Saturday, December 23, 2017

Top 20 Albums of 2017

Once again, this is a highly personal list of the music I most enjoyed in the past year; in no way is it an attempt to outline the most 'important' or influential albums. This time, two very different records, both heavily influenced by amazing live experiences dominated my listening for much of the year. Yet, it was the one which engaged directly with the political tragedy in America which best embodied  and accompanied this challenging, traumatic year.

1) Hurray For The Riff Riff: The Navigator

2) Pumarosa: The Witch

3)  The National: Sleep Well Beast

4) St Vincent: Masseduction

5) Lorde: Melodrama

6) Zola Jesus: Okovi

7) Hiss Golden Messenger: Hallelujah Anyhow

8) The War On Drugs: A Deeper Understanding

9) Laura Marling: Semper Femina

10) Slowdive self-titled

11) Aimee Mann: Mental Illness

12) The Weather Station self titled

13) The Big Moon: Love in the 4th Dimension

14) Julien Baker: Turn Out The Lights

15) Lowly: Heba

16) EMA: Exile In The Outer Ring

17) Aldous Harding: Party

18) The Deep Dark Woods: Yarrow

19) Austra: Future Politics

=20) Phoebe Bridgers: Stranger In The Alps

=20) Torres: Three Futures

Top 20 Live Performances of 2017

Financial constraints changed the nature of my music experiences in 2017: foreign festivals were out of reach, and the number of gigs I could attend was reduced. Yet, I was still able to visit smaller venues, and the absolute highlight of my musical year was an outstanding Green Man Festival in Wales in August.

1) Hurray for the Riff Raff, Green Man 18th September 2017

2) The National, O2 Apollo 22nd September 2017

3) Pumarosa, Green Man 18th September 2017

4) Zola Jesus, Band on the Wall 1st November 2017

5) St Vincent, O2 Apollo 18th October 2017

6) Austra, Deaf Institute 24th March 2017

7) PJ Harvey, Green Man 20th August 2017

8) The Big Moon, Sugarmill 9th October 2017

9) Slow Dive, Albert Hall 10th October 2017

10) Michael Kiwanuka, Green Man 19th August 2017

11) Julien Baker, Deaf Institute 6th June 2017

12) Grizzly Bear, Albert Hall 6th October 2017

13) Aldous Harding, Green Man 19th August 2017

14) Laura Marling, Albert Hall 12th March 2017

15) Julia Jacklin, Soup Kitchen 23rd February 2017

16) EMA, Soup Kitchen 4th October 2017

17) London Grammar, O2 Apollo 20th October 2017

18) Banks, Albert Hall 10th March 2017

19) Waxahatchee, Deaf Institute 5th September 2017

20) Pinegrove, Dot to Dot Festival 26th May 2017

Sunday, February 5, 2017

Matthew and the Atlas, Soup Kitchen Manchester, 3rd February 2016 8/10


As I entered the Soup Kitchen's dimly lit basement, I felt transported back in time to a more innocent age as The Lumineers' 1st album wafted from the PA. I started to imagine that Marcus Mumford might step on stage with a banjo. The nu folk revival might have long since gone out of fashion, but it clearly still has an audience, as this sold out show demonstrated. The first act, the local Lindsay Munroe playing solo evoked a hushed response from the crowd for her delicate, sensitively delivered soulful songs. This aura of reverence continued for the second support act, Sam Airey, also playing without a band, also with a melancholic air.


It's currently possible to feel nostalgic about a lost era of innocence from a month ago, let alone from a decade ago, and this experience was an escape into beautiful melody and calm. Whereas recently Rural Alberta Advantage had transported me to difference place: Canada, here I was transported back in time. Yet, Leeds' Sam Airey reminded us of the troubled world outside when he performed the Springsteen cover No Surrender, explaining that: 'we need an American Hero now more than ever'. London's Matthew and the Atlas let their heartbreaking music speak for itself, with little chatter in the hour long set, but much gorgeous harmony and ethereal atmosphere.


Despite the far larger forces of a five piece band crammed onto the small stage, and a participatory clap along at the end, this felt more an introverted than collective experience, a welcome oasis of calm. Whilst banjo appeared for the heartfelt encore I Will Remain from the early EP To The North, Matthew and the Atlas' albums are characterised by the more contemporary addition of keyboards. Plangent clarinet sounds are also added to the mix, yet Matthew Hegarty's vulnerable vocals underly all of their material. Their second album, Temple, from 2016 was inspired by the Scottish Highlands, though one of my favourite songs, Modern World, has a country influenced sound. The quiet subtlety of this folk ultimately proves not just healing, but uplifting, and I strongly recommend this band for those striving to remain positive amidst the unfolding American tragedy.



Lindsay Munroe (Support 1)

Sam Airey (Support 2)