Tag Archive: matt adey


408146_550765044940471_378649541_nAs Del Amitri so deftly put it, “Nothing Ever Happens” a sentiment that I hear levelled at the local music scene almost as often as I see Brian Cox on my television. Visit the usual social media haunts and you will invariably hear the metal fraternity moaning that the town hosts the same few indie bands, emerging pop acts complaining that the town is dominated by rock cover bands, the indie bands saying that the town is ruled by dance nights and acoustic players arguing that they can’t get a foot in the door as their circuit only promotes the same few acts. But is the town as locked down and staid as these voices claim. Well here is the evidence from my own personal experience over the last week.

 

On Saturday I watched Buswell, a cinematic, indie dreamscape of strings and gentle beats, swirling orchestral dynamics and reflective, poignant sentiments. With a fluid line up formed from a large pool of musicians each show is unique in that geography and availability are the deciding factors behind who plays each show and even so the band are faultless. The same night I saw The Last Box of Sparklers, Nordic indie pop that seemed built purely on atmospheres and space rather than the music and words and more mainstream but no less impressive acoustic deliveries from Matt Adey. On the way home a few hangers on and itinerant musicians who had nothing better to do ended up at Level 3 and found themselves in the midst of a raging and effortlessly cool Afro-funk night which had drawn a crowd as big as anything from the clubs alternative rose tinted heyday that everyone seems to be in such an effort to try to recreate.

 

Wednesday found me watching two acoustic players who don’t seem to be part of the “go to” acoustic set, the quiet, late night jazz vibe of Mel Hughes and contrastingly the soaring agit-folk of Coasters front man Si Hall.

 

And then last night something truly awesome happened. The Victoria played host to three acts that had to be seen to be believed. GagReflex kicked things off, a two-piece punk leviathan in the 2 Sick Monkeys mould, all solid beats and bass lines that could get paid work in the demolition industry. Their by-line quote sums it all up eloquently, “small enough to fit in a car, big enough to take your face off” Well, quite. Blindman’s Bastion followed with a bluesier, Black Keys take on things before the main event, The St. Pierre Snake Invasion. In a whirlwind delivery of white noise guitars and buzz saw riffs, screaming, visceral vocals and more energy, strut, attitude and showmanship than you could ever need, they proceeded to blow the night and almost the building wide open. A recent review summed up the shock and awe tactics of the band in the following succinct line … “what the hell just happened there?” Don’t ask me I’m as bewildered and brusied as the next man but in a world that overuses the word awesome to a blatant degree, this band truly deserve that description.

 

So nothing ever happens in Swindon. Nothing original, diverse or truly entertaining. I would suggest the opposite is true; you just have to make a bit of an effort. The only thing I will say is that what sort of town do we live in where a Nirvana tribute band can fill a room based on the bands place in rock history yet put on a band such as The St. Pierre Snake Invasion, a band in many ways a natural successor in energy and attitude to Nirvana, a band writing their own chapter in the book of rock history and 25 people turn up. I say make an effort and you will be rewarded tenfold. Or you could sit at home on-line and post Facebook banners about how we should all support live music! That will really make a difference.

10622848_701261516623318_3187721206277794022_nI suppose that I have to accept that the public perception of me is someone who spends all of his time bemoaning the state of original music in the town, stopping only briefly to sleep, eat cheese and play the B-sides of rare New Model Army records I have collected over the years. Whilst that is sadly not that far from the truth, it does mean that I am thrilled to notice that this weeks gig offers are almost exclusively original music and even the few tributes on offer appear to be something a bit off the beaten track. It may not please everyone but it does make at least one aging, music hack very happy.

 

Billy Bingham has been a familiar, unkempt face on the acoustic circuit for longer than his boyish looks would suggest, now he can be found fronting the dystopian rock soundscapers Ghost of Machines (pictured) who headline at The Victoria tonight. Support comes from Brit-pop two-piece Carnival and guitarist Edward Witcomb.

 

If something more dance driven is your preference then the Zetan Spore mother ship will be landing once more at The Beehive. A truly psychedelic, full on psytrance rave mixing electronica and guitars, tribal dance and the sounds of deep space to deliver an energetic even euphoric experience. A more traditional sound comes in the form of the Crowdys Hill School Ceilidh at The Moonrakers. As a school fundraiser this dance features The Cowshed Ceilidh Collective complete with live caller, so put on your dancing trousers and prepare to Strip The Willow or get stuck into a Dashing White Sergeant (steady on!)

 

Friday is one for the folk and acoustic types with plenty of contemporary sounds on offer and not a Fair Isle sweater or finger in the ear singing style to be found. Promoting his latest album, Human Herdings, Marc O’Reilly can be found at The Victoria blending fragile folk and emotive blues reminiscent of the likes of John Martyn or Bon Iver and with a string of major festivals and the weight of the national radio tastemakers behind him, this is obviously going to be a bit special. However, not to be outdone, Riffs Bar Acoustic Session has a bit of a coup in Darren Hodge. I first saw Darren as a semi finalist at the Radio 2 Young Folk Awards and when you experience his mesmerising blend of old time blues, bluegrass picking, vibrant jazz and folk you will realise that this is a chap with a bright future ahead. Support comes from fellow acoustic troubadour Sophie Curtis.

 

If that wasn’t enough a bonafide musical legend rolls into town as Steeleye Span’s legendary fiddle player Peter Knight leads his new musical vehicle, Gigspanner, through acoustic music that flirts with everything from eastern European, French, Cajun, African and even Aboriginal sounds. This is roots music, world music, global folk…call it what you will, at its finest.

 

Another emerging singer songwriter can be found at The Beehive. Robert Brown is a collector of world music styles with which he infuses his brilliant song crafting and virtuoso finger picking style, the result a cross between Nick Drake and Jimmy Page with a well stamped passport. More established sounds can be found in the inimitable electric blues selections of The Mike Hoddinott Blues Allstars at The Rolleston and Talon, a tribute to The Eagles at The Wyvern Theatre. Also of note you can catch ska covers and originals with the No-Marks at The Castle.

 

On Saturday Buswell will be subjecting The Victoria to it’s lush orchestral pop and given the recent self-imposed challenges of their erstwhile leader, expect there to be an element of surprise and spontaneity in the bands line up. Support comes from ex-Flaming Moes frontman Erik Nyberg now trading in mellow Nordic-indie pop as Last Box of Sparklers, guitarist Matt Adey and DJ Bobby The Persuader spinning tunes into the early hours.

 

At The GW, Jimmy Moore will be playing a show to launch his debut album The Good Times, so if a cross between The City and The Colour and Frank Turner sound like your thing, this is the party to be at plus there is a chance to pick up a limited special edition version of the album.

 

The rest of the week very briefly. Sunday at Riffs a host of artists, including Emmy Fearon, Josh Heather and Young Wilson line up to raise money for Children in Need, and The Swamp Marshalls play Celtic bluegrass at The Beehive.

 

Finally Songs of Praise Unplugged at The Roaring Donkey features the soaring acoustic punk of Si Hall and the more considered and delicate tones of Mel Hughes.