The Brighton & Hove News Music Team were out in force at The Great Escape New Music Festival. We strived to cover as many new and up-and-coming artists as possible during the event, but there are far too many acts to cover in just one article, so we have split them up in date order. This article refers to artists that the Brighton & Hove News team covered only on Friday 17th May, along with the venue and planned time of the performance. Part 1 on the acts that performed on Thursday 16th May can be found HERE and Part 3 for those on Saturday 18th May can be found HERE.
This year’s event was different from previous years as there was growing opposition to one of The Great Escape’s sponsors, which led to many folk choosing to attend ‘Unofficial Escape Events’ instead. We therefore felt that it was essential for us to separate all of the ‘Unofficial Escape’ performances and to run those in different articles, which will also be appearing shortly.
In the meantime, here’s our Official Great Escape reviews for Friday 17th May….Enjoy!
FRIDAY 17th MAY:
ESSENCE MARTINS – Alphabet 12:15 – 12:45
Talented British-Nigerian North West London based musician Essence Martins kicked off my Friday at the festival, lining up on stage with her accompanying guitarist plus two vocalists who complimented her tender yet rangy vocals with perfect harmonies that made for a delightful performance. Her offering was simple songs with soft guitars, drawn from personal experiences of family, notably her sister (who was present after a spell studying in the States), friendship and love. Standout tracks were ‘Wandering Souls’ which explores thoughts about the afterlife and was written as part of her Uni studies, debut single ‘Pending Status’ which opened the set and ‘Quiet And Perfect’ which closed it, a new unreleased track. Essence’s EP was released on 23rd February and is a great introduction to her music, more of which is on the way soon she told us, including, I’m guessing, a debut album.
(Martin J Fuller)
EMILEO – Dust 12:17 – 12:37
I now swiftly make my way down to Dust in East Street to see what they have done to the place since its rebranding and primarily to see what the enigmatic Emileo has to offer. Emileo is an experimental electronic artist from Berlin whose voice recalls Björk and Aurora at its most ethereal while she effortlessly blends Eastern and Western influences. Sinéad O’Connor herself chose her for the BA Commercial Modern Music Scholarship from BIMM Dublin, where she is currently based. I mean, does an endorsement get any better than that! It would have been rude not to check out Emileo wouldn’t it! Emileo takes to the stage as a solo artist and puts down her setlist which shows just five tunes on it. I was beginning to wonder whether it would be a short set or whether the tunes would each last 6 minutes in order to fill her 30 minute set. Dust was rammed full and Emileo opened with a solo acoustic number without the use of instruments, as she simply handclapped and foot stomped whilst she sang in Spanish and then in English. You could have heard a pin drop! This was our first taste of her powerful vocals, cue big applause. She then booted up the laptop and twin Serato decks for tune two with a decent dance backbeat with Emily Nicolas and Aurora style vocals. Gaelic (I think) spoken words atop a fast skipping beat was the next offering, which was interspersed with Arabic style wailing and then the banging beat kicked in. After this by way of contrast, she straps on a guitar and we had to “imagine a red pomegranate sun going down over Marrakech”. This selection was sung in Arabic. For the final number it was back to the Serato for a slow boomin’ beat with a tune sung in Spanish. Although her material was vastly different, Emileo went down an absolute storm! Expect to hear more from this extremely talented musician!
(Nick Linazasoro)
MELLT – Fabrica 12:30 – 13:00
I’m starting Friday in Fabrica, a former church that’s now an arts centre. It’s a light and airy setting to catch Mellt, a Cardiff-based four-piece who play a rather charming sort of guitar-based slacker-rock. They sing in Welsh, a particularly mellifluous tongue for music, though my extremely limited understanding of it is drawn entirely from Super Furry Animals lyrics. Fortunately, vocalist and guitarist Glyn is happy to provide an explanation in English, and the first thing we learn is the band’s name, pronounced like “Meft”, means “lightning”. ‘Ceisio’ features chunky rhythm guitar clanging over an insistent bass throb, a catchy vocal hook and a beautifully executed wailing guitar solo. ‘Gwên Werth Mwy na Bwled’ (‘A Smile Is Worth More Than A Bullet’) is introduced as being written about refugees, a topic that seems especially poignant at present. It’s a slow steady build with an impassioned dual vocal. The two guitarists trade solos on ‘Y Dyfodol Agos’ (‘The Near Future’), with some nifty stops and pushes from the rhythm section. Set closer ‘Rebel’ is particularly catchy, with an opening figure of double stabs. I may be hallucinating, but one line of the clearly Welsh lyric sounded like “Sandinista on our stereo”. Whatever they’re saying, I thoroughly enjoyed Mellt and will be keen to check out their back catalogue.
(Richie Nice)
BOUND BY ENDOGAMY – Komedia Studio 13:15 – 13:45
I now stroll through town and make my way to the Komedia in order to have my second helping of the terrific Bound By Endogamy, who I witnessed a mere 12 hours ago up at the Green Door Store. Just like last night, the venue is at full capacity even before the duo take to the Komedia Studio stage. They somehow manage to force their way through the tightly packed punters and set up shop. I was really excited at what was about to happen and my dancing shoes were poised from the off, but my energy levels are a fraction of female vocalist Kleio Thomaïdes, who even makes Mr Motivator look like a slouch! Kleio is out front on vocals and taking care of the Elektron Octatrack MKII Sampler, which is set at the beginning of each of their blended rave, synth-punk, and industrial sounding tunes. Behind Kleio is Shlomo Balexert on the drumkit. The Geneva based duo have been on the case for 5 years now and have toured several countries in Europe. I hear that as well as live sets, they also offer their services for DJ sets and mixes for podcasts and webradios. But for me it’s live where it’s at and boy does this music make you feel that you’re alive! It’s a cross between DAF and Kleenex with a more hardcore background. The set is the same as last night and true to the squat/punk scene, they are also wearing the same clothes. Something that I hadn’t quite picked up on last night was that Kleio, who mainly sang in French, sounds a tad like Regine Fetet (RIP) from hard CORPS. This had again been a thrilling performance and they saw out their set with a slower number which afforded Kleio the time for a few ballet-style moves, prior to her dog bark style vocal delivery. They went down a storm. I would even go as far to say that this was even better than last night, and the punters here enjoyed it even more.
(Nick Linazasoro)
N’FAMADY KOUYATÉ – One Church 13:15 – 13:45
I’ve made my way to One Church to catch more Welsh acts at the Showcase Cymru. DJ Sam MacGregor, who co-hosts the weekend breakfast show on BBC Radio 1, introduces N’famady Kouyaté, originally from Guinea, now based in Cardiff. N’famady plays the balaphon, a West African gourd-resonated wooden xylophone. It looks and sounds amazing, and it’s immediately clear that the smiling young player is an absolute master of the instrument. His mallets dance across the keys in a blur, producing cascading flurries of warm, rich notes. It’s quite mesmeric to watch and listen to. There are vocals too, with lyrics that sound like they are probably traditional Guinean songs, and a backing track on a laptop. For one number N’famaday switches to an electric guitar, playing over a recorded accompaniment, and he’s incredibly adept at that instrument too, although he does manage to step on the lead and pull the jack plug out of its socket. Hopefully, next time he’ll pass it through the strap before plugging in. There’s also a change of balaphon, presumably for one in a different key. As he picks it up, I notice the replacement has “F minor” written underneath. The number is introduced as ‘Balafô Douma’, which we’re told means “It’s great to be playing balaphon”. I have to say, it’s great to be listening to it as well, and the crowd are well and truly won over by the infectious joy of this player and his music.
(Richie Nice)
EIGHTY EIGHT MILES – Dust 13:27 – 13:47
Having met at BIMM in Birmingham, five piece indie rockers Eighty Eight Miles (named after the speed the DeLorean needed to reach to time travel in the ‘Back to the Future’ trilogy) were making their Great Escape debut having announced their arrival on festival circuits last year. With an eclectic range of influences across the decades from The Beach Boys to Blossoms, they played to an absolutely rammed ‘Dust’ venue where space was at a premium, so having arrived a few minutes late, I had to settle for a space right at the back. I’m glad I persevered as this was a really enjoyable and energetic show. Highlights included ‘Diana’, their musical tribute to the late Princess Diana, ‘Sexy Song’ which is a banger and lead singer Ellie Grice’s hazy vocals drifting across their dreamy song ‘Sophie’. The standout track was a cover and If you’re going to cover a classic, you absolutely have to nail it, and they certainly did with their storming version of Fleetwood Mac’s ‘The Chain’ which was simply awesome. Festival season beckons again this summer and they’re probably not going to be found in venues of this size for much longer.
(Martin J Fuller)
BEGONIA – Green Door Store 13:30 – 13:50
Called Canada’s breakout alt-diva, Begonia has built a legion of fans online and at her legendary live shows. Her critically acclaimed discography includes ‘Lady In Mind’ EP (2017), ‘Fear’ (2019) and ‘Powder Blue’ (2023). Among her accolades, she has a JUNO nomination (2021, Adult Alternative Album of the Year), two Polaris Prize nominations, multiple No.1 songs on CBC Radio, and was named one of NPR’s Artists You Need to Know. Her sophomore album, ‘Powder Blue’ emerged in early 2023 and confronts themes of sexuality, self-discovery, acceptance and empowerment. The album was named one of CBC Music’s Best Canadian Albums of 2023 (No.7) and was shortlisted for the 2023 Polaris Music Prize. We’re welcomed with a great, filthy backing band of keys, drums and bass. It is a very tight group of musicians. Begonia, herself, is colourful, powerful and funny. She is the personification of the empowerment that features in her lyrics. What a voice! It spans all levels in its gospel, soul and rock treatment. She charms and engages the audience beautifully.
(Kairen Kemp)
AYSANABEE – Green Door Store 14:10 – 14:30
In March 2024, Aysanabee made history as the first ever Indigenous Artist to win the JUNO Awards for Alternative Album of the Year and the coveted Songwriter of the year, for Here and Now. He followed up the wins with a memorable performance on the awards broadcast with a tribute to Robbie Robertson and Gordon Lightfoot alongside other major Canadian artists. He has performed more than 200 shows on major stages and festivals and venues across Canada and globally including Ottawa Bluesfest, Osheaga, Montreal Jazzfest, Tönder Music Festival, AmericanaFest UK, Wake the Giant and many more. The ‘Here And Now’ EP tour included cross Canada tours with Dan Mangan and Allison Russell. His name in his native language means ‘the people’ and that sums up perfectly his stage presence and how he talks in between songs. He’s engaging with the audience even to the point of changing around his set in the second show somewhat to allow for the people who he recognised from an earlier performance. He is self-deprecating, making jokes against himself throughout. Aysanabee taught himself to play guitar from his brother’s Bob Marley CDs and has developed a novel style of playing including shredding on an acoustic which is what you would expect in the metal realm. His deep, throaty soul voice is astoundingly different from his gentle speaking voice. On Saturday we got an exclusive of a track, just for us, that didn’t make the latest album which made the whole audience cheer with delight. At the end of each show the venues exploded in acknowledgement of what the punters experienced, which was something unique and beautiful.
(Kairen Kemp)
JAKE VAADELAND – Jubilee Square 14:15 – 14:45
Jake Vaadeland is a self-taught multi-instrumentalist and songwriter from Saskatchewan, Canada. His traditional sound and unique style is a blend of Bluegrass and 50’s Rockabilly. Jake was joined by The Sturgeon River Boys comprising of Joel Rohs on electric guitar, Jaxon Lalonde on banjo and Stephen Williams on double bass (not a Cello, as the last person that called it that has not been seen since!). With the sun now out and it feeling warm, it was nice to duck into the Jubilee Square marquee and find out just who Jake Vaadeland was. This performance was just the tonic, Jake and the boys gave a master class in fine showmanship, taking us all back to another era. The microphones were 50s style, their outfits were of that era in crisp suits and bolo ties, hair slicked back with quiffs and the music was a pure joy to hear, fast picking on those banjo’s and guitars. The eight song set started with the fast paced ‘Fathers Son’ followed by ‘I Ain’t Going Back To Nashville’, both full on stompers. Each song was preceded by some well-rehearsed patter of corny jokes and stories including a funny Diet Pepsi skit. The applause throughout the packed marquee after each song was huge; it was all good family friendly clean fun. All four musicians showed how gifted they were with their musical talents throughout, wowing us all as they would swap over playing frets on each other’s instruments without missing a beat, not to mention Stephen standing balanced on the side of his bass whilst playing. This really was a complete departure from what I’d expected to see during the festival and I am so glad I did, it just goes to show you can find something new and different and love it. I really hope Jake returns to the UK again soon.
(Ben Jerry Robinson)
SLATE – One Church 14:15 – 14:45
I’m in One Church watching the Welsh showcase acts there. Next up are Slate, a Cardiff-based post-punk four-piece, and the venue has filled considerably in anticipation of their set. They open with an introductory number called ‘Early Morning’, a slowly building swell of effects with chimes of high guitar notes. Frontman Jack is crouched down, gently rattling a tambourine. He rises slowly to fix the audience with a wild-eyed stare, and I know we’re in for something special. Drummer Raychi launches a skittering rhythm with an Alesis trigger pad. The steady-paced throb of Lauren’s bass underpins the effects-laden lamentations of Penri’s guitar, and we’re into the majestic sweep of previous single ‘St Agatha’. Jack is a particularly engaging frontman, animated and emotional, with a shock of thick dark hair. Hi-hat and tambourine open ‘Barbarous’, a magnificent piece with brooding bass harmonics and a reverb-drenched guitar freak out, driven by a repeating motif of snappy drum rolls. Jack’s voice really soars, and I think I’ve found another new favourite band. Sustained guitar hangs over the spoken lyric of ‘Deathless’, which serves as the introduction to ‘Shade In Me’, both from a new EP, released today. Jack goes the full Jim Morrison, pulling out a notebook to read a section of poetry from, a gentle contrast to the ensuing aural assault of ‘Tabernacl’. The spellbinding set concludes with ‘Remoter Heaven’, a long piece that transitions through a variety of moods. An intense middle section sees the band really digging in, and the frontman waving his microphone stand above his head. I’ve been impressed enough by Slate to buy a vinyl copy of their record from them, notwithstanding the obvious faff of carrying it around the festival. They’re a superb band, who should do well, and I hope to see them play again before too long.
(Richie Nice)
LIZ LAWRENCE – Alphabet 15:15 – 15:45
Liz makes me feel decidedly underdressed in her smart suit and her very tidy haircut. I must remember to smarten myself up the next time I see her. However, she does very kindly hold up her setlist for me to photograph, so my comparative scruffiness clearly doesn’t worry her that much! This afternoon’s audience is somewhat unusual in that it seems to consist almost exclusively of Great Escape delegates. Perhaps this means that there’s a buzz about Liz’s forthcoming album ‘Peanuts’, which is released on 7th June. I certainly hope that’s the case, because as an artist Liz certainly warrants that level of attention. She starts her set with ‘Big Machine’, which is the new album’s opening track. Including herself she has a four piece band, comprising another guitarist, a bassist and a drummer. ‘Big Machine’ features some gloriously choppy guitar from Liz, whilst her bassist gives the song some definite ‘roll’. With so much apparent ‘industry’ interest it would have been tempting to play the new album in its entirety. Liz is having none of that though. The second song is ‘Navigator’ from 2019’s ‘Pity Party’ album. This song normally gets audiences jumping, but not today. The audience of delegates are extraordinarily attentive though, and the song gets a great reception at its conclusion. ‘I Was There’ is unfamiliar to me and comes from an EP released last year. It starts off in quite a slinky manner, but quite quickly gains some considerable power, with Liz playing some storming lead. I’d forgotten what an excellent guitarist she is. New single ‘No One’ is aired midway through the set, and is followed by another new album song ‘Strut’, which does precisely that. Liz’s stage presence reminds me oddly of David Bowie. Perhaps it’s the suit, or maybe it’s her stage moves. There’s also a very definite Talking Heads influence, especially on penultimate song ‘Babies’. The set ends with a Liz Lawrence classic ‘None Of My Friends’, another song from ‘Pity Party’. As well as next month’s album release, there are two other dates for your diary: Liz plays Brighton Komedia on 12th November, and Camden Koko on the 19th of the same month. If you’ve never seen her live before, you’re in for a real treat.
(Mark Kelly)
PYS MELYN – One Church 15:15 – 15:45
I’m in One Church, which is indeed a church, watching the Showcase Cymru. For the avoidance of any doubt, next act Pys Melyn (‘Yellow Peas’) have hung a Welsh flag on the pulpit at the back of the stage. A guitar-based four-piece from Pen Llŷn in North Wales, they play a sunny sort of lo-fi psych pop, sung in Welsh. Apparently they’ve been going for ten years, though by the look of the band members, who arrive on stage dressed for summer, they must have started young. Opening number ‘Cywiro’ jangles along at a steady pace, whilst ‘Mama-Leoni’ has a more insistent and rather appealing garage-rock feel. There’s a nice dual vocal on ‘Defaid’ and I particularly like the lolloping bass of ‘Codi Speed’. An enjoyable set concludes, after a brief false start in the wrong key, with another dreamily languid piece, ‘Bolmynydd’, the title track of an LP from last year.
(Richie Nice)
CORRIDOR – Green Door Store 15:30 – 15:50
The Canada House at the Green Door Store is now something of a Great Escape staple and I usually rock up there at some point, so on this occasion I opted to take in Montreal based ‘Corridor’, a five-piece band who’ve been together for over a decade but one who’d not appeared on my radar before until now. We were treated to a twenty minute showcase of indie alt pop-rock with a lo-fi sound, most songs taken from their current (fourth) album ‘Mimi’ released a month ago that has seen Corridor’s sound evolve using more electronic influences than fans had previously been used to. These combined with intricate guitar riffs and harmonious shoegazy bi-lingual vocals to create an enjoyable live show.
(Martin J Fuller)
LALA HAYDEN – Horatios 15:30 – 16:00
I last saw Laura ‘Lala’ Hayden in Brighton five years ago when her previous band Anteros (check out their brilliant album ‘When We Land’) played a Hidden Herd all-dayer at Patterns. With the band seemingly on hiatus, Lala is now moving forward as a solo artist, headlining The Spanish Wave showcase this afternoon at Horatios down on the pier. Taking my place at the barrier it’s clear Lala wants to give the audience a proper show, adorning the stage with flowers and changing into a wedding dress before a lengthy spoken-word intro heralds her appearance. Singing to a backing track she’s a natural performer, prowling the stage with lots of energy. After two songs the bridal train is ripped off and she rolls around the drum riser in her stockinged feet. ‘Honeymoon Suite’ is a highlight, with Lala serenading a lucky guy in the audience as she grabs his hand, as is closing song ‘Monster’ from last year’s ‘Girl Becomes’ EP. Tons of fun and with good tunes to match, I hope there’ll be a full album and tour to follow.
(Phil Newton)
TIBASKO – Fabrica 15:30 – 16:00
This trance house, electronic duo, Ken Petalcorin and Andy Bowden, performed a stonking DJ set at Glastonbury which my friend Bobby missed, but today he’s here to see his favourite band live.They were chosen by BBC Radio 1’s Pete Tong as a Future Star of 2021. TIBASKO, are effectively establishing themselves as purveyors of an epic, highly melodic electronica sound that tears off somewhere between breaks, melodic house and techno, and trance. TIBASKO are constructing the foundations for their rise within the scene. True to form, their string of singles this year have reached great heights. With a backbone of broken beats and elegantly intertwining synths, they evoke an atmosphere that delicately balances nostalgic yearning and visceral punch. Their last year has received recognitions from BBC Introducing and DJ Mag, naming them in ‘The Hot List’ of acts and ‘One’s To Watch’ late 2019 and number three in BBC Introducing’s ‘Ones To Watch 2020’ list. Their biggest highlights include: ‘Alma’ hitting one million Spotify streams released on their self-imprint Omusaré. This was their first ever live performance from Selector with Sian Eleri it went with a truly epic BANG! The sound soared up into Fabrica vaulted ceiling swirling round and enveloping the audience with sheer dance pleasure. They were so pumped and delighted at the re action to their first ever live performance that they got their name wrong at the end.
(Kairen Kemp)
LIZ LAWRENCE – Jubilee Square 17:45 – 18:15
Liz Lawrence is a British artist, multi-instrumentalist, and producer. Previously one half of pop duo Cash + David, Liz then toured the world as a singer and collaborator with her friends Bombay Bicycle Club. Having taught herself how to produce, she has been releasing the fruits of this experimental labour since 2018 with a series of double A-side single releases and in 2019 dropped her album ‘Pity Party’, an unvarnished yet defiant snapshot of her world, spawning multiple beloved singles and a sold out tour. Great band and sound mix. Liz Lawrence is a class alternative indie pop act with great stage presence and presentation, as well as looking incredibly sharp in black and white. She sounds divine and genuinely loved this joyful performance. ‘Peanuts’ the new Liz Lawrence album is coming on the 7th June. This allows her space to push back against our modern dystopia. “We are disconnecting from each other at a time when we’ve never needed connection more,” Lawrence says. “I am afraid that we’re losing physical spaces, and community spaces, and a sense of us all being together. More than ever, I think we have to rally against that loss.”
(Kairen Kemp)
EROTIC SECRETS OF POMPEII – Chalk 18:30 – 19:00
I’m not that familiar with Bristol-based art rockers Erotic Secrets Of Pompeii, though I seem to be in the minority in a packed Chalk. Frontman Thomas Hawtin is clearly the focus of attention, clad in a bright red suit with raised stitching. His dark lipstick and eye makeup remind me of Monkey, the vocalist from The Adicts, though minus the bowler hat. The other musicians, in black uniforms adorned with the band logo, thunder into opener ‘In The Cosmic Hour’. It’s a heavy sort of modern rock, synth swooshing over driving bass, thumping drums and chiming guitar. The lyrics conjure visions of the occult and esoteric, and the frontman’s performance is stunningly energetic and engaging. “I ate the ghost of Marlon Brando,” he snarls, worryingly. The band are tight as you like, transitioning from the juddering crescendo straight into the urgent riffing of the ludicrously catchy ‘Utterly Rudderless’. Staccato stabs open ‘Osiris At The Large Hadron Collider’, a song that needs a prize for the title alone, and there’s a call and response section in ‘Nemesis Please’ which gets an enthusiastic take-up from the audience. The red jacket is discarded to reveal a glistening torso. ‘Speak Medieval’, announced as new and unreleased, has doom-laden riffing hanging over its urgent rhythm, whilst ‘The Wheel, The Spade, The Stars In Motion’ is wonderfully arty and angular. Set closer ‘Rorschach Rorschach’ is thunderous and magnificent. This has been a superlative performance by an inventive and ambitious band, absolutely at the top of their game.
(Richie Nice)
UGLY – One Church 19:00 – 19:45
My intention for this year’s Great Escape was to concentrate on artists that I hadn’t seen before, but Ugly were simply too good to miss. I’d previously seen them supporting Lime Garden at Brighton Chalk, and they impressed me then. Since then they’ve self-released an EP entitled ‘Twice Around The Sun’ which truly is a thing of wonder. They open with ‘Shepherd’s Carol’ from the new EP. It has a superbly complex acoustic guitar intro. Essentially this is prog, but with absolutely no hint of the self-indulgence that can sometimes be associated with bands of that ilk. I’ve seen guitarist Sam Goater described as Ugly’s frontman, but in reality Ugly don’t really have a front-person as such. Keyboard player Jasmine Miller-Sauchella also ably handles lead vocals, the band appearing to be very much a collective with nobody necessarily actively trying to lead, at least not visibly onstage. Ugly currently appear to be popping out new songs like there’s no tomorrow. ‘Next To Die’, ‘Natcora And The Nations’ and ‘Wasteland’ (which ends the set) are all new songs, and all very impressive. There are other new songs too. It will surely soon be time for another EP, or perhaps even an album? It always surprises me when I see a band a couple of times over a short period, and they have developed so quickly! Ugly are one of those bands. Hopefully they’ll be gracing a stage somewhere near Brighton in the not too distant future.
(Mark Kelly)
HALO MAUD – Charles Street Tap 19:20 – 19:50
Little under a month had elapsed since I saw French artist Halo Maud perform at the Concorde 2 supporting Jane Weaver and she was a ‘must see’ for me at The Great Escape. Essentially, this was the same set and I’m delighted it was. All of the tracks were selected from new album ‘Celebrate’ which represented a change in musical direction from when I first saw her in 2018, offering a more expansive psychedelic and up-tempo sound. Described as an album of songs “people visit in dreams” every track played this evening offered something different, yet were bound together by distorted synths, discordant guitar and quirky bi-lingual vocals all delivered in a style Björk would definitely appreciate! The two friends I was with enjoyed her set upon hearing her music for the first time upon my recommendation. My only gripe was the volume of talking between people in this large venue away from the stage, mostly coming from near the bar area and the seats at the side and back. The talking could be heard above the music throughout. It’s really disappointing and begs the question why do people bother coming along if they don’t want to listen? It spoils the enjoyment for others and is hugely disrespectful to the performer to say the least. If this was you, please don’t buy a ticket next year – or ever again to a live music event! Rant over, Halo Maud is a charismatic character who exudes quirkiness in her brilliant shows and I hope to see her again in the UK again soon.
(Martin J Fuller)
PLATONIC SEX – Three Wise Cats 19:30 – 20:00
I’m in Three Wise Cats in Middle Street, to see Platonic Sex, a guitar-based four-piece from Brisbane who play grungy alt rock. Bridget, on lead vocals and guitar, is joined by guitarist Jane, bassist Chris and drummer Ryan. Opener ‘Disappoint Another’ moves along nicely, embellished with some particularly impressive drum fills. Introducing ‘When I Come Home I’ll Find A Hill To Die On’, Jane makes a cute quip about how a recent walk up a hill resulted in her wheezing like the penguin in ‘Toy Story’. The singing is plaintive and emotional, and the whole band are in on backing vocals. A break of growling bass and a screeching plectrum slide usher in a lively groove out. ‘Devil’s Advocate’ is introduced as being about mansplaining, and Ryan and Chris wisely decline an invitation to elaborate further. The slow and reflective ‘Hanging Out The Window’ contrasts with the rockier final section of the set. ‘Shark Teeth’ builds to a wailing solo, ‘Impress You’ has faint echoes of Nirvana, and final number ‘Melon’ rattles along at a brisk lick propelled by driving floor tom to conclude an interesting set.
(Richie Nice)
FCUKERS – The Arch 20:00 – 20:30
I get my running shoes on for a super-quick jaunt from Charles Street Tap, which is yet another venue I visit for the first time, (having just witnessed a fabulous set from Halo Maud) and fly across to The Arch (The Zap of days of old) in order to catch one of my must see festival acts in the form of New York trio Fcukers, who have only been playing a few gigs since last early autumn and have just dropped their ‘Bon Bon’ single. Fcukers consists of vocalist Shanny Wise (previously of The Shacks) and backed by producer/nightlife DJ Jackson Walker Lewis and the backbone of beats Ben Scharf and together they have a singular vision built around 90s/00s house music, tasteful trip hop, big beat, indie rock and everything in between. Tonight could possibly be their first ever performance in Europe, so no wonder the venue is filled to the rafters, with many folk queueing outside. There’s an air of anticipation for this one as the trio grace the stage and kick off with their take on Beck’s ‘Devil’s Haircut’ and the dance bangers keep coming at a fast rate of knots without a single tune outstaying its welcome, and being delivered in short megamix style sections. Although the tunes are bangin’, Shanny’s vocals are sweet in comparison and sound very contemporary. Shanny has an old style rave whistle on the go at times too, whilst her two chums take care of drums, plus bass and keys. The speakers are so powerful (says he standing right next to them) that it makes the hairs on my head tingle and I’m sure those outside for quite a distance can hear what’s going down. There’s a dance party carnival atmosphere inside and one of their latter tunes reminds me of the iconic ‘Planet Rock’. They came; they played; they conquered!
(Nick Linazasoro)
SHVVN – Paganini Ballroom 20:15 – 20:45
With influences ranging from Destiny’s Child and Brandy to Usher, Nottingham native SHVVN told us she was a little nervous after her first song on the BBC Introducing Stage, but those nerves soon settled as she dropped a soulful half hour R&B and garage masterclass. There were some great tracks including the retro sounding ‘Don’t Rush, Take Time’ , ‘I Wanna Know’ which garnered airplay on BBC Asian Network and her latest single ‘I See You’ which had everyone at the front dancing. By the end, those nerves had disappeared. SHVVN’s music is definitely up there, she has an engaging personality and deserves wider exposure if she can just gain some traction.
(Martin J Fuller)
KIIMI – Dust 21:15 – 21:45
Hailing from London, classically trained Kiimi’s musical career has taken a different direction to what one might have expected. Eschewing that training and diving headlong into the electronic music scene producing, mixing and performing in the techno and dance space. Tonight Kiimi delivered a masterclass with some absolute bangers that completely filled every corner of the small room in the compact space at Dust with the delicious deep bass literally shaking the foundations. The tracks ‘Serotonin’ and ‘Know Someone’ are a great starting point to introduce yourself to her music. As an aside, I’d like to have heard her vocals on a couple more songs as she has a fabulous voice. Coming soon to a dance tent near you!
(Martin J Fuller)
MARATHON – Prince Albert 21:30 – 22:00
Marathon are a five piece (although their website confusingly describes them as a trio) from Amsterdam. They are not to be confused with the Dutch prog band of the same name who were operational during the 1990s. This Marathon (perhaps it would be less confusing if they were to change their name to Snickers?) specialise in fast, punky music with emo influenced lyrics. They have three guitarists, a drummer and a synth player who also plays guitar too. There are those who would argue that you can’t have too many guitarists, and I can see that there’s a degree of truth in that, but a band should really have a bassist. This is something that Marathon lack. Look at Ned’s Atomic Dustbin: they had two bassists, and nobody laughed at them. Anyway, this is Marathon’s first UK show, and very good it is too. Indeed, they are an astonishingly good live band, both in terms of musicianship and showmanship. Some of their instrumental passages are surprisingly ethereal, which is a little unexpected. However, their final song (which was their first single) is incredibly bouncy and I start to feel a little concerned for the people in the bar below, as I feel that both the band and the audience may soon be joining them! Should you wish to experience the wonders of Marathon live, they play in support of Girl Scout at the Lexington in London on 28th May.
(Mark Kelly)
FAYE WEBSTER – Brighton Dome Concert Hall 21:45 – 22:45
This year’s Spotlight Show headliner is American singer-songwriter Faye Webster. It’s the first time I can remember that the Dome Concert Hall hasn’t been packed out for a TGE headline show, with vast numbers of seats remaining empty up in the Circle level. That said, she clearly has a hardcore following of young fans – some of whom were camped outside the venue all afternoon – and they duly scream every time Faye speaks to the audience or moves across the stage. Switching between guitar and keyboards throughout the set, Faye’s music is largely indie-folk styled songs with soulful vocals. After four or five songs I’m finding it all a bit repetitive and, dare I say it, drab – not helped by the muted lighting. The fans crammed at the front of the standing area are clearly in raptures, but mainstream crossover appeal seems to be tantalisingly out of reach at this moment in time.
(Phil Newton)
MODERN BIOLOGY – Unitarian Church 22:15 – 22:45
When I saw the description of this show, I just knew I had to attend out of unfettered curiosity and I’m so glad that I did. Tonight I witnessed a man ‘play’ some plants, some mushrooms and even ‘play’ a tree. Canadian musician Tarun Nayar runs currents through plants wired to synthesizers to create different sounds around nature by the careful placing of electrical sensors. Usually performed outside, it was the first time he’d performed his show in an indoor environment and I believe the Unitarian Church was the perfect place to change that, with its atmospheric lighting and expansive space to allow the energy to flow. Right at the start he mused “what would it be like to slow down and be like a plant?”, the calming vibe of this show present throughout but moreover, a gentle humour that the audience loved. He started experimenting with plant sounds during the pandemic, to quote verbatim “things go weird in a pandemic”, cue much laughter. “Anyone want to plug themselves into a mushroom?” he asked, as three intrepid audience members stepped forward and duly did so. The sounds the plants make change by location and even times of day he told us. We were asked to close our eyes and take in the sounds of nature at one point as he told us the performance was an antidote to despair. In my opinion, this show was like meditation for the soul, so calming, so relaxing, a reset of the mind. I love these gems you sometimes find at The Great Escape, completely ‘out there’ yet charming and entertaining. One or two people clearly didn’t ‘get it’ and left early, but the rapturous applause he received at the end told me most did. So ostensibly crazy, it was brilliant.
(Martin J Fuller)
BNNY – Prince Albert 22:30 – 23:00
After what felt like the longest uphill walk from the beach to The Prince Albert, I was alarmed to find a big crowd outside in a line waiting to gain entry for BNNY, luckily a few came out and we got into the tightly packed venue just in time. Bizarrely a big space was right at the front of the stage, so I didn’t hang about and grabbed it for ringside enjoyment. BNNY (pronounced Bunny) are from Chicago, USA and have been described as dream pop, 90s alt pop, soft grunge, I would definitely say if Mazzy Star or Angel Olsen are your cup of tea, then you are going to absolutely love BNNY. Bandleader Jess Viscius exclaimed as the band started up “I am dehydrated up here and shaking, it’s not fear though!”, someone shouted would you like a beer to help, to which Jess replied, “now that’s the problem” so maybe the band had been enjoying the Brighton scene throughout the day. BNNY are a four piece featuring Jess Viscius on lead guitar and vocals, her twin sister Alexa Viscius on bass guitar, Adam Schubert (Alexa’s husband) on guitar and Sarah on drums, Jess joked that she was their cousin as everyone else was related (she was not really though). It was an utterly captivating performance, zero talking in The Albert as everyone paid full attention to what was a thoroughly absorbing 10 song set. Things started out very dreamy and slower paced, with momentum building in the final few numbers at which point Adam was flinging his guitar around jamming it against the amp, at one point I thought he was accidently going to put it through The Albert window, but my word he wasn’t half getting some damn fine noise from it. Where have BNNY been all my life, they were the perfect finish to my Friday night and thankfully only 34 steps away from my accommodation, I have a feeling I’ll be ordering all of their albums this coming week, it was their first time in Brighton and I really hope they come back.
(Ben Jerry Robinson)
DARTZ – Three Wise Cats 20:30 – 21:00
Next on in Three Wise Cats are Dartz, a garage punk four-piece from Wellington, New Zealand. The story goes that vocalist Danz and guitarist Crispy created a fictitious band to apply for a local support slot when The Chats played Wellington. Shockingly, they landed the gig, and had to quickly form an actual band, with Clark on bass and Rollyz on drums, and write a set of songs. I’m glad they did because the result is brilliant, bursting with punky energy and sharp witty lyrics that address issues of varying seriousness in a hilarious way. The quality of merchandise offered by small town dealers is tackled in ‘Bush Weed’ (“says he’s got green, but it’s looking pretty brown”) and there’s tongue-in-cheek health advice in ‘Earn The Thirst’ (“the beers come second and your body comes first”). Danz is illustrating the point with a set of push-ups. ‘Paradise’ and ‘Supermarket’ cover gentrification and the cost of living crisis, and anyone with experience of the current rental market will appreciate ‘Flat Inspection’: “My landlord, he fell down the stairs during our flat inspection. He should have done all the repairs that I’ve countlessly mentioned”. The sound of the fall is replicated on the drum kit, to roars of unsympathetic laughter from the audience. The punchline is “and you can’t prove I pushed him”.‘1 Outs Captain Cook’ is about tearing down statues of colonisers, a “1 out” being the offer of a one-on-one fight. This set has been tremendous fun, with the only thing missing being a proper crazy mosh pit. That omission is rectified in some style during the closing number ‘Dangerous Day To Be A Cold One’, with guitarist and vocalist both out into the seething throng to conclude, for me, the most enjoyable half hour of the festival so far.
(Richie Nice)
PIP BLOM – TGE Beach Deep End 21:15 – 21:45
Racing down to the beach I was keen to catch one of Pip Blom’s performances this weekend having missed out on plenty of other occasions during their Brighton visits. I knew I’d needed to get in early to stand any chance of getting to the front. Thankfully I made it and took up position as the stage was being set. Pip Blom are a Dutch indie band from Amsterdam named after lead singer and guitarist Pip Blom, the rest of the band are Tender Blom on guitar and beats plus Darek Mercks on bass and keys. They currently have 3 albums already under their belt and from the sound of it another may be on the way, as Pip told us “as it was a new music festival they would only be playing new songs”. And what a set it was, I am not too familiar with their back catalogue so it would have all been new to me, but I found it much more beat heavy than I’d expected, the booming bass really was coming out of the speakers in the venue. The music style is filled with danceable beats, plenty of fuzzy guitar riffs and loads of catchy melodies, at times pushing the heavier end with the guitars, then you have Pip’s gorgeous vocals throughout over the top. There was no real gap between songs and no banter, usually I do like some chat, but I think with this set it played really well in one big danceable hit. I really enjoyed it and if this is the taste of what is to come from the band then I look forward to buying the album.
(Ben Jerry Robinson)
FOLD PAPER – Three Wise Cats 21:30 – 22:00
Next on in Three Wise Cats are Fold Paper, a post-punk art rock four-piece from Canada. Before they start, drummer Rob makes an earnest speech about genocide and corporate sponsorship of art that is well received by the crowd. Chell Osuntade is the vocalist and songwriter, his guitar and voice heavily processed through an array of effects. Bandmates Mitch and Brendan play with their backs to the audience, a simple stage trick to stand out visually. I suspect the reason this technique isn’t used more often is because it doesn’t actually look very good. Musically, there’s a lot going on, and it takes a couple of numbers to get the sound under control. I like the artily angular guitar of ‘Nothing To Report’, and the rhythmic stabs of ‘Come Down Awkward’. Busy drums and a rather striking twin guitar outro feature on ‘Medical Jargon’, and there’s a satisfying bass line underpinning the urgent thrash of ‘IH8TC’. Final number ‘Boys’ has an insistent driving rhythm, with an interesting change of tempo into the breakdown. Chell is clearly an imaginative writer and a talented guitarist, leading a band of accomplished players. I’d be interested to hear more.
(Richie Nice)
LAUREN MAYBERRY – TGE Beach (The Deep End) 22:15 – 23:00
I had arrived at the Beach site earlier on to catch the new sounding Pip Blom, plus now to witness quite possibly the one act that I was truly most excited about seeing as part of The Great Escape, namely Lauren Mayberry, who I have a soft spot for. I had discovered Scottish synth-pop trio CHVRCHES (of which Lauren is a member along with Iain Cook and Martin Doherty) on the internet when they only had 4 songs and these were brilliant works of art. I was totally absorbed into their world. Their quality of work was astonishing! They then dropped their debut single ‘The Mother We Share’ which even crept into the Top 40. I travelled up to London to see them headline at Somerset House on the hottest day of 2014 and then they played Brighton Dome in 2015 and I haven’t seen them since. Thus far they have released a quartet of Top 10 albums ‘The Bones of What You Believe’ (2013), ‘Every Open Eye’ (2015), ‘Love Is Dead’ (2018) and ‘Screen Violence’ (2021). Last July Lauren announced that she would be releasing her own solo material and this evening was my first chance to see what Lauren has to offer. I was extremely fortunate in being placed at the crowd barrier, centre front and when Lauren graced us with her presence, I was astounded by her attire, which had been relatively conservative whilst in CHVRCHES. Her dark eyes and glittered face were pulling me in and not giving me any chance to write many notes, although I knew that we were to be given 9 selections based on the setlist nearby. Lauren was on vocals and then played the keyboard (for her 2023 single ‘Are You Awake?’), whilst her two musicians took care of drums and bass guitar. Uncharacteristically, she was obliging the group of press photographers at the front with her different poses, so her LA home lifestyle is rubbing off on her. Tune four Lauren informed us was her most synthy one, this being ‘Under The Knife’. Selection six was a cover of Madonna’s ‘Like A Prayer’, which I’ve never really liked, ‘Ray Of Light’ would have been my choice! Lauren was in a jolly mood and seemed to be so much more relaxed than when I had seen her as part of CHVRCHES. Clearly, her solo (pop) work is freeing the unrecorded material she has held on to for some time, but for me it’s nowhere near as good as those first two CHVRCHES albums.
(Nick Linazasoro)
EVERYONE SAYS HI – Jubilee Square 22:30 -23:00
I’ve come to see Everyone Says Hi at Jubilee Square on the strength of their song ‘Brain Freeze’. What seemed to escape me, if not the rest of the audience, is that it’s the new band of Nick Hodgson, formerly the drummer in Kaiser Chiefs. I wouldn’t have recognised him immediately, as he now sings and plays guitar, and sports a bushy beard. There’s a slight clue he might be a pop star though, as the guitar tech actually puts his guitar on for him rather than merely handing it over, like a sort of musical valet. Nick is fronting a five-piece band, with guitar, keyboards, bass and drums. He tells us it’s their first gig, and seems quite daunted by the prospect, although they all give the impression of being seasoned professionals. They open with ‘Somebody Somewhere’, a steady-paced and reflective piece with a catchy chorus hook. It’s pleasant enough, and well executed. ‘Lucky Stars’ has a country tinge. This is the sort of thing we used to call “adult-oriented rock” back in the day, and I could easily imagine it being played on American radio. It’s certainly going down well with the crowd here. I rather like the progression of jangly guitar on ‘Holding On To Let Go’, which reminds me of R.E.M. in their heyday. Best of all is set closer ‘Brain Freeze’, a beautifully atmospheric and dreamy vocal floating over lush instrumentation and a languid shuffling groove. There’s a great solo from Ben Gordon on keyboards, that is reprised for the playout. The crowd love it, and there’s rapturous applause at the end. Nick looks pleased, and I wish him well with this new project.
(Richie Nice)
YARD – Komedia Studio 1:15am – 1:45am
It had to happen really! Having yesterday seen a band play three times in a single day for the very first time in my whole life, I’m back again in order to catch their fourth and last Brighton concert, the band in question is YARD of course! Despite it being the early hours, the venue is rammed and also has a queue of folk still outside hoping to get in to catch at least some of the set. The Komedia Studio is the smallest of the two concert rooms in the building and is an ideal place for this Dublin act to ply their wares inside a sweaty feeling joint. The setlist is exactly the same as the last three gigs, but as they are so epic, I don’t mind one bit! YARD are almost single handedly bridging the gap between techno and noise rock, their music can only be described as an intense and immersive sensory experience. If you are a fan of Chalk (the band), Scaler (fka Scalping), Nine Inch Nails, and Underworld, then YARD are for you! But don’t just take my word for it, as last November YARD played in Manchester and RGM Magazine summed up that performance thus “I honestly feel like I’ve been made privy to a very well-kept secret and that I’m now a member of an equally special community – YARD are dark, extreme, intense, beautiful and very talented. Please hunt them down by whatever means necessary – you absolutely won’t regret it.”
(Nick Linazasoro)
