A Page of Punk / Leif Ericsson / All the Best Tapes / Werewolves on Motorcycles @ The White Star, Stoke. 3rd August 2012.

Review by Robert Egan

For a small venue, the upstairs room of The White Star can be heard across the town centre which doesn’t bode well for my ear drums. I arrive to a pretty full venue with the first band Werewolves on Motorcycles pounding out their already sweat-laced set and I get a feeling that tonight is going to be something special. 

We have been featuring their track Dr. Love on the Stoke Sounds Radio show for some time and it is nice to be able to transcend the recording to the live experience. Werewolves are a powerful three-piece and all members eventually take turns on the vocals which gives a nice difference to their already varied songs. Being excellent musicians the band are impressively tight and the music seems to be a more traditional/pure punk sound one minute, then they hit you with a Doom laced edge the next. The sheer volume of the PA and Bass/guitar amps rocks the soul and I am cursing not bringing my earplugs for all of the right reasons! With an impromptu vocal performance from Dave Collins (Leif Ericsson guitarist/vox) for 2 tracks covering Ramones numbers, their set is heated up further, exacerbated by their animated stage presence and Animal-esque antics of the drummer. Before too long the set is finished and I am left wanting more; Werewolves will well be worth catching the next time…

Second band up tonight are  All the Best Tapes and to be honest, from an outfit that are not challenged in the age department as yet, I was not expecting the wall of sound that came crashing out of the system. The vocals are being screamed across it seems at ten times the normal volume and  it’s causing considerable damage to my already strained ears. 

The band have a layered sound which is at times quite mellow and at other times somewhat stomach wrenching. The drums come across clear and precise and the amp distortion is just enough to add suitable depth to the music without being overpowering. The sound is dynamic and thought through with a sincerity, which for a punk outfit really surprises me; it is a more accessible style of punk than you might be expecting with some interesting changes from loud to emotional content. Some tracks sound truly epic yet the vocals remain clearly defined in the mix, which considering the sheer level of the volume is quite impressive. 

The third band is The Leif Ericsson, who quickly settle into their set. It’s immediately apparent that they are tight and polished and seem well used to performing. The instruments and vocals come across clearly yet the distortion is just enough to give an edge. Leif want to take you on a musical cruise through their repertoire and as we sail through what seems like a few different genres, we ultimately arrive back to where they began, which interpret as punk with a more mainstream feel. The most appreciative crowd are enjoying their set and if the bands sweat levels are anything to go by; Leif Ericsson are utilising every joule in their performance.

Headlining tonight’s showcase is the Japanese band A Page of Punk. Now I must admit that if a band are going to take the time to come all the way across the world on a tour and pay Stoke a visit, the least we can do is go and see what they have to offer and from the opening track, I am in a bit of awe. Their sound is as loud as it is encompassing. It might be an often used sentence but the audience are going nuts for these guys and the band ride the wave of sentiment higher and higher, morphing from the front and into the crowd so that they are almost indiscernible. Page of Punk are certainly not going to conform to the ‘stage’ area nor the stereotype aesthetic of their genre; their front man Chiaki is decked out in a sparkling gold jacket and with lashings of eye shadow and slicked hair looks more a new romantic. He manages to keep most eyes on his antics as he gradually undresses to underwear whilst throwing himself around the room frantically. The music is tight and well played, loud and driven, energetic and yet playful at the same time. I like this band, they have the bravado and excitement to draws your attention and keep it firmly in the palms of their hands, until it’s all over and you wonder, what the hell just happened? Let’s hope that they come over more often…

The Black Widows @ The Old Brown Jug 25th July 2012

Review by Robert Egan

It’s hot tonight and the Jug is no exception. The room is muggy and close; so understandably most of the patrons are taking the opportunity to sit outside in the beer garden…The problem is that the Black Widows are about to play and they want a crowd, cue one of the best teasers that I have seen; the group decide to venture outside and perform an impromptu acoustic set. Scott the frontman is up onto one of the tables doing what every good frontman should be doing & entertaining, as the back line (or those that can rather) add their various elements. This has the effect of quenching a little of the audience’s thirst and entice them just enough that when after a couple of tracks the band announce that they are live upstairs, a fair proportion decide to go follow.

Their opening track ‘Post Golden gate blues’ is loud and jumpy with an encouraging tempo leading well into the second track ‘Arkansas Sound’ which has an appropriate country root and more than noticeable Punk stem. I like how the main vocals have been taken on by the lead guitarist too which adds to the variety. The third track ‘Take the Gun’ has a Dire Straits backline sound but with a clash style evident from the front instruments. The lead guitar gives a piercing accompaniment sounding not too dissimilar to The Cribs at times.

When the Black Widows appeared on the Stoke Sounds radio recently they chatted about how they like to convey a story with their lyrics rather than just create a song for its own sake and this is evident in most of their repertoire, as we are invited to listen to the tales being spoken. ‘What might have been’ is the fourth track and one of the songs that they played live on the radio show, so it is nice to be able to listen to it in all of its live and amped glory. By the time of ‘My World’, which has a gorgeous lead intro and an interesting drum pattern, I am slightly entranced and I want to listen to the story just as much as I enjoy listening to the song itself. The lyrics are important and the music accompanies them, the guitar is sparse and accentuates the vocals rather than drowning them out and gradually the music drives further and further taking you with it to a climactic crescendo. If you like The Doors and Jim Morrison’s ability to take you on a journey, then you will get an idea of what I mean.

‘Dead like you’re alive’ is about a girl sitting in a café and the seaside organ sound is evocative, as I visualise a picture, which I suppose is exactly the effect that the band wished. It is easy to hear a distinct Black Widows sound, but it’s hard to categorise them; country/blues with a hint of the late 60’s/early 70’s rock and punk for perhaps....?  Think the Velvet Underground without Reed or Nico, or the more modern Midlake, but on Prozac…Not that you should assume that this band are quiet or subtle in any way.

‘Turn and run’ has a guitar sound not dissimilar to Soundgarden’s, ‘Black hole sun’ in its uneasy effect and along with the bass notes, promotes a dystopian view as the title suggests. The music accentuates the vocals again and gradually the tempo increases taking us along for the ride, suddenly releasing the lead guitar with a lick you could race Formula 1 cars to. No sooner have I jotted those ideas down than they have just tripped the sound-o-meter for the venue and half of the instruments are cut off. This is just how good The Black Widows can be....it’s not about keeping it low key, it’s about delivering a message with clarity and the minimum of distortion, whilst still possessing a volume enough to blow the venue’s trip switch.

Musically The Black Widows are tight and sound polished and professional; with a particular nod to the lead guitar, and Scott Francis’ vocals which have a slight transatlantic twang which I don’t normally go for, but it is slight and works well in this outfit. They seem possessed with a new spirit ready to take you on a shamanistic journey, and who knows, you may just emerge from the trance ready to heal your own tribe…

The Situation presents Adam Atkinson / Suzie does it / The Blue Yellows @ The Foxlowe 21st July 2012

Review by Charlotte Lunt

This was only the second gig for Adam Atkinson, who was treating us to a set of his bluesy melancholia this evening. From early on it was clear he was playing to his friends and supporters who had come along as there were plenty of in-jokes and banter between them.


His optimistic lyrics and creative melodies show his potential as a writer, although he has chosen the route of being a frontman without a band rather than taking an acoustic pathway. This is betrayed at moments when it is not a massive leap of the imagination to envisage a full line up behind him both visually and musically, with the potential for intertwining backing vocals being very apparent. However he holds his own with a set comprising of his own compositions such as ‘Shining light’ and a couple of covers to boot.

Suzie does it, are a duo, who perform close harmonies and very tight playing. Throughout their set they perform tracks from their new EP, and also provide a generous sales and social media pitch, showcasing some really rather good guitar playing, and also some stunning vocals. They played a consistently strong set with hints of Country and Folk. This is clearly a duo who know they’ve got nothing to prove and who enjoy playing for the sake of it.

Just as the Blue Yellows take to the stage, in what seems like a per-arranged move, the room filled with a substantial audience, it looked like I wasn’t the only one anticipating a foot stomping set from Jonathan and Co. Opening with ‘Killing me’ a jaunty rock number which had a clear sense of humour lurking in the keyboard hooks, before moving to a more mellow number featuring the not often heard accordion, these guys really do pack a punch, with the song ‘Cry Cry Kill’ really echoing round the room and getting people off their chairs and onto the dance floor.


The thing about the Blue Yellows is that they’re not a one trick pony; each song is distinct and has its own personality, whilst maintaining a definitive Blue Yellows sound. Through a number of the tracks the melodies are punctuated with humour and light hearted keyboards as well as acerbic lyrics.

Hitting a more mellow note the audience were permitted a breather before they launched into Stoke Sounds favourite and championed ‘Summer anthem’ ‘No Tobacco, No Jesus’. Jon offered a curious explanation about the title involving missionaries and their converts (which to be fair I haven’t done justice to here) and with the crowd nodding like a flock of pigeons singing along, they all seemed like they were enjoying it too.

Breaking Satellites / My Vote of Confidence at The Sugarmill 6th July 2012

Review and photo by Robert Egan

Arriving to a darkened room with a generously sized crowd, My Vote of Confidence opened with a suitably inspiring intro which breaks into a driving rock number. It's immediately apparent that there seems to be a hint of the balladesque stadium rock from the mid/late 80's and early 90's here although not too much to be fair and as more and more crowd seem to be appearing from somewhere like moths to a flame; the question is, will they get burned or dance into the light? The answer is the latter.

The second track which begins with a Slash like guitar solo & pacey tempo. Their third number 'Holding Fast' changes the mood slightly as it holds within a darker & drier sounding menace than the preceding tracks and the guitarist/front man has a style, ability and experience to draw from than I would normally associate with a guy of his age. The drummer is certainly enjoying himself, providing such an amount of energy to the performance that I'm jealously wondering how he is able to play like that & not be dripping with sweat. 'Demons by Design' is a new track with a gorgeous bass line that winds around your ears as if tapping in to your body’s' rhythms. I have to say that I was left wondering where the grungy, heavily distorted guitar was; I’m tantalised & expecting it, but it doesn’t come; perhaps it's the mix levels tonight? Not that its absence detracts from the sound at all as this 3-piece are definitely whacking it out, just that in other bands with a similar sound, there's another guitar complimenting the bassline and providing a driving grind which I think would add effect-but that's my opinion.

'Hand Full of sugar' comes after an impromptu interaction from the singer with the crowd and they give thanks for the preceding band which is always nice to hear. Overall My Vote of Confidence are tight sounding and professional, the guitars are slick and imaginative, the drums are energetic and driving and the basslines are to die for, which given the volume of the Mill's sound system, could cause bodily dysfunction...I did note a lack of variety in their set however, but if you like indie/rock with a hint of grunge then you will get it more than enough if it. My Vote of Confidence are definitely worth catching, especially as they announced that their last Stoke gig was 12 months ago, the brevity of their appearances locally is surely a motivation to catch them when you can...

Headlining tonight's showcase is Breaking Satellites, by which time I was hanging around the balcony like a shadowy phantom, waiting to capture some images of their opening track. Instead we were greeted with a pre-record intro that shook the room if not the soul like 5.9 on the Richter scale. This band wants to make an impression & an entrance and by the time they emerge from the green room, the crowd are chomping at the bit.

I was caught on the tidal wave of the first two tracks 'Spilt Ink', 'Take Flight' as I certainly did not expect this kind of audible assault from them. With 5 members on the stage, they have a big sound and a big presence to go with it, people are hugging the stage like it is their last chance to get on to the evacuation ferry and holding on to the rails just as tightly. Their third track 'Bang Tidy' has the front man screaming out at an impressive larynx shattering level at times & although I can't hear him, the 2nd guitarist seems to be belting it out just as much on backing vox. Of particular note to me was the intricate & unusual drum pattern which gives a hint of their potential although at times it did sound as if there was a slight delay between the synchronisation of the rest of the members playing along with it; not that it was that noticeable to be fair.

There seemed to be some issue with equipment by this point & I was not surprised given the level at which it was coming out-I've seen bass amps on fire whilst being played a lot quieter! But the drummer filled the space with an impressive solo. The variety between tracks is of note and it is not easy to categorise them, especially as the front man announces that the next track is a 'slow depressing' one, which it certainly isn't. It does have a story however which seems quite dark & the singer's vox are gravelly at times; he definitely doesn't have a voice that you would expect for someone so young, nor do we have a lot of in Stoke, he sounded like a younger version of Translucid's front man-which is not a bad thing at all.

The crowd are certainly kept involved throughout the set & the front man engages with them at every opportunity which not a lot of bands do these days and it does seems to be appreciated. For me there's a little punk, a little emo maybe and a developed sound, which can be a little loose at times, but nothing that detracts from the enjoyment. An example is the new song '3/4' which as the name suggests, has a nice 3/4 timed intro which seamlessly develops into a 4/4 which I was massively impressed with and there is a sizeable amount of people dancing away, absorbing the energy. 'Nothing to Hurt You' has a high pitched guitar over a tom-driven drum beat & the singer is straight up onto the stage riser to entice the crowd further. Their encore 'Sleeping Alone' gave a fitting finale to their set and left everyone satisfied with the experience.

Breaking Satellites are young, energetic with a large sound. They already posses a quality repertoire and this hints at how good they could become as they develop musically.

The Situation First Birthday all-dayer@ The Central Club, Leek 27th May 2012

Review by Charlotte Lunt

Photo by Robert Egan

There aren’t many things that could drag me to Leek of a sunny evening; however The Situation celebrating their first birthday with an all dayer has proved to be one of those things, at least for a couple of hours.

Arriving just in time to catch the last couple of songs from Cherry Lightening, I was honestly disappointed to see how few folks had made the effort to come down to the Central Club to support the event. But nevertheless this didn’t seem to have put the band off their stride as they finished their set with a high speed cover of The Wombats ‘Let’s dance to Joy Division’. This provided the opportunity to speak to one of the organisers, Simon Edwards, who was brimming with enthusiasm and clearly enjoying the evening.

He explained that The Situation run 2 monthly nights in Leek, usually hosted at the Foxlowe Arts Centre, and that over the year they’ve been able to spread their wings and have been attracting acts of great calibre not only from the local area, but also the wider environs.

The first full set I saw was from The Taskers, who did a stripped down session for the radio show earlier this month, so this proved to be an ideal opportunity to hear their ‘plugged in’ sound.  I wasn’t prepared for the rawness in both sound and delivery, and always liking it when a band surprises me, this was a good thing. Tearing through a set of clever melodies and syncopation that were coupled with prophesising and contemplative lyrics they provided a solid set of quality tuneage.

It’s refreshing to see a band that rely solely on the quality of their song writing rather than persona – perhaps this unassuming approach is because as a two piece they are quite exposed, with little to hide behind.

In addition to the Pearl Jam influences they cited on the show, I’m hearing a tad of Frank Black, and a trace of Eric Clapton amongst others, which in combination work well and provide a swath of different approaches and delivery from the band. My favourite song of the set was ‘Itch’- which features on their brand new album – full of juxtaposition, contradiction and friction, it keeps you on the edge of your seat like a good psychological thriller.

Next up were the recommended Gravity Dave, who started out on a set of solid rock. At this point I must confess that I was having reservations about them, that is until they threw out ‘Let’s pretend’, which tore along at a cracking pace with vocals and lead guitar challenging each other for the spotlight. Moving swiftly into ‘Romantic Comedy’ I’m more than pleasantly surprised as having judged this book by its cover, this was a more edgy, contemporary composition than I’d expected, so apologies to the band and hats off for keeping me on my toes.

I have to say that whilst this was not a visually dynamic performance, it was slick and they consistently delivered solid well crafted songs, and anyone who can write a song called ‘Cattle’, can’t be doing too much wrong in my book. The ‘Steps of Heathrow’ was reminiscent of the erstwhile Red Wedge movement in its social commentary and edginess, and that drew their set to a close.

Although, I was only able to stay for a short while, this showed that the hard work that The Situation are doing to bring quality artists to Leek, is paying off. I’d really recommend having a trip out to some of their forthcoming gigs – which having had a sneaky look at the rosta – will be well worth it.

Sleep In Promotions presents The English / Holy-esque / Camp Stag @ Fat Cat, Hanley 26th April 2012

Review by Charlotte Lunt

Photo's by Robert Egan

Opening with their current single, The English are instantly reminiscent of Echo and the Bunnymen, whether this is just an influence of theirs or a deliberate move, in my book it isn't a bad thing.

As their set progresses it is a little pedestrian in places but as the lads have clearly put the hours in to produce a solid performance this could easily be attributed to  nerves. 

I have to admit that I'm not as familiar with The English's music as perhaps I should be, and in fact was looking forward to their set tonight on the basis of their current single alone. They don't follow the well trodden route of so many bands in Stoke and they clearly know what they're about, confidently striding in to a Ramones-esque cover of 'Be my Baby' which has saw a number of the audience prick up their ears. 

Clearly there is much use of effects pedals, but there is an over arching simplicity to their approach and this shines through on a 'take it or leave it' kind of way rather than with an arrogance that is oft' too familiar. 

Admittedly I'd not heard great things about this band before tonight, but there is something about their music and approach that really appeals to me - even if I can't quite put my finger on it.

Holy-esque, a four piece from Glasgow have come hotly tipped for this evenings show. Again (a small cheer here) they have a slightly retro sound, this time bringing us closer to the end of the 80's with leads from both synth and drums. There is a familiarity to their music, perhaps the obvious Glaswegan link to Glasvegas, although I'm inclined to believe it is something more subtle.

For me, their set never quite took off, which was a shame, however this isn't to say they'll disappear from my radar.

The headline tonight was the first performance from the hugely anticipated Camp Stag. Benefiting from having a number of members who have already made their names on the local scene, the troops were out in force to support Dan, Rich Chris and Ade. 

Instantly bringing us crashing into the 21st Century, not only with their sound but with their political observations, they introduced their third number as 'Big Society' - with tongue firmly in cheek. Punchy delivery and swaths of synth and guitars is definitely what Camp Stag are all about, as they move effortlessly to their current single Sirens. This has a more moody and driven sound than previous songs, and coupled with a understated desperation really has a strength about it.

Introducing their last track, which came far too quickly, the keys lift a song that lyrically comes from a far darker place. Looking round the assembled audience they really have people in the palm of their hands, and hopefully this is just a taste of things to come.

This is definitely a muso's crowd here tonight, which is hopefully a reflection of Camp Stags promise of things to come. This was a brief set that left you wanting more. 

Catching up with the band after the set, they said that tonight was about keeping it simple, and following a recent line up change was about powering through their set with confidence, which they undoubtedly did.

I'd make a note in your diary of the next few gigs for all the local guys on tonight's bill and see for yourselves, and keep an eye on Sleep In Promotions as they appear to be a step ahead.

Giro Junkie / Dinosaur Dancefloor / The Nanateas @ The Full Moon 30th September 2011

Review by Charlotte Lunt

For me, unashamedly this is a long awaited gig. Those of you who tune into Stoke Sounds on 6towns (Monday’s 7-9pm, hint hint) will know that we’ve been long term champions of Giro Junkie, and also that Dinosaur Dance Floor have recently seeped into our aural consciousness. Couple this with the fact that Giro’s album ‘Taxi for Dave’ hasn’t been out of the CD player for the last week or so and you have an idea of the levels of anticipation I have.

First on were the Nanateas, to whom I owe an apology as the impromptu meeting of so many old friends and familiar faces from gig's gone by that I missed the bulk of their set, but I did catch respectable covers of The Cure’s ‘Friday I’m in Love’ and Pulp’s ‘Disco 2000’.

With the dance floor filling up for Dinosaur Dance Floor, the atmosphere really took hold as their dancey indie rang out. On a slightly critical note, it would’ve been good to hear the vocals higher in the mix as this really did detract from the performance. Within the first few songs I can see domination of the current Stoke Scene well within these lads grasp – jangly melodic feel good indie pop – perfect for a late summer evening. They are clearly a band who practice hard but also and refreshingly don’t seem to take themselves too seriously, and seem to be as much about having fun as they are about the music. This evening see’s them delivering a set of little gems to an audience with their dancing shoes on, and is more than an appropriate prologue for the main set.

Tonight’s performance by Giro Junkie, serves very much like the stories they tell in their lyrics. Starting with 'Murder of Logistics' as the 2 piece they have been performing as for 18 months or so Rich Bloor (vocals and guitar) and Mark Stevens (drums and vocals) they guide us through an album’s worth of songs starting with some simple numbers I remember hearing in The Glebe many moons ago, to the fuller and richer sound they are now achieving with the addition of several new colleagues.

Rich’s ability to use lyrics to tell stories straight from the coal face brings an earthy strength to the songs, notably  'Oh-Dae-Su' and it appears that as the set progresses their music is gaining attention from the venue's patrons. One thing that is fabulous about this evening is the ‘love in’ feeling from so many people who have come out to support the band, and the recognition that as a first album release this is a celebration of their achievements. There is always a pleasure about watching an artist and friend performing, but to see a band develop and grow like this is a real privilege.

Welcoming an abundance of guest artists to the stage to complete the full line up for the last three songs, Giro Junkie showcase the new directions that some of their songs have undertaken. The introduction of more voices and instruments has brought an earthly feel to the music, and a feeling of shared experience, akin to that heard in sea shanties. Although about contemporary issues, songs such as ‘Hands for Feet’ appear to have now grown their roots firmly in the folk tradition, in a way that melds two worlds simultaneously.

Leaving the stage to rapturous applause and one or two ear piercing whistles, Rich, Mark et al. Should be rightly proud of this evenings gig and launch of their album – which in case you didn’t know is available in a limited edition from the band, and also on itunes.

Oceans Between @ The Sugarmill 9th September 2011

Review by Charlotte Lunt

Following a rash of gigs over the bank holiday weekend, and opening our own Festival earlier this year (which seems like an age away), I can honestly say it’s a treat to hear Oceans Between playing tonight. Performing to a respectably full mill, the three piece, featuring brothers Alex and Oliver Gwilt and Robert Egan; on vocals and lead, bass, and drums respectively they opened this evening’s show with a solid set of their driving rock.

It would be fair to say that they are mostly driven from the rear (no pun intended) with bedrock drumming from Rob - but that is not to detract from the guitar skills of Oliver and Alex. Bravely opening with a new number – a mere 3 days old – they set the bar high, before striding through their set. I didn’t manage to catch all the song titles, but of note is ‘Brothers in Arms’ which in my opinion has real potential as a debut single. Alex’s soaring vocals and delivery reminiscent of an angry Johnny Borrell are really showcased here, and it would be great to see him perform this free from the constraints of his guitar and release his inner front man.

If the pace of a set could be measured by a sweat-o-meter, then by my reckoning at this mid-point, the score is drippingly high; but the amount of effort going into the performance is certainly paying off. What is really impressive for an opening slot at the mill is not only the turn out but the number of people who are really watching the band rather than chatting amongst themselves – perhaps the conversations are happening on the roof, but with people dancing along and clearly enjoying the tunage this is a far better reception than I’ve seen for many openers of late.

Attacking each song head on seems to be the Oceans Between way and stands them in good stead for building a following. Finishing with ‘Reservoir of tears’, a rousing ballardesque number with a definite sing-a-long and mosh-a-long ability, there is a hint of great things to come from this band, so if you do get the opportunity to go and watch them play, take it.