight streamed through the colourful floor-to-ceiling windows that still remain from the days when the building was a church. The stained glass windows really create a unique space and every one of the performers that evening commented on being able to see the audience due to the natural light – and how much they loved being able to see everyone’s faces (despite it being somewhat more daunting and scary).

Starting the evening was sibling duo Esme Emerson. Made up of (yep, you guessed it) sister, Esme, and brother, Emerson, they started the night off on a certain vibe: acoustic, mellow and beautifully artistic. Playing originals and covers, with one song sounding awfully like Miss Phoebe Bridgers to the entire crowd’s delight, they set a high bar for fellow up-and-comer Bonnie Kemplay.

A friend of another artist I have interviewed called May Payne, Bonnie Kemplay played into the hearts of the onlooker, tuning her guitar between songs and thanking the audience after every track. A musician with a cutesy style with an edge, you couldn’t not fall in love with her persona and her vocals. Also a female electric guitarist? What’s not to love!

We can’t go without mentioning the audience. Friends and strangers alike getting along like they have everything in common. Colours, style and personalities flooded the general admission where I was lucky to be. The creativity of the musicians reflected, portrayed and adapted by the crowd was incredible to see and I felt comfortable and free. Bonnie Kemplay summed up the audience perfectly (because no one is ever this nice for no reason right?): “my mum came to the London show last night […] ‘your crowd has a certain vibe’ […] ‘yeah mum, they’re all gay'”.

As if by that, it was time for the headliner: The Japanese House. Indie-pop, 80s vibe denim and fluctuating tempos mixed with warm vocals, it could only be them. Starting the set with ‘Touching Yourself’ probably says more than you need to know about their musical discography – and by that I mean it talks about often raw topics and difficult emotions such as in this case dealing with distance and lack of physical touch.

Track 3 brought one of my favourite slightly more up-beat tracks, ‘Something has to Change’, and after seeing this performed live at Finsbury Park last year, I thought it couldn’t get any better than that. Oh but it did. Comparing the two shows is really like comparing apples and oranges, with a festival set-up for one and a more intermate setting for the other, but one thing they both have in common is how much they made my heart melt and fall in love all over again with indie music, the gig community and of course, The Japanese House.

Every song was incredible, with the next seamlessly linking from the last. The halfway point of the core setlist saw ‘You Seemed So Happy’, which may be one of my favourite drum-vocal combinations, with the rise and fall of Bain’s vocals getting the whole crowd to join in and the beats making each person dance. This continued due to the electronic influences and reverb on tracks including ‘Friends’ (which is so catchy you can’t not move to it) and ‘Chewing Cotton Wool’ (an emotionally-charged song but which works so well with this genre influence).

‘Saw you in a Dream’ of course was a certified banger – nothing much else needs to be said, it is incredible. With the core setlist ending strong with ‘Dionne’ and ‘Boyhood’ – with the latter making everyone happy-cry and in love, with Bain asking “do we have any queers out there?” and the venue consequently erupting with screams in agreement. “I could’ve been somebody else” hitting everyone right in the centre of their chests, showing how this music isn’t just musically wonderful, but that it means something.

An exquisitely constructed encore followed, with the crowd being warmed up whilst standing ‘Still’ for a new unreleased track. “This is probably my favourite song that I’ve ever written” – Bain (2024). The track is very happy go lucky in its melodies – which is apt for a song titled ‘Smiley Face’ and once again, the crowd were bopping along despite not knowing the words. I can’t wait for this track to be officially released and I feel so privileged to have been at one of the first ever shows where it was played live.

The track that is my ‘Sunshine Baby’ drew the show to a close and I couldn’t have been happier. An immense evening where I loved every second of it. I am a strong believer in live music being the best way to listen to an artist as its the way they were intended to be heard originally, and as amazing as The Japanese House are in the studio, nothing can beat a live set.

I look forward to the next time I can see The Japanese Live and bring on the ‘Smiley Face’ release. It really did feel like I saw [them] in a dream.