Dot To Dot Festival Manchester 24th May 2013 9/10

For the third year, I returned to the excellent urban Dot to Dot Festival, which took me to Manchester venues The Ritz, Sound Control and Gorilla, within 5 minutes' walk of each other. I present my photographs chronologically.

1) Ruen Brothers 6/10
The Scunthorpe band proved to be a lively opener to my festival, owing much to 1960's rock and roll. They've already attracted attention from NME; yet I wished for more subtlety.

2) The 1975 8/10
The 1975 have yet to release their début full length  but have been attracting much attention from their three EPs. On this showing, they are definitely a band you need to see live, creating an electric atmosphere, with almost theatrical stagecraft.

3) Tom Odell 7/10

22 year old British singer songwriter Tom Odell spent much of his set at the keyboard, producing heartfelt, sensitive ballads. For all the skill on display I found his style rather affected, calculated for the broadest possible appeal. Yet there were signs of a less measured, more rock and roll sensibility under the surface, particularly when he picked up his guitar. There’s no doubting he has an expressive voice, yet I wished for a greater variety of mood. I hope as he develops, Tom can be himself, and worry less about offending middle England.

4) Bear's Den 7.5/10

This London trio is signed to Communion Music and released their first EP Agape in March. They performed beautifully, their warm, comforting folk being accompanied by great vocal harmonies and energetic drumming. At this stage in their career, they have yet to develop a strikingly original voice or performance style, but the influence of Americana was welcome. Recommended.

5) Little Green Cars 9/10
This was the third time I've seen the Irish band this year, and as the performing experience gained from their rapid rise is clearly playing dividends. They had even higher energy than previously, and have moulded their songs to emphasise the pop energy. Yet, although they didn't perform unplugged to this packed audience, their vocal harmonies remain distinctive. Little Green Cars was the highlight of my Dot to Dot Festival, and if you're a lover of indie folk, you should see them at the earliest opportunity.

6) Lucy Rose 8/10

Lucy Rose is known for her work with Bombay Bicycle Club. It’s tempting to compare her with fellow British folk singer Laura Marling: both are relatively introverted on stage, but Laura less so once she starts to sing. Lucy may be subtle, but her band gelled effectively and were clearly having fun. I was grateful to be at the front, since the audience were less quiet than ideal, and Lucy performed sat down with acoustic guitar. By the end of the hour, I was totally absorbed, and utterly charmed.

7) To Kill A King 7/10

Like Bear's Den signed to Communion Records, it's testament to the Leeds Band's persistence that this performance took place at all. Battling traffic and then sound problems, they performed an intimate, late night set with much energy; their folk harmonies rounding off an amazing six hours of music for me. In the closing song, they came out into the audience, and in rock and roll style Ian climbed onto a speaker.

Lana Del Rey, Manchester Apollo, 23rd May 2013 0/10

Lana Del Rey attracts such polarised opinion that I was determined to see her live so that I could make up my own mind. It started so auspiciously for her: the single Video Games became a viral Internet hit in 2011, rightly gaining an Ivor Novello award for its wonderfully dark melody. Yet, the turning point was a disastrously inept performance of this song on Saturday Night Live in January 2012. By this time, the truth about Lizzie Grant’s reinvention as Lana Del Rey, and her privileged background had emerged, and critical opinion became viciously scathing. Yet, this did nothing to prevent her album Born To Die being the fifth most popular last year, and neither did failing to live up to the promise of the early singles, or presence of mundane fillers. Yet the speculation about the veracity of her looks and cosmetic surgery has acted as a distraction from the key question of her artistic ability: this was what I set out to discover in Manchester.

The buzz around this performance was immense: it sold out in minutes (prompting the announcement of a second date), fans had been queuing for hours, and the touts were out in force. She was greeted like royalty: the last time I saw anything like this rapturous a reception from the audience was for TheWeeknd. Extended interludes whilst she signed autographs and received flowers were incorporated into the act: there was none of Abel Tesfaye's modesty. It was a night I will remember for a long time to come, and one which defies attempts at rationalisation. Not having had a desire to watch TV talent shows, I haven’t witnessed a performance so inept before. That such an embarrassing calamity came not from an obscure support act in a small venue, but from a supposedly world class artist was almost as perplexing as the excitement from the audience.

The key problem wasn't the music: the cinematic sound was far from unattractive, at its best in the sadder numbers such a Born to Die. Admittedly songs such as National Anthem and Off to The Races were weaker, where retro pop and jazz blended into hip hop. The sole cover, of David Lynch's Blue Velvet was bland. More of an issue was the vocals: her smoky contralto voice sounded alarmingly off key at times, and she struggled to replicate her studio poise. Yet this paled into insignificance compared to the woeful lack of stagecraft. The Guardian described her Glasgow date as a remarkably controlled performance, yet in reality it was languid: she literally just stood there and sung. There were choreographed moments, when she approached the audience at the front rail, but this couldn't disguise a lack of any visible response to the music.

The set design was distinctive in its lack of subtlety: the stage was flanked by two enormous gold lions, the lighting was elaborate, and the backing band lavishly included a string quartet. Yet, the band never really looked or sounded as though their heart was really in it: they were going through the motions. The video imagery and Art Deco set were clearly intended to give a cinematic atmosphere, culminating in the performance of Young and Beautiful from The Great Gatsby soundtrack, the only new song in a set heavily reliant upon extras from her Paradise Edition. There was an absence of passion and a surfeit of superficiality from the stage; but the audience's excitement was real. I stopped taking videos at gigs some time ago, but made an exception for this gig, my ability to describe the truly catastrophic nature of this performance exceeds my reservoir of adjectives.

Perhaps the lyrics give a hint of the truth. Lana sings of material and carnal desire, the closing National Anthem stating: "Money is the anthem of success... Winin' and dinin', drinkin' and drivin', excessive buyin'" Conceived in the aftermath of the financial crash, the entire act feels satirical. It's a sad reflection of the weakness of human nature that the audience failed to see that they are part of a joke about the vacuous nature of celebrity and consumerism. It's tempting to suggest that Lana hasn't been let in on it either, and that she's the victim of a manipulative record industry. Yet, she's hardly naive: she overcame an alcohol problem at the  age of 14 and went on to study metaphysics at Fordham University. Watching the astonishingly wooden, inept performance, it seems that Lizzie Grant collaborated in the construction of her persona as a work of conceptual art. She holds up a mirror to society, the epitome of fake. Those dark songs are a warning about undermining human relationships through the worship of fame and money.

Top Albums & EPs May 2013

Top 25 Albums

1) The National Trouble Will Find Me (Indie Rock) 10/10
I found it difficult to envisage that The National could release an album I love even more than High Violet, but in stripping back their lush strings, they've produced something even more personal and moving. It takes their melancholy side even further, and I'm moved immensely by its shear beauty. This is easily my favourite album of 2013 so far, and is destined to become a classic.

2) Savages Silence Yourself (Post Punk) 9/10

Savages is a band you really need to see live- I was astonished by their energy at Coachella. Their punk influenced music might not be particularly original, but it's delivered brutally and makes quite an impact. The band has inexplicably removed their SoundCloud stream, but you can listen to No Face here.

3) Ghostpoet Some I So I Say Light (Electronic) 9/10

Britain's Obaro Ejimiwe second album is a work of art, combining spoken lyrics with dark electronics. It's emotional power recalls How to Dress Well: the subject matter is often dark, and the musical influences wide (including Radiohead). The agitated atmosphere doesn't always make for easy listening, but it's the product of a fertile imagination and easily merits your attention.

4) Treetop Flyers The Mountain Moves (Alt Country) 9/10
I recently had a magical live experience with Treetop Flyers, and their début album has influences of Crosby, Stills, Nash and Young despite coming from London. It has a nostalgic feel, and lead singer Reid Morrison sings with passion. This doesn't break new ground, but that's irrelevant when it's so engaging.

5) John Murray The Graceless Age (Alt Country) 9/10
Oddly, this Missippi musician released his album last year in the UK, but only recently in the US. It's country with a dreamy feel, and literary connections (John Murray is a distant relative of William Faulkner). California is my favourite track, but the album stands up as a coherent whole, and has a powerful emotional effect.

6) Jai Paul Self-Titled (Indietronica) 9/10
Jai Paul's debut album was leaked on Bandcamp and quickly withdrawn. It's possible this was a publicity stunt, but it sounds too polished to believe that they were demos from a stolen laptop. It makes heavy use of samples and has quite a playful feel: what's seems certain is that when the Brit's finished album is released by XL, the anticipation will have been justified.

7) Houses A Quiet Darkness (Indie Pop)  9/10

A Quiet Darkness has been the victim of a Pitchfork injustice: they called it a dirge, whereas it's actually incredibly beautiful, sad and subtle. It's nearly an hour long, and whilst there's limited variety of mood, it's an immerse experience, with intelligent lyrics. Sometimes it's very necessary to let life slow down.

8) Deptford Goth Life After Defo (Electronic) 8/10

This debut album from London's Daniel Woodhouse owes something to James Blake. It's dark electro pop with dub step influences, which paints a dark, moody picture. It's often restrained, and muted, which only adds to its stark beauty.

9) Fossil Collective Tell Where I Lie (Indie Folk) 8/10

This folk rock album has instant appeal with its Fleet Foxes melodies, varied acoustic instrumentation,a and sunny feel. Some might wish to be challenged more, but this band from Leeds wears its Fleetwood Mac influences easily, and didn't set out to break new ground.

10) Junip self titled (Indie Pop) 8/10
Sweden's Jose Gonzalez has created a subtle, understated album with restrained vocals and a focus on his own and the drummer and keyboard player's instrumentals. It rewards repeated listening: instead of being showy, it focuses on gradual development, and I particularly enjoy the more laid back tracks such as Beginnings.

11) Little Boots Nocturnes (Synth Pop) 8/10

I enjoyed this dance pop album far more than I expected: Victoria Hesketh's comeback album after her 2009 debut is fun and upbeat, but also has depth, as she balances disco with darker elements. It would be a pity if her moment had passed, since Nocturnesis has mainstream appeal and musical merit.

12) Youngblood Hawke Wake Up (Indie Pop) 7.5/10

As the title suggestions, Wake Up is energetic, upbeat pop with catchy melodies, unashamedly seeking mass appeal. I can see it being much fun at a festival, however if you're listening alone, don't expect to discover any hidden emotional depths. It's synth driven, outgoing and exuberant.

13) Laura Stevenson & The Cans Wheel (Indie Folk) 7.5/10

This old time country learning album is actually the work of an artist with a background in punk rock. This occasionally manifests itself in the vocals, but the melodies are folk like. Pitchfork criticised it for blandness, yet actually the lyrics are often tragic, the dark undercurrents give real depth, and the the songs gradually build to thunderous climaxes.

14) The Highest Order If It's Real (Indie Folk) 7.5/10
This is female fronted country from Toronto with a psychedelic twist. Simone Schmidt has a rich, sultry voice, creating a powerfully melancholy mood. This recently formed band deserves recognition outside Canada. There are two covers on this album, but the original material is strong too.

15) The Haxan Cloak Excavation (Electronic) 7.5/10

This is the kind of demanding, experimental record that Pitchfork loves. Don't let this put you off exploring it: as the cover suggests, it's a traumatic experience with amazing production (you need a subwoofer to feel the bass). There's much noise, drones and apocalyptic electronic sounds, but if you open your mind you may find it transports you.

16) Belle Starr Self Titled (Folk, Country) 7/10

Here's another country album from Canada: it's much fun and I can't understand why it's received so little online attention. It includes Miranda Mulholland from Great Lake Swimmers, and two other talented female fiddle players. The rhythms are foot tapping, the melodies catchy and the vocal work strong.

17) Bonobo The North Borders (Electronic) 7/10

This is the UK producer's fifth album; he includes Erykah Badu as a guest performer. It's electronic music with a human face, melancholic and dreamy, with an English understated quality. This beauty shouldn't be mistaken (as Pitchfork did) for a lack of energy.

18) Noah &The Whale Heart of Nowhere (Indie Folk) 7/10

I couldn't help but feel disappointed that Heart of Nowhere doesn't really advance Noah and The Whale's style. It's predicable, but fun, and the catchy tunes will work well in a live context. Yet, given Charlie Fink's talent, and the pleasure this album will give, I can't help but feel this was a wasted opportunity.

19) Majical Cloudz Impersonator (Electronic) 7/10

The duo from Montreal makes much use of fragmented loops on their second album, giving an uneasy atmosphere. It's experimental in feel, perhaps a little self conscious. This minimalism is greatly enhanced by Devon Welsh's vocals, who incidentally is a friend of Grimes, sharing her confidence to branch out in his own direction.

20) Vampire Weekend Modern Vampires of the City (Indie Rock) 7/10

Vampire Weekend has produced the surprise of the year for me: I'm not a huge fan of their music, but in reigning in their brash, superficial side they have gained immensely in subtlety. Recommended.

21) Jenn Rawling & Basho Parks Tarantula Arms (Folk) 7/10

This relatively straightforward folk music from a the couple consisting of Jenn's pure vocals and Basho accompanying on violin. They are utterly charming, the music natural and unforced, and soothing in effect.

22) Ruth Moody These Wilder Things (Folk) 7/10
This rootsy album has beautiful fiddle, mandolin and banjo playing, and is the work of a member of The Wailin' Jennys. The mood is gentle, the arrangements lo-fi: another gorgeous folk album from Canada. If you enjoy Kathleen Edwards, this will be to your taste.

23) Handsome Family Wilderness (Alt Country) 7/10
Wilderness is rootsy, with folklore lyrics, each song taking the title from an animal. It's mostly dark, often psychedelic and dominated by Brett's baritone voice, and the beautiful harmonies.

24) Vondelpark Seabed (Electronic) 6.5/10

The established UK trio debut album is essentially electronic R&B. They have plenty of hipster appeal, and often feels nebulous and hazy. This restraint doesn't immediately draw you in, but instead you can revel in the subtle detail of an album which has been far from rushed out.

25) Small Black Limits of Desire (Indie Pop) 6/10

I'm not always drawn into chillwave, and Limits of Desire has attracted mixed reviews. It lacks some of the distinctiveness of their Moon Killer mixtape, and they overdo the reverb at times, yet it's an attractive accompaniment to a late night drive.

Top 5 EPs

1) Alt-J iTunes Session (Indie Rock) 9/10

I'm such a fan of Alt-J that any new material is eagerly awaited. The main attraction here is the new song Buffalo, and the existing material is only subtly reworked. Yet, if you share my admiration for band, you'll want to buy this EP.

2) Torches If The People Stare (Indie Rock) 8/10

I should credit The Owl Mag for discovering this LA guitar band. There's no excuse not to explore this enjoyable EP, since it's a free download from Bandcamp.

3) Dark Dark Dark What I Needed (Indie Folk) 8/10

This supplements their highly recommended 2012 break up album Who Needs Who, following tours with Low and The National. The Minneapolis trio create a romantic feel, with folk and jazz influences.

4) Wild Nothing Empty Estate (Dream Pop) 7/10

For lovers of dream pop, this EP is more upbeat than their last full length Nocturne, and makes greater use of synths. Recommended for their fans, whilst they await a third album.

5) Electric Guest Good America (Indie Pop) 7/10

I was recently blown away by my first experience of Electric Guest live: this is an enjoyable companion to the short Mondo album, with three new songs, a cover, a remix of The Bait and two excellent acoustic versions.

Commended

• Alessi's Ark The Still Life
• Blue Hawaii Untogether
• The Boxer Rebellion Promises
• Brooke Waggoner Originator
• Daft Punk Random Access Memories
• Eluvium Nightmare Ending
• Hands Synthesia
• Hanni el Khatib Head in the Dirt
• MS MR Secondhand Rapture
• The Neighbourhood I Love You
• Seasick Steve Hubcap Music
• The Statesboro Revue Rumble on Privilege Creek
• Thea Gilmore Regardless
• The Veils Time Stays, We Go
• The Weeks Dear Bo Jackson
• Wheeler Brothers Gold Boots Glitter
• Young Galaxy Ultramarine

How To Dress Well, Whitworth Gallery Manchester, 16th May 2013 7.5/10

There have attempts to make classical music more relevant to a younger audience by borrowing presentational techniques from the popular world. Last night, though it felt as if the reverse was happening: the atmosphere was formal and the audience sat in hushed, reverential silence. This can be attributed to the art gallery venue, which seemed appropriate for the minimalist, intellectual nature of the music. Links to the classical tradition were reinforced by the playing of Philip Glass over the PA before the start of the gig, along with Brian Eno. The devastating energy of the talented support band GREaTWAVES surpassed any acoustic music I've seen, all the more effective for its contrast with the serenity around.

In certain respects, How To Dress Well suffered by comparison with this stellar support act: specifically the absence of guitars and a heavy reliance on a pre-recorded backing track reduced the spontaneity. Tom Krell was accompanied by a violinist, who also operated the electronics, but it didn't really feel as if the studio sound was being fully recreated live: instead it was being replayed. Visually the use of the projection screen as the sole lighting source was highly effective, and the screening of conceptual films and abstract patterns gave the impression of an art installation. The overall mood was intentionally sombre: one of the most effective songs had the title Suicide Dream 2.

Tom has a PHD in philosophy, and whilst his Chicago origin gives him an American accent, his adopted home of Cologne he evident in the serious nature of the material: it has gravitas, and the lyrics are as heavy as a tragic opera's. However, this weight is unexpectedly carried by a pop music genre, as if he is trying to break free of convention, setting up a dichotomy to surprise the audience. This does seem to be his intention: he stated in an interview 'pop musical forms seem to have been set free from their populist structures'. He moves his body to the music, but vigorous dancing was absent: the emotions conveyed here are largely introverted. It was quite a draining experience, and the tension in the music felt harrowing and draining.

If I admired this performance more than got lost in it, it's impossible to ignore the most remarkable element: almost perfect falsetto vocals, with a technique borrowed from R&B. Tom alternated between reverb and dry mics, and neither in the remarkable a capella encore, which showed that the power of this voice is not reliant on electronic trickery. It seems initially surprising that he has a voice which has been compared to Prince's and Frank Ocean's; others have cited the Cocteau Twins as an influence. It's an ethereal sound, which sounds other worldly, expressing hidden passions. Some have found the atmosphere he creates almost religious: for me it was certainly cathartic. Critical opinion is almost universally favourable, not surprising since the act is a clever post-modern construct: Pitchfork awarded his first album Love Remains its Best New Music accolade.

In a final twist, Tom's spoken interjections between songs were warm, friendly and at odds with the gravitas elsewhere. This reinforces the feeling that this he is adopting a stage persona: the songs may be about his family, and personal pain, but I came out pondering the boundaries between art and reality, and wondering if we'd been manipulated psychologically. Tom contradicted this thought when he said:  'I think that art is a magnified, intensified form of general human life', and that his acclaimed 2012 second album Total Loss concerns 'learning how to overcome melancholy in the direction of spiritual regeneration'. Yet, despite the vocal display, arresting visuals and a beautifully apt venue, I left the gig feeling a slightly cold: a spectator to art instead of personally transformed by the experience.

Cold War Kids, Ritz Manchester, 10th May 2013 8.5/10

I first saw Milo Greene in a tiny venue in Manchester in January; here as a support act, the crowd was less attentive, not helped by the low level of the vocals in the mix. However, mid way into their set, the LA quintet hit their stride and their folk pop took flight, helped by an increase in volume for the four singers. This was the last night of the tour, and I suspect they'd taken note of the energy on stage of the main act, Cold War Kids, as they were a joy to watch. Whereas the previous evening with Alt-J had been disappointingly inert, this one easily exceeded expectations, due to a strong relationship with the audience.

In contract to the meteoric rise of Alt-J, this indie rock group from Long Beach, California has had to overcome some set backs recently. Last month, their tour bus driver was held at gunpoint whilst the band was in a nearby bar; shots were fired as the robbers fled. Earlier, their founding guitarist Jonnie Russell left the band (to be replaced by Modest Mouse's Dann Gallucci) and their last album, Mine is Yours, attracted a mixed critical reception. Yet, there none of the angst of We Are Augustines was evident: this was an upbeat, uplifting set. I'd enjoyed Cold War Kids during Coachella 2011, during sunset on the Outdoor Stage, yet seeing a full set in a smaller venue gave me a fuller appreciation of their appeal. This is a band who is easy to appreciate: they're not setting out to stretch boundaries, but to give pleasure.

I was lucky to be in the midst of an exceptionally enthusiastic crowd: many had travelled some distance to one of only two UK dates, and there was no lack of dancing and singing along. The band was moving around stage almost constantly, with a real playfulness, particularly on the part of bass player Matt Maust. He held out the neck of his guitar for me to touch, and at the end came to the barrier and gave several of us a hug. This is indicative of their appreciation of their fans' support, and determination to make those who'd queued up for a space at the front feel special. In fact, Matt Maust and lead singer Nathan Willett (who alternated between guitar and piano) frequently made eye contact with the audience. There was no need for extensive chit chat between songs: their love was communicated through body language.

The newly released album Dear Miss Lonelyhearts has been seen as a return to form for the band, yet the strongest impression was made by the more familiar songs from Mine is Yours, whose softened edge compared to their almost legendary debut Robbers and Cowards wasn't thrown into sharp relief. The music is in truth less original than Alt-J's, consisting of a combination of anthemic rock and more soulful ballads. Nathan Willett's voice is scarcely refined either, but they have an instinct for melody that's easy to fall for it. They're not a band admired by indie tastemakers such as Pitchfork, who once wrote of singing like 'drunken Jeff Buckley karaoke'. Yet, when an act is this much fun to watch, and gives so much joy, such musical snobbishness is exposed as the pretentious nonsense it is. If Cold War Kids come to your town, you shouldn't miss the chance to experience their generosity.

Set List

• Welcome to the Occupation
• Royal Blue
• Miracle Mile
• I've Seen Enough
• Loner Phase
• Audience
• Red Wine
• Cold Toes
• Hang Me Up To Dry
• Tuxedos
• Louder than Ever
• Relief
• Jailbirds
• Santa Ana Winds
• Fear and Trembling
• Vacation

Alt-J, Manchester Academy 1, 9th May 2013 7/10

Live music never ceases to surprise: I was certain, based on the four previous Alt-J shows I’ve enjoyed in the past year that this evening would be unforgettable. Less than a month ago, they were one of my highlights of an amazing Coachella Festival, whilst their RNCM date in Manchester in September was one of my favourites of the year. Whilst Academy 1 is a much larger venue, I arrived early enough to secure a front centre position, so had an excellent view of the band. In fact visually, this was Alt-J’s best yet, enhanced by beautiful, changing coloured lighting and the use of translucent backdrops with a design inspired by their album cover. The main issue was the sound: the bass was boomy, lacked detail and overwhelmed the detail in the midrange. It can be an affliction of this venue, but should be have mitigated by the sound engineer. An Awesome Wave is beautifully produced, revealing the subtle, intricate nature of the music, which was sadly obscured here.

Of course, Alt-J has had an amazing year, winning the Mercury Prize in the UK and apparently the hearts of quite a few American music fans. This popularity has surprised some: they are a cerebral act, employing unusual lyrics, phrasing and singing. Actually this quirkiness is at the heart of their appeal: in particular Joe Newman’s nasal, whining voice differentiates Alt-J enough from the mainstream to give indie appeal. Their music is an eclectic mix of styles, including electro pop, math dubstep, psychedelic folk and rock. The mix of genres gives variety between songs: for example Something Good is dreamy, whereas Fitzpleasure is heavyweight. They played for an hour, adding Buffalo from their recent iTunes session and the covers Slow Dre and College’s A Real Hero, used on the soundtrack to Drive. This preceded the final encore Taro, their greatest song, which has a symphonic sweep.

I read many positive comments about this show on Twitter, and those seeing Alt-J for the first time would surely have been impressed by the music.  The young audience was wonderfully enthusiastic, singing along to many songs, particularly Breezeblocks, giving the band a rapturous reception. Yet, I’m not sure that Alt-J fully reciprocated. As I was walking out, I overheard an audience member saying: ‘of course the songs are great, but they didn’t add much live’. Their music is more than interesting enough to stand alone, but the band appeared tired: midway through a UK tour, I fear they're pushing themselves too hard. The transition to larger venues has come quickly, and the lighting set-up didn't compensate for the static stagecraft. The false start to Breezeblocks was just a slip, but the nuances of interpretation at Coachella four weeks ago, which gave an almost visionary experience, was absent.

As with Chvrches recently, I once again find myself at odds with the consensus view. Perhaps I'd been influenced by listening to an outstanding new album by The National for the first time earlier that day, which I already know will be a strong contender for my album of 2013. Another factor in my perception was the memory of an understandingly engaging Phosphorescent gig two days earlier. I will be seeing Alt-J again in August at Reading Festival, and I'm hoping by then they'll have had chance to refresh their creative spirit. They were wise enough not to rush their first album's release, taking give years since their formation in 2007, so they should recognise the danger of burning themselves out with their touring schedule. Alt-J also needs to realise that the sound is the single most important factor in a gig's success. Yes, this was a fine gig, but it's impossible to forget really inspired occasions created by Alt-J and others in the recent past.

Set List

• Intro
• Interlude I
• Tessellate
• Something Good
• Buffalo
• Dissolve Me
• Fitzpleasure
• Slow Dre
• Matilda
• Interlude II
• Bloodflood
• MS
• Breezeblocks
• Hand-Made
• Real Hero
• Taro

Phosphorescent, Ruby Lounge Manchester, 7th May 2013 9.5/10

Having seen Hiss Golden Messenger two days earlier, I had the opportunity soon after to see the creator of another of my other albums of the year, Phosphorescent. Whilst MC Taylor had to contend with less than ideal circumstances for his gig, Matthew Houck last night produced a near perfect set of staggering intensity. The Alabama born singer songwriter (based in Brooklyn) now fronts a six piece band, notable for having two keyboard players. Jo Schornikow was particularly notable for her idiomatic blues organ playing, and added vocals for the final encore Storms Never Last. David Torch on percussion played pair of tall bongo drums, and Chris Marine on drums’s energy was a delight to watch. The entire band played incredibly tightly, with weighty bass guitar, and the sound was well balanced.

Phosphorescent's musical style includes elements of folk rock and psychedelia, but the recent album Muchaco, which featured heavily in the set, has contemporary pop and electronica influences. This is most evident on the single Song for Zula, which was performed to much delight from the crowd, but in my view is not their most moving creation, marred by the uncharacteristically unsubtle drum machine. The 2007 album Pride was also represented, most notably in the solo encore Wolves, featuring looping vocals from Houck. However, I particularly appreciated the numbers from 2010’s Here’s To Taking It Easy. The band’s emotional power is most evident in the slower, more expansive songs. The mood is often melancholy, and when the band holds back to allow Houck to sing of love and despair, the tension in the crowd is palpable. There was little of danger of the mind wandering onto everyday matters: it was completely absorbing.

Houck barely talked between songs: I was grateful for this, since chatter would have broken the magical atmosphere. Judging by an interview with Pitchfork when he said: "I lost the place, lost the girl, and lost my mind," he was hardly reserved off stage on the tour for his last album. There’s no doubt Houck wears his heart on his sleeve: this was a highly emotional occasion, due in part to his soulful voice, which has been compared to The Band’s Richard Manuel. He often closed his eyes, and stood on the front rail in this small venue, I had a clear view of his expression, which conveyed him reliving painful memories, or regretting some past choices. This may sound like being immersed in melancholy, but in fact was cathartic; never depressing.

My enthusiasm for this gig is fuelled by the fact I absolutely adore this music, but most of all this experience reminded me of the joy of experiencing a group of skilled, experienced musicians collaborate on stage. Despite those slow tempi, this was a high energy event, the guitarists moving around the stage imposingly. The apotheosis for me was when the band jammed together, in expansive songs like The Quotidian Beasts or Los Angeles. Much though I love listening to their albums, Phosphorescent is definitely a band you need to see live. There is real depth here, a complexity rooted in dark undercurrents below apparent serenity, a vulnerability behind an extrovert rock and roll exterior.

Matthew Houck

Jeffrey Bailey

Jo Schornikow

Sounds from the Other City Festival Salford, 5th May 2013 9/10

This was my first visit to Sounds From The Other City in Salford; it certainly won't be my last. The one day urban festival concentrates on emerging artists in a vast array of small venues, and included impromptu street performances and work from visual artists.

Adrian Crowley 7/10
The Dublin singer songwriter delivered a sensitively sung, moving set in the basement of Salford Mill. It was subtle, contemplative and vocally beautifully crafted.

Treetop Flyers 9/10
I've recently been impressed by this London based Americana band's new album, The Mountain Moves, but live they're on another level. This was the surprise of my day, an utterly magnetic performance which ended with a jam. My only regret was the brevity of the set at under 40 minutes.

Emily Barker and the Red Clay Halo 8.5/10
This acoustic folk group is fronted by an Australian, but their melodies sounded deeply rooted in England. They gave a gentle sense of beauty, and Emily Barker's vocals were gorgeous. I can't wait for their new album Dear River in July.

Hiss Golden Messenger and William Tyler 8/10
Hiss Golden Messenger provided me with the original motivation to attend this festival, since his new album Haw is one of my favourites of 2013. The set took place in an utterly tiny room in a pub, which turned out to have electrical problems. This meant that MC Taylor valiantly performed much of it unplugged and acoustically, eventually standing on a chair to project his voice over the noise coming from an adjoining  room. The set alternated old and new HGM songs with guitar solos by virtuoso William Tyler, who has been touring with him. It was certainly a unique and at times magical experience, which makes me anticipate keenly a future opportunity to see him with his normal partner Scott Hirsch.

Stealing Sheep 9/10
Further unpredictable delights were provided by the presence of a large brass band outside St. Philips Church as I arrived for this set; earlier there was an impromptu drumming performance in the street nearby. The North West England trio processed up the aisles with the Dynamite Marching Band who gave a celebratory feel to the occasion, inspiring dancing amongst the crowd. I'd previously seen Stealing Sheep supporting Alt-J last year, and their music is atmospheric even in a more mundane venue, but here it transported me. In a joyous end to my day, the band rejoined Stealing Sheep for a music party at the end.