Fran Healy, Travis at The Forum, Kentish Town, London (Andy Sampson)

I think its fair to say that Fran Healy likes a guitar; I wasn’t counting but it did appear that the Travis lead singer pretty much swapped guitars every song through tonight’s performance. This is in no way a criticism, but it does demonstrate that the bands trusted reliance on a variety of stringed instruments to create their jangly breezy hooks shows no sign of abating, a fact that will have probably delighted most of tonight’s audience. And given the reaction they got, I don’t blame them for sticking with it. Whether it’s the older classics like Driftwood, or the current singalong single, Magnificent Times, a Travis concert seems to have the power to uplift and induce a euphoric state in the room that’s hard to ignore.

Travis raising the roof at The Forum, Kentish Town, London (Andy Sampson)

That said, it wasn’t all plain sailing, opening as it did with a cinema-esque showing of videos from their latest album. It started well with plenty of laughs and singing from those that knew the lyrics, but by the fifth or sixth video they were starting to get a little restless and when the band finally did come on, I think we were all rather relieved.

Travis raising the roof at The Forum, Kentish Town, London (Andy Sampson)

However, this was the only blip in an otherwise uplifting evening and as they launched into the opener from the new album What Will Come (complete with a high-rise backdrop mimicking the albums artwork) there was a wave of affection for the band that was quite palpable.   From then on it was an evening of both new and old songs mixed together in a really strong and seamless set, and it’s a mark of the strength of the new material such as the more raucous Radio Song, and 3 Miles High, that they held their own against some of the well known material.

Travis raising the roof at The Forum, Kentish Town, London (Andy Sampson)

Given they’ve been around the patch, Travis clearly know how to seize the moment, and there was a definite notching up about 6 songs in tonight as they moved seamlessly from new track Animals into the monster worldwide hit Driftwood. Whether it was an intentional attention grabber who knows, but suddenly the crowd made the jump from happy to euphoric and the rest of the evening was a doddle for the band.

Older tracks such as Writing to Reach You and my all time favourite of theirs, Side were all given the sing-along treatment and there was also a nice mid-set opportunity for Fran to duet with Josephine Oniyama for one of the quieter new tracks Idlewild. High spot for the lucky few in the standing section was definitely the rendition of Where You Stand, a track taken from the 2013 album of the same name, during which Fran made his way into the crowd, eventually being lifted onto someone’s shoulders to complete the rest of the song from there. It was a proper “record this on your phone” moment for many, and also conveniently distracted people from the setting up of guitarist Andy Dunlop’s banjo for the next track, Sing.

Travis raising the roof at The Forum, Kentish Town, London (Andy Sampson)

Needless to say this had the whole of the Forum in full voice, which continued for much of the rest of the set especially on 3 Miles High and the anthemic closer Turn. An encore was obligatory (given they hadn’t yet played THAT song), but it was generous 4 song extension which included Flowers in the Window, Magnificent Times , complete with dancing, and of course the Glastonbury anthem, Why Does It Always Rain on Me.

Travis raising the roof at The Forum, Kentish Town, London (Andy Sampson)

So at the end of the evening I’m left wondering. Not about Travis’s music, but the attitude of some in the music press who have an obsession with bands having to move on and re-invent themselves in order to remain credible and get their stamp of approval. What I saw tonight was a band who delivered exactly what the crowd wanted in spades, and whilst the new material was in there, the whole set was glued together in a classic “put your arms around someone you’ve never met and sing along” sort of way. I saw portly 40 year olds, singing next to 20 year olds and a venue of people all with smiles on their faces.

Travis raising the roof at The Forum, Kentish Town, London (Andy Sampson)

For me, change is fine if you’re uncertain of your place in the world, but when you can still deliver the classic indie singalong and generate that sort of feeling, I am happy that Travis stay just where they are.

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Live review and photographs of Travis @ The Forum Kentish Town by Andy Sampson on 9^th May

Andy also has his own site here : www.soundritualphotos.co.uk

DIIV live at Heaven in London. (Andy Sampson)

“Thanks for writing our setlist tonight”.  Such is the introduction to DIIV’s final song tonight night from their enigmatic frontman Zachary Cole Smith, and having spent the second part of tonight’s set watching from the mixing desk, this complete lack of a setlist is a fact backed up by the engineers.  A slightly risky strategy given half of tonight’s songs are from their freshly released album Is the Is Are, but one that actually worked supremely well.  And it certainly went down well with the fans who got to request their favourite back catalogue songs, even if they didn’t always get played.

DIIV live at Heaven in London. (Andy Sampson)

Given its been nearly 4 years since new material from the Brooklyn based band, its no surprise that tonight is a sell-out, and the room is packed out by loyal fans well before the support have finished.  As soon as they launch into the opening chords of Druun PtII from 2012’s Oshin theres a big party going on, and clearly the band relish the attention, even embracing the inflatable alien that gets thrown onstage during the second song, the title track from the new album.  From then on the set veers left and right between new and old tracks and is a either a glorious reliving of late 90’s shoegazing, or the second coming of a great new band, depending on your age.

DIIV live at Heaven in London. (Andy Sampson)

Acoustically the one thing that’s noticeable is the less poppy soundscape to their live show, with much more emphasis on phased screeching guitars and a less structured feel (especially when they get the intro wrong, which they did on a couple of occasions).  It’s a sound that’s quite reminiscent of old school Cocteu Twins or The Cure, with the constantly changing and slightly out of focus backdrop adding to the zoned out feel.

DIIV live at Heaven in London. (Andy Sampson)

Standout tracks from the new album such as Under the Sun and Mire really lend themselves to this live environment, and it’s the lighter songs such as Dopamine that don’t feel quite so at home for me.  And whilst Zachary is an admirable frontman, he doesn’t always need to command the limelight, with front of stage often being left free for the antics of guitarist Andrew Bailey who encourages the moshing, and gives a proper energy to the performance.

DIIV live at Heaven in London. (Andy Sampson)

As the set progresses things become increasingly freeform with requests being taken from the floor for what to play next.  Top of the risky tracks list is Earthboy from Oshin, which Zachary admits to have only ever played live twice, and new track Waste of Breath who’s start is a little shaky, but which develops into a wonderful screeching guitar based track, only surpassed by the wonderful final track Doused.  For me, this sums up everything that’s good about DIIV.  Yes they’re not always flawless live, but the combination of unpredictability and the glorious soundscape they create is something that would see me going back to see them night after night.

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DIIV at Heaven, London on March 18^th 2016. Photography & Live Review by Andy Sampson

Andy has his own personal website here with some more concert photography on show www.soundritualphotos.co.uk

London based Paves ripping it up with their wah-wah guitars to the basement of the Pipeline

Despite only being a stone’s throw from some serious city money, walking into the Pipeline is like walking into your favourite student bar.  Upstairs there’s pool tables and pinball, but in the downstairs cellar there’s a seriously good music space complete with punk graffiti and cheap beer.  So a pretty perfect venue for a new band coming to try out a short set of new songs and after tonight I’m sure Paves fanbase is going to grow.

London based Paves ripping it up with their wah-wah guitars to the basement of the Pipeline (Andy Sampson)

Although they’ve been through a few name changes in the last year, Paves now seem to be established as a proper 4-piece rock outfit, which has seen them being voted Cultured Vultures best new band of 2015, and a tour through April and May that will see them visit Bristol, Birmingham and Sheffield to name but a few…..

London based Paves ripping it up with their wah-wah guitars to the basement of the Pipeline (Andy Sampson)

…and before they even play a chord, its clear they’ve got a great look about them.  They’re led by Luke Shield who combines vocals with rhythm guitar, and most noticeably the best hat in music since JK from Jamiroquoi, and he’s backed up by Perry Read who’s invested his cash on a vivid peppermint coloured bass.

London based Paves ripping it up with their wah-wah guitars to the basement of the Pipeline (Andy Sampson)

Launching into their opening song, I see you, its clear to see where they’ve drawn inspiration from, with hints at the Stones and the Doors all wrapped up in more swaggery blues package that’s right up to date.  Although the focus tends to be drawn towards Luke, for me it was Mike Whitakers guitar breaks that really got my attention especially as the set progressed and the band became noticeably more relaxed.

London based Paves ripping it up with their wah-wah guitars to the basement of the Pipeline (Andy Sampson)

Tracks like I need myself a woman and I’ve got a feeling (my baby won’t let me go) have both got some great hooks and lyrics to them and were justifiably popular with the crowd as they allude to unfulfilled desires and slightly scary girlfriends,. And when he wasn’t at the front, Luke whirls around towards the back of the stage allowing Mike and Perry to take the lead, and also giving the wonderfully maniacal Tom Triggs to let rip on drums.

London based Paves ripping it up with their wah-wah guitars to the basement of the Pipeline (Andy Sampson)

But it’s for the last two tracks the band get really serious.  Take Me While I’m Here is a bit of a drifters anthem, and starts in upbeat vein, before a slow mid section leads into a really awesome guitar break that has a real Lynyrd Skynyrd feel to it.  For me it was one of those guitar solos that could have gone on for another 10 minutes and I’d still not gotten bored of it!  They close the short set with Get Out, a song of broken love which kicks off in a very psychedelic  way before exploding into a finale that has Luke and Perry both leaping around the stage, with Luke’s guitar neck finally getting caught up in Perry’s mic stand and sending it toppling to the stage.  Great stuff.

London based Paves ripping it up with their wah-wah guitars to the basement of the Pipeline (Andy Sampson)

So a short set, but a great showcase for a really original band.  Yes they definitely have a derivative feel about them, but that’s actually part of their strength and appeal.  These are the bits that people latch on to, before realising they’ve been drawn into something much more unique with its own sense of style and direction, and each of the songs has something to surprise you.  And whatever you do Luke, don’t get rid of the hat!

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Paves: Review by Andy Sampson at The Pipeline Bar, London on 10^th March 2016.

21 Pilots full on show with lights, CO2 and confetti for a packed Portsmouth crowd (Andy Sampson)

From the backdrops, to the pre-performance lighting, the main show lighting and even the outfits and head-torches used by the road-crew.  Everything has been thought about, planned and carried out.  And that’s before we speak about the performance itself. In lesser hands it could look formulaic.  But not in this case; these boys have studied their craft and really know how to deliver.

21 Pilots full on show with lights, CO2 and confetti for a packed Portsmouth crowd (Andy Sampson)

Before anything started, the anticipation was palpable with spontaneous Mexican waves and phone torchlight shows from the crowd.  But once the house lights dimmed and the drop snare break of opening track Heavydirtysoul rang out, the crowd lost complete control, and it’s a long time since I’ve been to a gig where the crowd knew EVERY lyric and every nuance of every song played.  And this remained the story for the next 90 minutes hours as Tyler Joseph and Josh Dun treat the Portsmouth collective to a slightly extended set, courtesy of this being the final date of the tour, all backed up by light show that must have required a small power station to illuminate.

21 Pilots full on show with lights, CO2 and confetti for a packed Portsmouth crowd (Andy Sampson)

Coming onstage in a full skeleton outfit, Tyler bounces around the stage like a slightly overactive child, not knowing which toy to play with.  Piano, to suspended radio mic, to front stage platforms and back to the piano again, the energy is infectious, albeit hard work to photograph as you just don’t know what’s coming next.  After the opener its straight into the huge radio hit Stressed Out and the first of many outfit changes.

21 Pilots full on show with lights, CO2 and confetti for a packed Portsmouth crowd (Andy Sampson)

Gone is the top element of the skeleton to be replaced with a blanket, whilst Josh on drums remains covered by a hood and an alien mask.  Given there’s only the two of them, there’s a strong reliance on backing tracks through the set, but that doesn’t distract from what’s going on, and the combination of performance, lighting and a really eclectic range of songs from hip hop through rap and light hearted pop keeps everyone lost in the moment of what’s happening onstage.

21 Pilots full on show with lights, CO2 and confetti for a packed Portsmouth crowd (Andy Sampson)

Guns For Hands is the first song from 2013’s Vessel and  it’s a noticeable change in style from the more recently material – lighter and  possibly more appealing to some of the audience, its followed by a number of tracks from that album including Migraine and House of Gold, all of which the crowd turn into a singalong.  But what makes a Twenty One Pilots show so unique are the changes that get brought in for each song.  Whether it’s the lighting, the outfit (Hawaiian shirt and Trevor Horn-esque glasses) or the instruments including a ukulele for The Judge, and each has its own identity and theme…..

21 Pilots full on show with lights, CO2 and confetti for a packed Portsmouth crowd (Andy Sampson)

…  and that extends to the mid set “acoustic interlude” which for some bands can be a chance to take it easy, but not here.  They rattle through a great medley of some old and some newer songs from a temporary drum and keyboard  platform at stage front including The Pantaloon, Semi-Automatic  and Forest, with Tyler and Josh extracting versus and choruses in a seemingly random way.  But of course it’s planned that way.

21 Pilots full on show with lights play for a packed Portsmouth crowd (Andy Sampson)

And then its back into the high energy spirit of the second part of the set including Holding on to You which saw Josh back-flipping off the piano, and Ride where an entire drum riser was brought offstage to be supported by the crowd with Tyler playing only inches above their heads.  By this stage, its unsurprisingly at fever pitch, but there’s still time to notch it up for the final song Car Radio which saw Tyler disappearing offstage only to appear on the top balcony to finish the song.  There was a momentary expectation of him launching himself off into the adoring throng, but the hands of 2 burly security guards kept him rooted to the spot.  Given the height of the Guildhall balcony, probably a wise move.

21 Pilots full on show with lights, CO2 and confetti for a packed Portsmouth crowd (Andy Sampson)

After a brief respite, they succumbed to the wishes of the chanting fans and returned for a two song encore of  Goner and Trees, the latter being a consummate lesson in putting on a finale as both Tyler and Josh climbed on fan held platforms containing 2 massive bass toms, as confetti exploded around them, and dry ice billows vertically from the smoke generators.  Definitely a visual feast!

21 Pilots full on show with lights, CO2 and confetti for a packed Portsmouth crowd (Andy Sampson)

So its all breath-taking stuff, and one which I’m sure none of the crowd will forget in a hurry.  Is there a chance that all “the show” diverts attention from some of the weaker songs?  Yes probably.  But being a band who try and weave so many styles into their repertoire, you’re never going to please everyone.  And personally, if I could get entertained like that at every gig, roll on more shows like this!

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Twenty One Pilots live review and photography

by Andy Sampson at Portsmouth Guildhall on 29th February 2016. Andy has more of his photography at Sound Ritual follow this link: www.soundritualphotos.co.uk

The ever creative Turn Brakes @ The Brook, Southampton (Andy Sampson)

Fronted by longtime friends Olly Knights and Gale Paridjanian, they’re best remembered for their first two releases, 2001s The Optimist and 2003s Ether Song, but throughout their career their frequent changes of style have kept them an interesting and musically satisfying band to follow.  And this theme of change remains apparent on their latest release Lost Property, that’s created a renewed interest in the band of late.

The ever creative Turn Brakes @ The Brook, Southampton (Andy Sampson)

They’re supported by the really likeable Tom Speight, who’s guitar based tunes are a perfect lead in.  Although the “singer songwriter with an acoustic guitar” genre has plenty of proponents, Tom weaves an interesting personal slant into both the introductions and the songs themselves, especially on Love and Willow Tree.  However the best moment is saved until the end, with the last song being sung purely via his guitar mic which gives it a slightly other world and remote character to it which is really original.

The ever creative Turn Brakes @ The Brook, Southampton (Andy Sampson)

There’s a short break to top up glasses before Turin Brakes emerge from the back of the stage, nearly tripping over the drum kit, but to rapturous applause from the now packed house.  Given their years together, you’d be forgiven for expecting Gale and Olly to take a safe route of relying on their rich back catalogue to keep the crowd happy.  But thankfully that’s not the case and they kick the evening off with three songs from the new album including the latest single Keep Me Around, and the title track, Lost Property.

The ever creative Turn Brakes @ The Brook, Southampton (Andy Sampson)

But the other thing that’s noticeable (and this counts for both the new and the old songs) is the richness of the performance that’s difficult to describe, partly thanks to Olly’s instantly recognizable vocals, and Gale’s restrained but technically superb guitar breaks.  It’s sort of like the musical equivalent of a warm bath that makes you believe that everything is good in the world, and which makes the next 80 minutes go just that little bit too quickly.  It helps that the band still have their original line up including Rob Allum on drums and Eddie Myer on bass who’s clearly the “class clown” and brings a humour and energy to the team that’s quite infectious.  One moment he’s crouched respectfully during the quiet intro to a song, and the next he springs into action, whirling and dueling with Olly centre stage.  He even admitted to having made a jazz album!

The ever creative Turn Brakes @ The Brook, Southampton (Andy Sampson)

As you’d expect, they do make space for a good selection of the older songs, including the excellent Sea Change, We Were Here, and probably their best known song Painkiller, all of which are gleefully received.  However the high point of the night comes in the shape of a new song Black Rabbit.  Clocking in at over 6 minutes, it’s uncharacteristically long for the band, and starts slowly and gloomily before a wave of sound lifts you up courtesy of a sublime slide guitar solo from Gale.  It’s a great way to end the main set, and sets the scene perfectly for my personal favourite, Underdog in the encore.

The ever creative Turn Brakes @ The Brook, Southampton (Andy Sampson)

So, after all that it’s a real disappointment when it all ends and we all had to traipse back out into the freezing weather and the reality of the trading estate.  Watching Turin Breaks tonight has been like a dinner party with old friends; very civilized and enormous fun.  But best of all, the Turin Brakes playlist never has any dodgy songs on it!

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Review by Andy Sampson at The Brook, Southampton 24^th February 2016

Andy has more of this photography on his personal website Sound Ritual. http://www.soundritualphotos.co.uk/