Tag Archives: The Louisiana

Live Review: She Makes War + Forgery Lit + James Brute @ The Louisiana (09/10/14)

Kicking off her UK/European tour with 36 dates across England, Germany and Brussels, first stop Bristol! The Louisiana the perfect choice of venue for top music nights and another spectacular in the My Big Sister Presents Series, it’s Laura Kidd’s 13th in her series of empowering non stop work ethic showcases in introducing new music to the audiences – from dazzling electro pop to full blown post punk goodness, there’s always something for everyone. Tonight was no exception, an eclectic line up range with the She Makes War leading the front line with an exclusive appearance of her band, joining Laura were Bristol trio rocker Forgery Lit and London singer/songwriter James Brute, marking his return to Bristol with new material and a new band.

Taking the stage first was James Brute, charismatic acoustic instrumentals alongside his fellow guitarist Mat Martin and drummer Fin Brown. Blue toned and shaded stage lights befitting to the rhythmic sounds of folk Americana – dynamic positions, twist and turns through gritty guitar strings, intertwining of electric and bass strings, scratching and raffling amongst James husky vocals. Fin’s toned drumming providing the backbone, slick guitar work and haunting harmonic melodies as James shares his folky tales. The most noteworthy however was the performance of his new single Bury Yourself, the acapella piece that has captivated previous shows and it was the case here, a backdrop of harmonic thrumming and rhythmic hand claps which brought the audience to a stand still – a cracking start the show.

Forgery Lit‘s reputation is well known in the Bristol scene so an exciting set was anticipated. Adrenaline fuelled rock ‘n’ roll lead by drummer Ami Amp’s empowering vocals, slick basslines from Gareth Jones and artistic rhythmic work from Nico Mar. Their set was indeed explosive, Ami’s drumming and melodic vocals bringing the firepower, stylishly layered by Gareth tremendous work on the bass and Nico’s dynamic rhythms and rapid solos; a set that could not be faulted, one that was oozing with rock ‘n’ roll confidence.

The stage was set for She Make War, Bristol’s ‘Gloom Pop’ artist but this time we were treated with an exclusive appearance of her full band (Chris Nicholls, Ami Amp and Joan Patrick), making this a one of a kind live performance. There was the usual instrumental range of electric guitar, vocal loops, ukelele, marching drum and signature megaphone but with Laura’s live band all this truly evolved into something more broader, unique and dynamic. This was Laura’s punk rock spirit and DIY work ethic at full force, amplified by ten fold with Amp’s solid drum presence, Joan’s exquisite violin and Chris’s tight guitar work. Kidd’s rumbling basslines then switching to ukelele, foot percussion, bells and sonic loops; keeping the audience on their toes throughout. From old tracks such as Olympian and NIMN to new ones like Stargazing and The Best, offering us an enticing glimpse into her forthcoming album Direction Of Travel. Delete is always a stand out at Laura’s shows, sonic loops and sirens effects captivating the crowd with Kidd marching onwards with the megaphone but the band’s performance of Drown Me Out completely stole the show – utterly brilliant and explosive!

Live review and photography by Mustafa Mirreh

Live Review: Red Snapper + Port Erin (Album Launch) @ The Louisiana (19/9/14)

A night of two album launches at the Louisiana and first up on the evening of double headers was Port Erin who were casting a glimpse into their third LP Floating Above The City.

Port Erin Collage

The group were dressed in black as they came to the stage and were all set to deliver an unforgettable experience. The tracks and sounds from their upcoming new album started off with a bang as the exceptional skills on guitar combined with raging bass licks and furious use of effects to create an epic introduction to Port Erin. Already shifting the gears, the band were producing some amazing sounds that kept the crowd at the Louisiana on their feet all. Exceptional guitar work using harmonics highlighted the creative and innovative nature of the band and the funk influences mixed with alternative energy was indeed impressive and unique.

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With Port Erin having got into gear, they then dedicated a song to the band that would follow next on stage, Red Snapper; producing an amazing final track that wowed the audience. Perhaps the most engaging band seen at the Louisiana for some time, Port Erin have written themselves into Louisiana folklore and were the perfect start to an incredible night that was set to continue with Red Snapper, the legendary acid jazz quartet from London.

Red Snapper Collage

Arriving on stage was the signature double bass along with saxophone that makes Red Snapper so cool. With an introduction to some tracks off of their new album Hyena, Red Snapper just continued the amazing funk and energy at the Louisiana. Within seconds there was funk riffs and saxophone notes merging with an electronic and African beat that created layer upon layer of classic acid jazz.

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With more tracks from the new album such as Card Trick ranking up the intensity, Red Snapper mixed and matched to cast some amazing songs from their new album and gave the Bristol community a treat in the process. These two bands were exceptional and both Port Erin and the mighty Red Snapper are more than welcome to drop in to Bristol any time.

Review by Nick Bulbeck. Photography by Mustafa Mirreh

Live Review: Chiverin Showcase – Elder Island + Rebecca Clements + Little Dusty @ The Louisiana (20/9/14)

Chiverin Cargo Check List: Elder Island, Rebecca Clements, Little Dusty

Destination: The Louisiana Bristol 20th September

Leaving the station, a three carriage convoy presented within a claustrophobic rock box, name of the perpetrators cast on the wall shivering and flickering. A talent stocky trio on a table laid by Chiverin.

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Some seasoned folk people come present themselves. Little Dusty they mingle among the mic stands, take up their instruments as they chirpily saunter, dinky and dainty the singer gives signal, here’s a playful band with bouncing dynamics which tighten and loosen, egg shakers shuffle with Spanish guitar interweaving movements, a reassuring pace where percussion is pivotal.

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A bag full of tricks familiar to a professional, flashbacks of “the Sundays” but they “talk it like they mean it”, they sculpt something personal, authorised collusion, spacey acoustics, emotive delivery, sparse dictating drum which steers their direction.

Guitars in dual motion as exchanges persist, receive and deposit, a relaying dynamic carrying conviction, commence and desist with a thoughtful manner to rendering pleas which clasp at your heart, then some tangy tasters of upbeat elation as the accompaniment wiggles, we feel every note appropriate for dark skies and beam shining grins, an ease of performance conveying a cocktail of brokenness and triumph.

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A keyboard appears as does Rebecca Clements, carrying a flask of something scarlet but dark, her poetry thoughtful dashing ideals in relational history, some pointed puns, slipped in-between jaded memories of men, comatose in persona, precisely fashioned recollecting laments.

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Subjects explored are somewhat restricted, passion pouring over reflections of the afflicted, breathless vocals truth from the gut would delight our ears with further facets of broader experience for such song writing skills, perspective on the lows seemed somehow inhibited.

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Imagine Robyn residing in southern England with devastating sarcasm, stories with intention, some imaginative visions, ballads that prickle freeze audiences eyes and still their attention, overlapping lyric layers which reflect one another, rebound and jostle, word craft that tickles.

Visuals crawl up and bleed down the stage, Elder Island fully armed for a sonic invasion.

Elder Island Collage

As over-gorging slices of electronic stooge pour from each speaker, torn down the centre by clawing cello as a flood of sound knocks you into the unknown.

Reeling with regal trip-hop terror, bass filled underbelly with digital scars. Eleanor Rigby played in reverse as the spangly guitar flicks out some mushrooms in multiple directions, retro sounds and samples trouble and amuse, playing with a Faithless-like stage familiar sophistication.

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The musical swirls accumulate in height, early 90’s dance nodding flirts with our hips, sparks off head bobbing they illuminate the mood, some lift and some swing, abrasive chords, flick knife strums, funk affiliation, riding the effects, jungle of the rhythmic, sci-fi sounds explored.

Those who came for the sight where compacted and captivated oozings of sweat, weakening knees, they screamed their admiration and received an encore.

A Blunderbuss Press distribution
Review by Roger Ravencroft.
Photography by Mustafa Mirreh.