Dot to Dot Festival, Manchester, 23rd May 2014 8/10

This city festival is a SXSW in miniature, and is repeated in Bristol and Nottingham later on the late May holiday weekend. The 13 mostly small venues mean that many people's experiences will be totally different; Zoo in particular where I saw several sets seemed to be under-attended. The joy of this festival is in the discovery of new music, and the promoters seem to have a keen eye for up and coming talent. I was lucky enough to see one act which has to be a contender for my performance of the year.

1) St Paul and the Broken Bones 10/10
Do not miss this band from Birmingham, AL live: their energy is astounding. They're reminiscent of Alabama Shakes, but with a male front person, Paul Janeway, whose dancing and charismatic stage presence me dazzled. I recommend their soul album Half the City, but it didn't prepare me for their sheer live impact, complete with trombones. They're planning to return to the UK in the autumn.

2) Caveman 9/10
Accompanied by much fog, the New York band impressed with their stage presence and music heavy with guitars, psychedelia, and four part harmonies, ending my evening on a high note.

3) Rhodes 8/10
David Rhodes' set got off to a delayed start, and the Brit's set took flight slowly, with some false starts and long pauses for tuning. This may have explained the audience's restlessness, yet he was gloriously sensitive and moving, particularly in the early, solo part of the set. Highly recommended.

4) Kyla La Grange 7.5/10
The Cambridge educated singer has her second album ready for release imminently, and she's embraced electronics, moving away from a folk sound. She gave an assured performance to the small but warmly enthusiastic audience. It was easy on the ear, yet I yearned more distinctive invention. However, after the half hour set she performed unplugged on the street outside the venue, a gesture of love to her fans.

6) Norma Jean Martine 7.5/10
The New Yorker, currently living in the UK is very American in her style of performance with a confident, extrovert and forthright stage presence. Her music is bluesy pop, and I particularly appreciated her use of piano. The audience was small at this location away from the main festival, yet it's difficult to imagine anyone feeling disappointed at their decision to catch this set.

7) Amber Run 7/10
This Nottingham band was playing in the Deaf Institute, my favourite small Manchester venue, and their music felt apt for a festival, being easy on the ear, with folk pop influences, and plenty of energy. Yet it was perhaps not the deepest or most original act at Dot to Dot.

8) The Heartbreaks 6/10
I caught The Heartbreaks at the largest venue of the festival, The Ritz, which was to host the likes of Drenge and Peace later in the evening. Their performance was polished, there was plenty of activity to watch, and the crowd loved them. Yet to me, their music failed to move me: any depth eluded me.

Neutral Milk Hotel, Albert Hall Manchester, 18th May 2014 9/10

I suspect I wasn't the only person at Albert Hall last night who can remember the first time I heard the iconic 1998 album In the Aeroplane Over the Sea. Despite its heavy subject matter about death and love, the music magnificently sprang to life again as Jeff Mangum's unmistakable voice intoned Two-Headed Boy. Alone on stage with his acoustic guitar, it seemed almost miraculous that the recluse had found the confidence to perform again after so many years. The stage lighting was dim throughout, which allowed the fading daylight to subtly influence the mood as night fell through the venue's stained glass, the magic reminiscent of late evening outdoor festival sets. Mangum's facial expression was barely visible from under his baseball cap amidst the gloom, but this hardly mattered, given the passion conveyed by his voice. The ecclesiastical Victorian architecture of the venue added to the sense that ghosts were lurking in the background. Mangum claimed In The Aeroplane Over The Sea does not reference a specific religion, but it's certainly heavy with loss.

Much has been written about Neutral Milk Hotel: their classic status has inspired academic theses. There's no doubt that their statue and mystique has grown with a 14 year absence from the stage. The abstract prose is rich in imagery about love and death. Yet, the show was full of vitality, thanks in large part to the five piece band. This was a long way from the first resurfacing of Mangum at Coachella in 2012, when he played a solo show and sounded lost in the vastness of the  desert. Two years later, the set has developed into a kaleidoscopic, psychedelic mix of colour. His multi-instrumentalists moved from one eclectic instrument to another, and the wonderful mix of bass instruments reminded me of Beirut. The drummer Jeremy Barnes deserves particular mention for his energy, and whilst Mangum was relatively static, the other performers danced around the stage. There were of course saws, a banjo was played with a violin bow, bells were rung, accordions squeezed, and horns were resplendent. Scott Spillane's crazy white beard and Elephant 6 Collective Julian Koster's zany outfit added to the surreal feeling, reminding us that circus is another influence on the band.

The audience, as ever, was key to the atmosphere: the band were met by ecstatic applause, and by Holland 1945 they had started to dance, a mosh pit emerging. Inevitably, the songs from Aeroplane inspired most excitement: ranging widely through their two albums and early EPs, it was this final material that was most memorable. I can understand the decision to end with the upbeat, non-album track Engine, but I lamented the lack of Communist Daughter, the song from Aeroplane which inspired the naming of a band . My highpoint was the title song of Aeroplane, a lament for lost youth, which followed the remarkable suite for King of Carrot Flowers. It must have been daunting to reconstruct an album so many have a perfect memory of, but the intricate studio sounds were faithfully recreated. Yet, live, there is an added swagger, and the rhythmic qualities of the marching bands and Bulgarian folk music which inspired Mangum came to the fore. For all the gravity of the subject matter, there was a sense of fun from a band who seemed happy to be on tour again. Talk between songs was brief, but warmly picked up on the crowd's appreciation.

That cracked voice sounded much the same as ever: for all Mangum's reclusiveness, his vocals certainly don't lack conviction. It's an uncompromising sound, not always of beauty, and the psychedelic accompaniment at times recalled experimental classical composers like Reich and Cage, as well as punk. The harmonies may be simple, but the message is universal, taking you on a joyful yet ultimately tragic journey. Aeroplane was famously inspired by a dream about a Jewish Family in World War II, and the poignancy is heart wrenching. Yet there is also an immediacy: like Walt Whitman's, the lyrics are disarmingly direct and personal to British ears . This memorable evening will forever enrich my future appreciation of a great work of art. Mangum may yet surprise us again, but new material seems an unlikely prospect. So Aeroplane stands as a brilliant, one off product of trauma which perhaps surprisingly translates into a thrilling live show.

Set List

• Two-Headed Boy
• The Fool
• Holland 1945
• A Baby for Pree
• Gardenhead
• Everthing Is
• The King of Carrot Flowers, Part 1
• The King of Carrot Flowers, Part 2 & 3
• In the Aeroplane Over the Sea
• Naomi
• Ferris Wheel On Fire
• Oh Comely
• Song Against Sex
• Rubby Bulbs
• Snow Song, Part One

Encore

• Ghost
• Untitled
• Two Headed Boy, Part 2
• Engine

The only girl I've ever loved 

Was born with roses in her eyes 

But then they buried her alive 

One evening 1945 

With just her sister at her side 

And only weeks before the guns 

All came and rained on everyone 

Now she's a little boy in Spain 

Playing pianos filled with flames 

On empty rings around the sun 

All sing to say my dream has come

(Holland, 1945)

Phantogram, Ruby Lounge Manchester, May 11th 2014 9/10

It's unusual to want to listen to a support act all evening, but that was my feeling after seeing Brighton UK residents KINs, a quartet originating from Melbourne. They're managed by the same team as Alt-J, and I could hear something of their quirky experimentation about their sound, albeit with slower tempos. The 2013 self-titled album is interesting, but gives little hint of their energy of stage. Long, psychedelic guitar sections and dynamic bass are my abiding memories; the falsetto vocals are the closest reminder of Alt-J. Undoubtedly a group to watch.

I needn't have been concerned that Phantogram was in any danger of being upstaged though: they are one of those acts that is totally engaging and mesmerising from the moment they come on stage. The duo of Josh Carter and Sarah Barthel, friends since childhood, were joined on stage by a live drummer and keyboard player. The key to the ability of this synth pop to transport me was the all absorbing dark atmosphere they created. Their new album Voices may seem a little too much of the moment for some, but live this fusion of shoegaze, trip hop and R&B is anything but bland or generic.

After the formality and distance of Coachella, it was magical to be right at the front of a small club venue again, feeling physically as well as aurally involved in the experience. Admittedly, the lighting in this venue is rudimentary, but the intensity of the sound was matched by Sarah's amazing stage presence. She danced constantly through the 70 minute set, flicking her hair whilst her head bobbed to every thunderous beat. The tight rhythms and deep bass created a huge, powerful sound which permeated my entire body, aided by the aggression of the drummer.

The New Yorkers said little between songs, perhaps for fear of breaking the spell they had created. Observing Sarah from close quarters, it was obvious like St Vincent earlier this year that she's in character on stage, totally committed in a wildly creative zone. She's performed with Josh since 2007: they're clearly complete masters of their instruments technically, but there was relatively little overt interaction between the two. Sarah very much felt like the lead performer, her ethereal vocals enhanced by airy reverberation, complemented by Josh's harder voice. There's a considerable degree of tension as the songs progress, once you realise how immense the climaxes become, and the audience was quickly drawn in.

There was real intensity to this performance, and the evening felt almost dream like: it was a considerable adjustment to emerge from this basement into the rainy Manchester air afterwards, rather like finding yourself on another continent after a plane journey. Yes, it had been visually arresting, but musically they also transcend their peers by pushing the boundaries of pop into the psychedelic. It's shadowy music of the night, yet with a groove that makes it eminently danceable. Other worldly sounds, yet with the melancholy depth of real life, and utterly unmissable live.

Set List (* from Voices album)

• Nothing But Trouble*
• Running From The Cops
• As Far As I Can
• Black out Days*
• Turning Into Stone
• Bad Dreams*
• Don't Move
• The Day You Died*
• Howling at the Moon*
• Fall in Love*
• When I'm Small
• Mouthful of Diamonds
• Celebrating Nothing

Sounds from the Other City, Salford, 4th May 2014

Sounds from the Other City is the antithesis of Coachella: utter non-commercial, eclectic and focused on exposing new talent. Taking place in Salford, an independent city in walking distance of Manchester, it's particularly notable for the mix of unusual venues, including churches, pubs and the rather grand Peel Hall below which is part of the University. You can read about my experience last year here; inexpensive tickets are a sign of a commendable focus on giving access to new music.

1) PINS 9/10
Recently returned from SXSW, it seems that this young Manchester talent is gaining wider recognition they deserve. The female foursome's sound is C86 influenced, and incredibly tight: they're exciting to watch, and it's impossible not to be bowled over by its the sheer visceral impact.

2) Bernard + Edith 8/10
Signed to Manchester label SWAYS, this trip hop duo create a dark, moody sound which enveloped me in its atmosphere, and suited the period venue well. The tempo was slow, and the tone menacing.

3) Adult Jazz 8/10
This up and coming experimental group from Leeds have the British quirkiness of Alt-J, an unexpected mix of styles, instruments and rhythms proving inventive. I can't wait to see this band again at Green Man festival in August; they definitely deserve attention.

4) Broken Twin 8/10
Majke Voss Romme from Denmark, playing keyboard on the left of this photograph, was joined by two guitarists and a violin player. The music was serene, and contemplative; if the performance occasionally felt tentative, this was intentional. There is an austere beauty here, which has prompted me to explore their recent album May.


5) Face & Heel 8/10
A strikingly strong opening to the festival, the duo blends gentle piano and vocals with harsher electronic beats and synths, with an atmospheric restraint which comes from Sinead McMillan's background in classical composition.

6) Happyness 7/10
This 3 piece from London performed in the cramped confines of a railway arch; their lo-fi grunge enthused the audience as much as anyone I saw on this day. I found it ultimately lacking in depth, but the performance was spirited.

7) Neon Waltz 6/10
This six piece psychedelic rock band from Scotland was previously unknown to me, like most of the other performers here. If ultimately they weren't quite to my personal taste, others including NME have highlighted them as a buzz band.

Salford

Coachella 2014 Day 3 Photos

The final day of Coachella brought both regret that the festival was coming to an end, and excitement that the night would close with perhaps my favourite live group.

1) Arcade Fire 9/10
Arcade Fire in Blackpool was my highlight of last year; a large festival experience couldn't live up to that, and the audience were far less energised than in that small venue. Yet, the musical performance was faultless, the sound was fine, and there was no repeat of the disappointing Radiohead experience here two years before when a disengaged audience ruined the set for me. A clever joke at the beginning involved a fake Daft Punk guest appearance, and later the pope put in an appearance, whilst Regine danced on a platform next to the soundboard.  This couldn't quite live up to the wonder of their appearance in 2011, my first ever festival, when they performed The Suburbs album in full, but it confirmed their place as one of the most talented and consistent contemporary live acts.

2) Bombino 8.5/10
I was at the front of the small crowd for the desert rockers, for a wonderful set, most notable for Bombino's virtuoso blues guitar playing.

3) Blood Orange 8/10
This was a slick set,  Devonte Hynes capitalising on the success of the soul influenced R&B album Cupid Deluxe. This is music very much of the moment, but its relevance and attention seems wholly justified on this showing.

4) Neutral Milk Hotel 8/10
I will soon be seeing this reunited classic band in a local venue; at Coachella the addition of a band recreated the sound of an old friend. It was a magical experience, far more compelling than Jeff Magnum's earlier solo performance here.

5) Daughter 7/10
I'm a huge fan of Elena Tonra's heartfelt music, but here she suffered badly from sound bleed from adjacent tents, in the same way that fellow Brit Laura Marling did in 2012. The magic of her introverted yet passionate songs was broken. Yet, the relocation of the noisy Yuma to the Terrace this year meant Daughter was the only act I saw impacted in such a way.

6) Preservation Hall Jazz Band 7/10
A fun opener to my day in the Mohave tent, playing after Trombone Shortly & Orleans Avenue on the main stage, I hope this is a sign of a broadening acceptance of musical genres at Coachella.

7) Lana Del Rey 6.5/10
I caught only the beginning of Lana's set, due to a clash with Daughter. It was one of the best attended acts of the festival, and it was clear that she's grown in confidence after some notoriously shaky earlier performances. This was the start of her post Born to Die era; I doubt this new material will change minds about this polarising artist.

Finally some night photos of an undeniably beautiful festival:

Coachella 2014 Day 2 Photos

Art Installations

Top 9 Sets of Day 2

1) Warpaint 9/10
I saw Warpaint at my first Coachella in 2011, and they proved just as hypnotic on their home ground this year, performing material from their outstanding new album.

2) Banks 8.5/10
There's no doubt LA based Banks is a rising R&B star, and her debut album release in the autumn is eagerly awaited. This confidently delivered set only increased my enthusiasm from the first time I saw her supporting The Weeknd in the UK.

3) Lorde 8/10
I have to admit that I've found Lorde's music rather anodyne, and been sceptical about the hype surrounding her. Yet, on this basis, she has not only true star quality, but has amazing on-stage presence. The crowd went wild, and this was perhaps the most memorable occasion of the weekend.

4) Washed Out 8/10
It's easy to dismiss this music as shoe gaze, yet live, I was surprised by Washed Out's intensity in their late afternoon slot in the Gobi tent.

5) City and Colour 7/10
Dallas Green's soothing voice and easy going music suited the intense afternoon heat on the main stage perfectly; if the crowd looks thin on the photo below, note that the bar areas to the side were crowded with people cooling down with a drink.

6) The Head and the Heart 7/10
The Head and the Heart can be easily bracketed with Mumford and Sons, and in truth their folk pop isn't notable for originality, and may have been more engaging in a more intimate space.

7) Future Islands 7/10
The Baltimore synth pop group played the Gobi tent as the sun went down; with strong new material from Singles they received a rapturous reception, with lead singer Samuel Herring's vocals and stage presence charismatic.

8) Ty Segall 7/10
The San Francisco garage rockers had an early slot on the Outdoor Stage, but the performance didn't lack energy. Perhaps it's missing the point to say that it didn't move me with subtle emotion.

9) Foxygen 6/10
Foxygen fans were excited by the new material performed here; backing singers dancing provided visual interest, yet I simply wasn't moved by the music in my first experience of the day.