1,368 BOO RADLEYS, KEELEY, Bristol Exchange, Wednesday 12th February 2025

I have a very fond memory from my 30^th birthday, of hurling myself into a Portuguese villa swimming pool to the stereo accompaniment of the Boo Radleys’ newly-released single “Wake Up Boo!” Ah, that Summer… that track, and the subsequent “Wake Up!” album completed an about-turn for me with the Boos, from a less than favourable first impression, and I subsequently caught them 3 times “live” that year, as the ubiquitous “Wake Up Boo!” became The Tune That Ate Daytime Radio, and a proper millstone around the band’s neck. Nonetheless, “Wake Up!” itself is a clear, varied and melodic collection of 60’s turned 90’s Beatles-esque pop which, despite lacking the widescreen majesty of its’ predecessor “Giant Steps”, still sounds fresh today, unlike a lot of other stuff from that era (the totally wrong Beatles-referencing band went massive in the 90’s, as far as I’m concerned!). So, a tour from the recently ¾-reformed Boos celebrating that, plus the murkier and more difficult psych-pop follow-up “C’mon Kids”? OK then! 

Another reason for coming along was the addition of Bristol-domiciled shoegaze and indie student Keeley and her ubiquitous band to the bill (and indeed the whole tour!), the Keelster making an early bid for my most-seen artist of 2025, with 3 gigs already this nascent gigging year! So, an early departure was called for, following some offspring persuasion with Rach still in hospital (the price of a kebab was all it took!), and I barrelled down the M4, hitting slow traffic on the way into the city but parking opposite the Exchange just after 10 past 7. No need for such an early start, though, as Keeley were still soundchecking! Grabbed a front spot, house left, when doors eventually opened, and greeted Keeley and the boys on their way to the stage for their 7.55 start. Straight into the psych riffery of opener “Last Words” and the tough, plangent intro and intricate fretwork of “Inga Hauser” and it was evident that the extra sound checking was time well spent, as they sounded splendid and easily the best of the recent 3 shows; full, strident and purposeful, with Keeley’s low, resonant vocals again leading the charge. A quartet of new numbers formed the mid-set, “Crossing Lands” possibly my favourite tonight with its pacey, bass-driven gallop, but the thoroughly absorbing metronomic thrill-ride of “Trans Europe 18”, happily restored to the set tonight, was again my highlight. “Who was here for Desperate Journalist?” enquired bassist Lukey, playfully following up with, “what did you think of the first band?” Pretty good, Lukey mate, but much better tonight! 

Chatted with fellow front row punters Gaye and Eddie, Eddie confessing “C’mon Kids” was his favourite Boos album! So, he was buoyed when the set-lists went down onstage, tonight’s entertainment promising a scattergun selection between that and “Wake Up!”, rather than a formal start-to-finish run-through. However, and opposite to Keeley, the Boos initially struggled with the sound mix; very bass and drum dominated from my spot, and needing more of Louis’ guitar and Sice’s pure choirboy vocals, with openers “C’mon Kids” and “It’s Lulu” sadly lacking a bit of punch for me. Didn’t stop me dancing along though, and, happily, the sound improved when Sice resorted to his acoustic guitar for the languid change-of-pace “Melodies For The Deaf”. By then, they’d already dispensed with “Wake Up Boo!” and Sice had again proven an entertaining, laconic frontman, bantering with a couple of (rather annoying actually) Everton fans about tonight’s Mersey derby, and dissing the singing bush on “The Masked Singer” for demolishing the aforementioned “Wake Up Boo!”

Despite my usual preference for more upbeat numbers, The Boo Radleys tonight were better with the sound down, the hushed and plaintive “Reaching Out From Here” a prime example of this, with drummer Rob Ceika applying delicate brush strokes rather than big bashes. Sice observed, ““C’mon Kids” was a great album but a bitch to pick singles from!” before a rather lovely “Everything Is Sorrow”; “Joel” was also a mid-set highlight, its pastoral opening ceding into a libidinous psych-groove; and “Ride The Tiger” an understated delight, with a “Man Who Sold The World” opening riff leading into a loose-limbed, almost tribal vibe. But tonight’s highlight was reserved for last; after the gregarious and personable Sice thanked all and sundry, set closer “Stuck On Amber”, the more melancholic and introspective outlier on the otherwise buoyant “Wake Up!” album, was conversely the best and most euphoric and joyous sounding number of the night, the final crescendo bringing an improving set to a quite excellent conclusion.

An easy list and farewell to Eddie, before a chat with the Keeley folks at the merch stand preceded a difficult run out of Bristol, the bottom half of the M32 shut again. Bah! Still, the kids were fine, kebabs duly despatched, so a successful night all round. Boo Radleys (and Keeley)…C‘mon Up!

1,367 DU BLONDE, BIGFATBIG, Bristol Thekla, Sunday 2nd February 2025

I’ve been waiting awhile for this one… Sunderland indie powerpop duo Bigfatbig announced themselves in a huge way onto my Gig Radar back in November 2022, an utterly stellar and ebullient set on the undercard of fellow North-Easterners Martha signalling their arrival. Since then, I’d been scouring the gig guides (metaphorically speaking these days, of course) for more BFB shows “down South”, but, aside from a brief tour calling in Oxford last Autumn, on a night where I already had a double-gig clash (!), opportunities were scarce, until their announcement as tour support of Du Blonde, the current musical incarnation of multimedia artist Beth Jeans Houghton. I know very little of Mx. Houghton, so this was a case of Du Who? for me… I’m there to support the support, and if the headliner is any good as well, then that’s a bonus!

A swift and easy drive down got me parked and queued up just before 7, in time to ask a passing Robyn, BFB’s charming vocalist, what their stage time was. The reply confused me a little; “about 10 past 8, and then 9!” but all would be revealed… grabbed a spot down the front, house left, and chatted to fellow punters Ian and Hilly, who were as up for the headliners as I was for the support! Recent gig friend Jeremy arrived and joined in the chat, before Robyn, guitarist oppo Katie, and their touring rhythm section hit the stage. And hit it hard! Opener, “ Reason Season Lifetime” from their excellent 2024 “Rippin’ It” EP, set the tone for the set, a soaring and upbeat indie banger with a choral hook big enough to land a whale with, and a mid-song acceleration over a secondary hook, delivered with effervescence, ebullience and charisma to throw away by Robyn, already high kicking and stomping away for all she was worth. The in-your-face punky snark of “Shut Up” followed the gregarious Robyn announcing, “this is the show we were most looking forward to!” also informing us that The Thekla itself was once moored in Sunderland, “so we’ve got a connection!”

Bigfatbig aren’t about reinventing the wheel or pushing the boundaries of rock; it’s standard upbeat buoyant indie-pop fayre with a powerpoppy rush overlaid for good measure, but their 2 key strong differentiating factors are the ridiculously infectious earworm nature of their often huge, repetitive choruses, and without doubt, the sheer gleeful enthusiasm with which they approach their task. Simply put, they’re having an absolute ball onstage, compelling you to do the same thing! “Fine”, my favourite off that “Rippin It” EP, was just brilliant, the slight melancholy air of the verse blown away by the huge dynamism of the choral hook, and “Nothing” (“about not going to work, as it’s just fucking boring!”) preceded Robyn also introducing their touring bassist as a last-minute replacement, the usual twanger not being able to get time off work (“that’s the least punk rock thing ever!” according to Robyn). The dark, frantic, almost emo choral hook of “Inbetween” preceded the band promising to be back very soon, before the huge beetle-crushing grungy stomper of “Don’t Wanna Be Sad” rounded off a breathless and rather superb set. If they’re back soon, then so am I! 

It became a little more crowded down the front, but I held my spot, as the reason for Robyn giving their stage times as “8… and 9!” (and promising to hang out at the merch after Du Blonde’s set) became clear… The Du Blonde “live” line-up were Bigfatbig, plus an additional curly, shock-haired red leathered guitarist who immediately gave me serious Poison Ivy Rorschach (Cramps) vibes, plus of course Du Blonde themselves, who was a pony-tailed, weirdly made-up and strutting figure with a husky, low register vocal and, despite not possessing the sheer unadulterated chutzpah of their support act, still an engaging performer. Opener “Perfect” was a moody, mid-paced Weezeresque emo number, with an early “Dollar Coffee” a more upbeat slab of chunky powerpop and “Solitary Individual” a rather fine and flippant Blondie/ Kim Wilde new wave track. A mid-set acoustic break then featured a rather lovely actually slow-burn break-up song, and a Torres-like parched Americana number with a mid-song hiccup which nonetheless didn’t faze the confident singer. 

The descending guitar line of the punkish “Blame” saw the band return, then “Ducky Daffy” was a snappy “Buddy Holly”-alike, again mining that Weezer seam, before some slower burn numbers to round things off, the plaintive and insular yet anthemic “Metal Detector” a lighters-aloft best-of-set for me. Beth left us with an odd analogy (“this boat is like the Guardians Of The Galaxy; we’re all in it together!”) and a stompy powerpop closer “TV Star”, to end a better-than-expected set from an odd yet intriguing talent. I then grabbed a chat and pic with Robyn and Katie at the merch stand afterwards, before bidding farewell to Jeremy and heading back to the ‘don for 11. Overall, a splendidly fun night from a couple of fine acts, but Bigfatbig won the day for me by some distance. Well worth the wait, and hopefully the first of many!

1,366 MIKI BERENYI TRIO, Shoun Shoun, KEELEY, Bristol Golden Lion, Thursday 30th January 2025

 

A fine double-header for me, this, albeit one which took a late call to get me to… I’d already booked tix for the April CD release show at Rough Trade for “My Shoegaze Queen”, Miki Berenyi, formerly of late 80’s jagged Muses acolytes turned 90’s shimmering pioneers and proponents of the aforementioned genre, Lush, having been intrigued and entertained both by previous sightings of her new Trio, plus the first single from said new CD, the bubbling cauldron of “8^th Deadly Sin”. Plus I’d of course seen striking Irish chanteuse Keeley Moss’ eponymous pretenders to said Shoegaze throne last time out with Desperate Journalist, and will be doing so again next month on the Boo Radleys tour! However, old gig buddy Beef texted me asking if I was up for it, so I thought, slow January, good night out pretty much guaranteed, why the heck not?! 

A slight spanner was thrown in the works with Rachel’s brief hospitalisation to fight a lung infection, however the promise of a Chinese takeaway quelled any objections from my kids, so Beef picked me up at 5.45 for a trip up Bristol’s Gloucester Road for the first time since the 80’s Tropic days (!), to a new (to me) yet old-school pub back-room venue. Compact and bijou, this; no wonder it sold out! Wouldn’t take much! Keeley’s affable bassist Lukey wandered through for a chat, then we grabbed some words with Miki on the merch stand, as well as the Keelster, plus Guy, a fellow punter who claimed to have read a lot of my blog! Nice! Eventually headed into the already well-packed venue, squirming into a spot near the front for Keeley, on at 8.15. Apparently, tech issues had prompted a late rejig to the planned set, and certainly Keeley’s usually rich, strident and determined vocals were lower in the mix than at The Exchange (Keeley asking for more mic reverb), but the sound was generally good for a small, packed and sweaty back room. The dramatic sweep of “Inga Hauser” opened, with newie “Trains And Daydreams” a hazier 60’s jangle and the excellent “Hungry For The Prize” a more overt hooky number with some strident glam guitar. The penultimate “Arrive Alive” was my set highlight, a soaring indie banger with a late 80’s Popguns feel, before the slow burn intro of the rarely played “Echo Everywhere” built to a lugubrious and absorbing reverb/ feedback-drenched outro to close out a brief, slightly different but still intriguing set from Keeley and the boys.

A brief chat with Keeley plus her friend Una, who’d travelled from Cork for the gig. Beats our little shlep down the M4 from the ‘don, hands down! Shoehorned my way back in for Shoun Shoun, next up; I recalled quite enjoying them before (gig 1,205), and initially some eerie, pseudo Gothy stripped back stuff and angular rhythm changes, recalling Siouxsie and Polly Jean’s early works, held my attention. However, a distinct lack of discernible tuneage, some violin-related tech issues, the stuffiness of the venue and the general craziness of my day (I’d had a gym PT session as well as being up the hospital with Rach) saw me head back to the bar for sanctuary. The sound eventually got sorted out for Shoun Shoun, but by then they’d lost their momentum for me, so out I stayed. Not their day today. Overlong, too… 

Beef eventually emerged for a breather, and we then wandered back in for Miki and her troops just after 10, unfortunately having to make do with a spot near the back as the place was so packed. She opened with a tale of woe, their booking agency having gone into liquidation owing them a shedload for gigs, but thanked the crowd, “for coming and buying merch” before fulsome, New Order-esque and drum-machine propelled opener “Hurricane”, followed by the touching gossamer weave of Lush oldie “For Love”, Miki’s high register vocals leading the way over a fine-sounding layered mix. The slower, more elegiac “Vertigo” was an early highlight, and the angular rhythms of newie “Gango” was overlaid with some strident jagged guitar riffs. “8^th Deadly Sin” continued it’s pulsating promise, however by then I was feeling very tired and the new material was weaving a hazy, comforting yet soporific blanket of sound around me, which coupled with the heat in the room and rigours of my day left me feeling a bit faint, so I took refuge in the bar and a chat with/ vent to a sympathetic ear belonging to esteemed Keeley drummer Andrew Paresi. Wandered back in for early Lush classic, the angular and dissonant “Baby Talk”, plus an unplanned and slightly drum-machine submerged yet welcome snarky Britpop-era “Ladykillers”, because, “you’re all fucking great!” according to our Shoegaze Queen. The feeling’ mutual, Miki, shame I couldn’t do the set full justice tonight…

Quick farewells with Keeley and her boys before we hit the road, back just after midnight after an easy run home. A slight trial of endurance for me then, this one, but despite needing to take a couple of breaks, I’m glad I squeezed this one in. Hopefully though, I’ll pay more attention to both Keeley and Miki next time!

1,365 DESPERATE JOURNALIST, Keeley, Bristol Exchange, Wednesday 15th January 2025

 

Not mine! thanks to gig buddy Julian for the pic..

Another gigging year kicks off, with familiar faces for the 9^th time of asking in goth-tinged post-punkers Desperate Journalist! Family issues had precluded my attending their Jericho Tavern one-off last October, but by then we’d already booked for this, the opening night of the tour promoting new, 5^th album “No Hero”. Another worthy addition to a pretty stellar canon, this, albeit a bit harder work initially, denser and more brooding at first listen with increased usage of textural keyboard embellishments and off-kilter rhythms, the real songcraft nonetheless shining through with repeated listens. Just as you’d expect really, from pretty much the consistently best band these shores have had to offer over the last decade or so!

Stu’s turn to drive for this one, so he picked me up about 6.15 with Andy already in situ (Mr. Fenton being a late replacement for the sadly poorly Mrs. L), then a foggy drive down saw us grind to a halt for 20 minutes at J19 thanks to a (doubtless fog-induced) prang, getting us parked in the loading bay space opposite the venue for 7.30! Yikes! However, still in good time to grab a central spot a couple of rows back for the support. And a proper bonus biscuit too, this one, as recent finds Keeley were our openers; yay! So, tall and striking vocalist (and, apparently, Bristol domiciled, as, “it’s my favourite city in the world!”) Keeley Moss led her troops on at 8, moody opener “Last Words” setting the tone for the set, inasmuch as the more layered textural shoegazey guitar effects on record were largely eschewed in the stage mix, a slight bit of echo the only overlay for Keeley to properly go to town on those intricate and undulating riffs. And so she did, her sterling fretwork, determined strident vocals and expansive Townsend-esque whirling arm gestures driving the performance along; didn’t hear a bum note all set! “Forever Froze”’s squalling intro tumbled into a Britpoppy bounce and glam-Bowie riffery; two new numbers (again referencing Keeley’s muse, murdered backpacker Inga Hauser) impressed, particularly the later “Hungry For The Prize”; and after ebullient bassist Lukey plugged their merch (“we’ll peddle our wares out there; just the sartorial and sonic kind!”), the absorbing and metronomic closer “Trans Europe 18” closed out a fine set from an increasing fave of mine.

Caught up with Matt, who’d been delayed by the fog and arrived as Keeley kicked off, then I grabbed a chat with Keeley and Lukey on the merch stand, both happily remembering me from “Shiiine On” last year, before I retook my spot in an increasingly busy front few rows. Desperate Journalist themselves were on in short order at 9, again to the industrial beat of Simple Minds’ “Theme For Great Cities”, the taped gentle drumbeat intro of new album opener “Adah” properly launching into its slightly Eastern-tinged swirling air of mystery and menace, once drummer Caz joined in with her economical yet strident style, However this initially brooding mood was well and truly skewered with a bullish and swaggering “Why Are You So Boring”, vocalist Jo already delivering the lead with forceful and impassioned authority. 

“Can I get a bit less of myself in the mix?” asked Jo after a resonant, haunting “Hollow”, deadpanning, “the ego is fragile,” before then delivering a quite astonishing vocal performance for the galloping “No Hero”, particularly the soaring choral line, thereafter asking for more of herself in the mix! The bubbling “7” was another mid-set highlight, the off-kilter rhythm ceding to a huge chorus, then “Cedars” actually got an intro from the hitherto taciturn Jo. A bit of banter then ensued (Jo asking, “it’s Wednesday, what’s it like for you?”, some wag down the front – OK, me – replying, “great, we’re seeing Desperate Journalist!” eliciting a, “right answer!” response from the singer) prior to a lengthy and meandering “Everything You Wanted”. The comment of, “stay tuned for more existential despair,” served as intro to newie “Unsympathetic”, the “live” rendition adding more bite for me, then a widescreen and affecting “Be Kind” my highlight of the night, a swaggering if sloppy “Personality Girlfriend” rounding off an as-ever swift 1 hour 15 set.

“I thought I heard someone say, enough of this macabre charade!” announced Jo, before a 3-song encore culminating in indie banger “Satellite” ended matters. Another great performance from DJ; not their best by any means, some first night bum notes prevalent, and again it felt on occasion that the band were playing within themselves, easing into the tour. But when you set your standards so high, even an average DJ gig knocks spots off most everyone else! Struck out on the list this time – I’m not about to climb onstage uninvited, that’s not how it’s done – then bade farewell to Matt and hit the road after another quick chat with Keeley and Lukey, roadworks delaying our exit from Brizzle onto the still-pea souper-clad M4. Maybe not at their absolute stellar best tonight, but any Desperate Journalist gig is still a great way to kick off the year!