Last night was another of those running across London days fitting in a number of things… my problem is I don’t want to miss out and I’m glad I didn’t miss Rumer’s album showcase that’s for sure.

Arriving at Hammersmith Working Men’s Club I wasn’t sure what it would be like, it did conjure up some visuals I have to say. However, when we got inside it was a beautiful room, really nice lighting, canapes and free drinks being brought around by waiters and lots of industry people… they have that look about them, you know? What was nice about the event was there were some fans there who had won tickets, which made it more of a gig rather than a showcase.

The band were fantastic and it was nice to see one of the three backing vocalists was someone I knew. The album showcase was for the new album Boys Don’t Cry. It is a collection of lesser-known songs from the 1970s and from Rumer herself, “This is about passion, and paying respect to other people’s work. I went on a journey and this music tells that story.”

Rumer has a very soulful and elegant voice, she doesn’t put on a massive production, she lets the music and her voice do the talking and it was very tasty indeed. Performing with her she had a string quartet, horns, keys, bass, guitars, percussion, drums and three backing singers. All of those combined gave her a massive sound, it was rather good, I particularly enjoyed the blasting sax solo!

It was an intimate showcase and worth going along to. The album, Boys Don’t Cry is out at the end of May 2012.

Review by Tom Caswell
The O2 Arena 18/10/11
Photo by Clara Balzary

I can safely say that seeing the Red Hot Chili Peppers was one of the best nights of my life. Having grown up listening to the band, I couldn’t quite believe I was now actually seeing them live and it didn’t kick in until a few numbers had been played. Hairs rose on my arms and neck when the intro to Can’t Stop pounded through the 02 Arena. It hit me like a train, it was excellent.

The band began with the first track off their latest album Monarchy Of Roses which is full of familiar sounds and feels you’d instantly recognise as a RHCP song. From there they launched into Dani California before beginning the next track with a brilliant jam which turned into Can’t Stop which absolutely electrified every single member of the audience.

The crowd didn’t stop dancing through the entire show. We were treated to powerful renditions of Higher Ground, By The Way, Otherside, Throw Away Your Television and Give It Away, the latter the final song of the encore.

To end the main set, the band played Under The Bridge, Higher Ground, Californication and By The Way ending an unbelievable hour of live music. How can the encore be better than that? Let me tell you. We were treated to a 6 minute drum solo by Chad Smith followed by Around The World, Don’t Forget Me and Give It Away, which was followed by yet another jam with Flea dominating with a funky bass riff while new guitarist Josh Klinghoffer stabbed away with echo filled tones which shook the venue. You could actually feel every note being played inside of you, especially the bass. You felt part of the music.

A lot of doubt was expressed after John Frusciante quit the band a few years ago. Could they go on? Could they improve on what they’ve already done? The answer is yes and you get a sense that they’re only getting started.

Review by Tom Caswell
The Roundhouse 18/10/11

City and Colour at The Roundhouse. What can I say? It was fantastic. The building was packed long before Dallas Green took to the stage, with people talking excitingly about the fact the gig was to be recorded and released ready in time for when the encore ended. The gig was one of only three shows on the European tour to get the special live CD treatment and the band didn’t disappoint.

The opening track was straight from the latest album Little Hell and we were treated to a wide selection of songs from debut album Sometimes, follow up Bring Me Your Love and the latest outing. The latest single Weightless was one of many highlights from the first half of the show with it’s catchy guitar riffs and sublime vocals. Actually, what City and Colour tracks DON’T have sublime vocals…?

The main highlight of the gig for me was the acoustic solo section at the half way point of the set. I absolutely love his first two albums which were more acoustic guitar based compared to Little Hell, so to hear songs like Day Old Hate, Body In A Box, What Makes A Man and (my favourite song) The Girl performed this way was unbelievable and the atmosphere in the venue was out of this world. The applause seemed to be twice as loud during the acoustic section.

The band returned to power through new tracks like Fragile Bird and Sorrowing Man which already feel like they have been played live for years on end and not tracks which were only released four months ago. As the band departed for a second time, Dallas returned for the encore and played Comin’ Home and Sometimes, the former played acoustically, while the band returned one final time for an electric version of the final track from the album Sometimes. It was brilliant.

This was my second time seeing City and Colour after being at the HMV Forum in London last year, and I can’t wait to go again whenever he returns. Just like Iron & Wine, Dallas is picking up a big following here in the UK which will definitely result in future tours being planned. It was absolutely fantastic.

Review by Luke Das
KOKO 13/10/11

The ruby red hues of KOKO, Camden’s lighting sets the ambience for the acts that are to follow. Browsers in horn-rimmed glasses rifle through feather boas and bowler hats amongst the vintage clothing stands that have set up shop. Meanwhile, scratchy recordings of 1930’s big band inspire a lady in evening attire to quickstep across the dance floor to her seat. A love of music, crafts and culture are the theme of the evening.

The raggedy and bearded Pat Dam Smyth is the first performer to entertain the onlookers. By his own admission he is a busker who after ten years on the road has a suntan and a few good stories to tell. His deep Irish accent is immediately charming and easy on the ear. His delicately plucked guitar with almost psychedelic vocalisations are unusual and it is perhaps his personality that trumps his capabilities as a performer. This is followed by The Forget Me Nots an ensemble of fairground fortune-tellers that liberate alluring, swaying and tumbling melodies. Marcella Puppini draws most of the attention as the front-woman in a slinky satin dress with a voice somewhere between howling and classically trained bellowing.

A spotlight pierces across a gathering crowd and an announcer gives Gabby Young the pomp and circumstance welcoming she deserves. Adoration for fashion is apparent for all the acts tonight. Young meagrely glides onto the stage in a liquorice monochrome dress with red flowing locks and glittered brows. Her levels of exuberance never cease throughout. Yet she also displays a humbling attitude to be playing such a large venue on the back of a US tour. It is Young’s vocal strength that holds the band together. The sounds of the underground jazz brass section physically trumpet her back at times but when interest is drawn back to her, she is able to carry the music forwards. Acoustic song Honey is a chance to demonstrate her talents as a solo artist. She is evidently able to take contemporary influences such as Feist and marry them with established names such as Ella Fitzgerald. Single We’re All In This Together brings a warming, slowing and fragile pace. Its haunting guitar arpeggio with banjo chimes is a wonderful backing for this worthy soulful anthem.

At every opportunity the show shifts into a performing arts experience. Circus acrobats scale the heights of the stage at one juncture. However, a dance company doing the Charleston brings a new level of exuberance with a flurry of mint green kid gloves and bow ties that was the highlight of the evening. The routines seem spontaneous, tie in with the music and are always complementary. Smiles, waves and songs dedicated to loved ones are how Young chooses to close. And with pride her crowd responds and conveys their sentiments back to her.

Review by Calum Upton
The Roundhouse 16/07/11

A lot of people seem to go to iTunes Festival as an opportunity to hang out in the Roundhouse for a bit, or maybe it’s for the pretty lanyards. Either way not everyone seemed very excited about the music about to happen. But they would be!

The first thing I noticed was the age range of the audience, which at a free show always leads me to wonder how many are actually fans, and how many non-fans will stay to the end. I’m pleased to say the venue only seemed to get more full as the set went on. Their happiness and energy was highly infectious; it’s refreshing to see a band actually enjoying themselves and having the performance talent to pass that enjoyment onto a mixed audience. Of course the songs lend themselves perfectly to this experience, with ample opportunity for sing-alongs and hand claps!

Musically it was an impressive but relaxed performance, living up to their reputation as a great live band. The Wombats in 2011 are indie pop’s version of anarchy come of age; Northern wit and cheek intact, no songs much over 4 minutes, but a sense of musical accomplishment and ease. Similarly this year’s album The Wombats Proudly Present: This Modern Glitch hasn’t really marked a stylistic change, but a refinement of their style.

The ability to get people who clearly had very little prior knowledge of the band to stay to the end of the encore, and learn the words/sing along to the last chorus of Let’s Dance To Joy Division at the end of a long show, is surely the ultimate achievement for a live act. The proper fans (both sexes and aged anywhere between 15 and 55!) seemed pretty pleased too.

About 20 seconds after the music ended evacuation began… it was so hot in there! But nobody had realised. Truly great live performers that are definitely here to stay. Except when they’re jetting around the world on tour.

Photos: Paul Seele