I know I may have crossed many lines that evening between supportive and stalkerish behaviour, but I prefer to think this represents how dedication to something you are truly passionate about, courage of your own conviction and press passes hold a higher value than money ever will. With 6 minutes we covered ground from nuclear war, the revolution of the internet, to falling in and out of love with the acoustic guitar. All of these themes appear woven into the past four albums, representing some truly provocative and political ultimatums for the introspective mind. However Sam is still a very grounded guy and as much as he fears the internet substitutes communication and is responsible for unnecessary social change, he still admits to listening to some of his songs online to remind himself how to play them.

Through my impromptu discussion with Sam I discovered this would be the first tour without a horn section. I wanted to be disappointed but as his trumpet/sax player went to join circ de soleil it seemed somewhat forgiveable if not a bit of a cliché excuse. The main gig did not feel as if it were lacking anything in the slightest and even after my intimate experience at the Leeds hub I still felt like I was the only person standing in front of Sam and the band in the crowded Brudenell. They managed to capture the same awe-inspired attention from listeners anticipating and singing along to every lyric and instrumental melody.

With over an hour long set we witness many favourites we never knew we had and the addition of new tracks from the latest album Maps. The latest single The real McCoy is definitely one to rival the likes of I-Spy and Find the Time, all of which appeared in this incredible performance! From the climatic build ups of tracks like War of the Worlds to the energetic bursts of Nightlife and Keep singing out erratic became an understatement for the emotional rollercoaster I had immersed myself in. I could just be unhealthily consumed by talented musicians, but this is one of few bands that after the first four tracks give me a profane belief that I would walk out of there enlightened and wanting to put the world to right, whilst simultaneously valuing a good pint with my nearest and dearest.

Although we all feared his solo album may be the demise of Get.Cape this couldn’t be further from the truth and this gig had impact through and through from the whispered lyrics, to the signature acoustic slams and powerful percussion from various mediums. The encore was an experience in itself, finishing with Call me Ishmael the metaphoric tale of a white whale, larger on land than it is in the sea much like the office odd bods. It’s a shame and a gift that unlike a film you have no pause, repeat and a video recording can do no justice to the memories made from auditory experiences, even if it does seem slightly profound for an experience I had in a social club.

www.getcapewearcapefly.com

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I eased myself in at midday with Chew Lips, watching them for the fourth time it would be fair to say this is a band I am quite familiar with. Instead of stalking I would prefer to think this behaviour typifies the festival’s ethos of nurturing a band with support and watching them develop. The electro indie trio delivered sparkles in dress and music and gave their followers and new fans a reason to buy their first reasonably respectable drink of the day. In short their debut album Unicorn should become as standard in your collection as Morning Glory.

The second venue, Nation of Shopkeepers, is a personal favourite of mine, and although I didn’t know Broken Hands I had never been disappointed by any acts that had played there. This band was no exception and delivered a musical message someway between Britpop and folk if that’s imaginable. Maybe a simpler vision would be of a heavy version of Pulp, yet with slightly funky sentiments and more subtly whingy anguish; any band that uses a tambourine as a core part of the set, and does it well, always goes up in my estimations.

In the same vane Adult Jazz also pioneered the growing phenomenon of replacing typical sounds like synths, drums and guitars with non electronic instruments. Although by the name these guys may sound like they are attempting to not only appreciate but revive Miles Davis and Dizzy Gillespie, this band were actually supporting a trend of something I have decided to brand as ‘ambient electro orchestral music.’ This encompasses bands in the same talent pool as the Cinematic Orchestra, Bonobo, Portico Quartet and Little Dragon. Essentially using a trombone to accompany synths and lots of bass in a club under a railway bridge goes someway to painting an accurate auditory image.

One of the acts that I was most looking forward to was Ladyhawke, who delivered a seamless hour long set of 80’s vibes, yet still offering something to relate to no matter what era you are from – this was evident from the varied audience this brought to Leeds largest gig venue at prime time. There is something quite innocent yet equally intriguing about this beautiful blondie; the girl next door and aspiring politician rolled into one. The hook lines of My delirium, Back of the Van and Black, White and Blue were heard from various people joyfully stumbling the streets for the rest of the night.

Just before the final act of the night I managed to squeeze in a set by Alt-J, which was shoegazy similar to Being There who I had sat avidly watching cross-legged on the floor inches away from them earlier in the day. The frontman has the voice of Serj Tankian which works surprisingly well with sway worthy whispers, xylophone lines, harmonies and acoustic guitar lullabies. I highly recommend seeking out Alt-J’s tracks Matilda and Fitzpleasures as I now listen to them on my daily playlist of the moment.

Choosing the headline acts to see is always a tough choice, for me this lay between Dog is Dead or Lianne La Havas. Maybe it was the cider by that point that explained why I based this decision on the fact that someone who had been added to the line-up last minute represented an oman for success. That and the fact that I had seen Dog is Dead a few weeks before and am far to bias to their brilliance – especially as a fellow sax player.

This logic turned out to be flawless and Lianne and the band were a personal highlight and I honestly believe these musician have yet to grasp how mind blowing they actually are. Having been compared to a female Ben Howard, Lianne silenced the room with a beautiful hybrid of sweet folk and soul. I sat stunned on the balcony listening to powerful vocals supported by banging bass lines, encapsulating keyboard melodies and a personal favourite – double bass! As humble as it may be I predict massive things for this lovely lady in 2012 and beyond, hard hitting track Lost and Found having already received daytime airplay on national radio.

The night would not have been complete without the obligatory after party, even though I have spent more evenings than I can or would like to remember in Leeds infamous rock/indie/punk/alternative club Cockpit this one seemed unique. Celebrating a love of live music with people you have known all your life, your uni life or for five minutes is as gratifying as spending Christmas in Lapland. Although I slept well into the afternoon on the final weekend before end of my degree deadlines I still woke up half deaf with a head full of memories and a smile on my face. I was satisfied in a warm bed instead of a field high from the simplicity of small scale festival life and new and loved music.

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It’s more than a welcome surprise for locals and visitors alike to find high-streets that are usually associated with the H & M sale, or venues like the Faversham known for making an awesome mocha transformed into vibrant mini utopias for smiley, happy music fans embracing Leeds life. Returning for another year the annual bank holiday festival line up has hit a new peak, with headline acts including Marina and the Diamonds, The Enemy, The Subways, Los Campesinos and Ladyhawke. Amongst the carnage of mind blowing music are Reverend and the Makers, Dot Rotten , Spector, Ghostpoet, Scroobius Pip and Iliketrains.

As much as most people enjoy the adrenalin of transporting themselves from one end of the city to the other in two minutes; day rider bus tickets, running shoes and roller skates don’t quite make up for the lack of 21st century teleportation devices. The only advice would be to plan ahead, prioritise and optimise your time. As well as cramming in all your favourite acts be sure to catch the next big things including, Stooshie, Dog is Dead, Chew Lips, Nink and the dove and Gabrielle Aplin, some of which are just creeping onto daytime radio one playlists.

As much as you can become immersed in an abundance of sound and an endless array of strawberry ciders in the sun, try and take in some local or rising lesser known acts, it’s a chance to see some truly amazing musicians before they start UK wide sell out tours. Previous years have seen the likes of Bombay Bicycle Club, Ed Sheeran, Aloe Black, Hurts and the Macabees. If you need that extra fill of excitement like ‘all of your festivals have come at once’, although sold as a separate event Example will be playing Leeds prestigious Millennium on the Saturday night. Saturday tickets (the main event including all of these amazing acts) are an absolute steal at £20 a go, available from most major ticket site or locals can pick them up at Jumbo or Crash records, however they are selling at a rapid rate.

For many students this one weekend is the highlight of their whole university experience and a chance for alumni to travel from afar to become reunited with the friends, venues and feelings for years to come. However the age range of the festival is wide span (possibly as it negates the need for a grimey tent) and includes genres to appeal to all tastes and persuasions from jazz, to hip-hop, funk, soul, indie, metal and pop. Growing in popularity every year, this will be one wristband that stays on for a few too many showers, long enough to proudly disintegrate alongside your Glastonbury one. Instead of facing another year of heart wrenching decisions between festival and considering to take out loans to afford them all, throw Live at Leeds in the mix to ease that decision – as you won’t find better acts at any introducing tent or second, third or fourth stage.

www.liveatleeds.com

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The key to any good business and especially the music business is networking, trawling the internet for suitable gig venues and promoters to push you into the limelight, or replacing the drummer for the overtly keen guy who wasn’t as committed he claimed. So not only as a musician do you have to spend an immeasurable amount of time perfecting your trade, but along with this is the rigmarole that goes into proving that you are worth listening to.  Similarly a promoter has to find a band who isn’t going to drop out last minute, or decide the gig was too far to travel despite their initial enthusiasm.

The internet has been a perfect facilitator in tying loose ends and making new connections, musicians wanted websites and forums, pointing you in the direction of promoters’ special books, the anticipation of confirmation e-mails in your inbox. However, not only does bandsforgigs.co.uk link bands directly with promoters and vice versa, you can specify your requests exactly to your city, genre, availability and any other added requirements.

It’s a simple and self explanatory website, that requires no further research than a minute of your time to explain who you are and what you want out of it. The master tables are easy to read, with unique filters to narrow your search to a specific location, availability, genre or even a specific band to quickly and efficiently provide you with a list of all relevant submitted bands and likewise promoters in your area. To add further credibility the site is set up and run by a promoter of a long standing successful rock night and includes reviews of bands (at request of promoter) and venues, so no shed gigs for promising acts. These are rated by credible members and not abused, to give useful feedback and keep things in a nice informative loop, like a giant handshake of musicians and fellow crucial industry counterpoints.

Furthermore the site is intended to support bands with the musicians wanted section, for example bands can source the much needed bassist in the local vicinity and likewise your percussionist can source out suitable musos to get on the gig circuit with. Although many of these ideas are tried and tested on mirroring sites never before have they been collated (and worked)  into one fantastic tool. Saving crucial time and stress for musicians, promoters and any other industry gurus.  So spare a minute of your time to register yourself, get noticed or have a brows of unmissable information.

www.bandsforgigs.co.uk

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In true vane of this arty experimentalism his retro geek style is pre pictured in your mind without having ever seen him e.g. signature stubble and black plastic glasses.  The album is slightly replicative of underground clubs or chasing colour on a dance floor, however it does cause dancing style difficulty… Maybe that growing case of staring at the ground grabbing your head and making robot style movements?

The hot chip influenced track Runtime being a shining example of this. Further in depth this album is a music technician and Dj’s dream as far as technique is concerned, well depending on perfectionist objection otherwise ignorance is bliss. Drake’s elusive Brooklyn vocals compliment the sweetly falling digital beats, layering, looping and memorable lines resonating throughout this fantastic 3^rd album. His vocal ability is particularly prominent in predicted single release with chart topping ability Wave to the Winner.

Personally the most emotionally provoking track on the album is Harp Darkness an instrumental piece, with a combination of haunting classical piano and randomised electronic samples throughout. Latest release The Echoes is a space age style masterpiece, slightly psychedelic in feeling surrounding the confusing common place motions of heartbreak, yet still remaining ironically uplifting. A rise in recognition is truly deserved for this immensely talented musician.

www.cassetteswontlisten.com

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I Am A Camera have taken electronica and turned it into a movement, much like a fine opera it tells a story, adapted to suit the listener frozen in their own headphone bubble, heavily engaging with the artist. A slightly dark and mysterious edge to a genre typically related to the club scene, yet working like a crusade passing through and capturing many human emotions.

Since their arrival onto the scene in 2010 their music has covered many sensations and topics ranging from broken hearts, lost lovers, bitter trophy wives and revenge, reflected in aptly named tracks such as Commuter Love, Without You and Queen Cover. Once more illuminating their artistic escapades, Commuter Love was even used as backing track on the Omar Kashoura catwalk at London Fashion week. Deep emotions are portrayed and perfected into melancholy beats falling perfectly in sync with Francesca’s extensive and enchanting vocals, which are a little Amy Lee meets Bjork.

Their influences range from Neil Young and the Flaming Lips to John Cale and the Beach Boys. The momentum of ambience and synthesizers building and releasing tensions like an ultra modern Wagner makes for a pinnacle of 21^st century music. Dare I forecast a potential/future Daft Punk on the radar? Certainly, the combination of high-pitched strings with heavy bass lines, beautifully keyed racing melodies and vocal focused breakdowns gives them their originality.

I Am A Camera can only really be summarised as a well thought out piece of art brought to life through layers of sound, studied and created, very difficult to define in words but can easily be understood in one listen. Through the glory of social networking be sure to keep up to dates with intimate smaller scale venue touring while its still happening!

iamacameraofficial.com

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The inspired opening title track and E.P name Pictures, is an uplifting 3 minutes containing verses structured purely by questions, unavoidably filling our minds with wonder. The notion of taking pictures is Leftwich’s metaphor for when life gets too overwhelming not to forget precious memories, but especially people. Tracks See You Soon and Sophie are beautiful lessons concerning the aging process and treasuring friendships. This idiom is surmised simply and perfectly in the chorus “if you get time come back and be mine, if you pass by I will see you in the sky.”

There are elements of romance and longing running like a delicate thread through these four tracks, a message that distance is a necessary cog in life’s excursion, but still remains incomparable in its attempts to separate strong bonds. This is displayed poignantly in the final track The Boat, the lyrical cycle of “I wanted to keep you close and make you mine” contrasting to “wherever you are floating on a boat or on a star.”

I predict Leftwich will have a place in the history of acoustic sounds akin with the likes of Bon Iver and Jose Gonzalez, attempted by many but this almost enchanting combination of compositional elements give him that much acquired point of difference. If music could describe the feeling of awe this would be the closest thing to it, gentle enough to be woken up to but resounding louder in many other senses than a distorted amplifier.

www.benjaminfrancisleftwich.com

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Baring this in mind track four entitled and reminiscent of 1983 did raise a giggle, and at risk of sounding like your nan, it would seem to be a year in which this four piece don’t appear old enough to have been born in let alone have gone out raving! However they clearly knew how to live demonstrated in lines such as “put our your cigarette and kiss me on the lips,” as of course we didn’t know smoking caused cancer back then – a microcosm of rebellion! On the contrary it must be said the first track released off this album, Animal received a lot of airplay.

This includes the infamous line “here we go again I wanna be more than friends.” Although the lyrics may seem a little trite you will definitely find yourself belting them out in the shower. As far as a punk pop band with an American audience with an average age of 14 goes they are heading for the stars! It must be credited to them that even though they have pop smeared crudely all over this album, and despite their gothic space age appearance they are not trying to mask their visage behind an indie appeal, as many American bands do to attract an English audience. In fairness they do write all of their own material and play real instruments. It’s almost a little unfortunate that these nine tracks are just a little too serious for cheese appeal and not quite original enough for the multi selling market.

This is an album, and possibly a band that sit on that awkward threshold, maybe have the fantastic second album or fade into the veil of musicians known for two tracks and small venue tours.

www.myspace.com/neontrees

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Although it could be argued the slot has been filled, Ben Marwood seems to replace Frank Turners poignancy with some very humorous one liners and word play, including little gems such as “I wasn’t talking about Whoopi Goldberg when I said that I would see your ghost and I would follow you now to your grave somehow, but you’ve always been crap as a host,” and “you hate all life’s unanswered questions but you still hurry home to watch lost.” Despite the cynicism and questionable sung spoken Reading vocals there is still unmistakeable talent embedded in the haunting guitar melodies and nostalgic heart felt youth written words,  exposed perfectly in track 3 Toil.

The sheer bluntness and observational humour of tracks such as Harder Now To Break Your Stupid Heart and the art of parody in Tell Avril Lavigne I Never Wanted To Be Her Stupid Boyfriend Anyway are extremely entertaining and original, but as far as predictions for airplay and growing popularity go Marwood is going to be like marmite.  In essence it’s subjective as to whether this artist is seen as trite or live lounge material. This short album is uplifting, slightly twisted and well worth dedicating a lunch break to exposing yourself to a new form of acoustic music.

www.benmarwood.com

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However as the album progresses so does the appearance of this five piece’s talent and originality. The LA band are known for their affiliation for old English traditions, native analogies and hidden philosophical meaning which is clearly shown in the lyrics, especially track three ‘Rise to me’ (after a few listens of course!) Their concerns of “big mountains”, “wide rivers” and an “ancient pull” are compared to human features, love and the old cliché loss. This is the general feeling of the album as a whole – that and something a little bluesy with a simply musical metre to sway to. Reflective of checked shirts, straw hats and homemade lemonade in sunny fields as far as mental imagery goes. However in complete contrast track nine ‘This is why we fight’ is an unmistakeable highlight, more reminiscent of earlier material whilst reflecting growing maturity as a band.

The Decemberists, renowned for cross genres have embedded their folk roots into an indie top ten potential hit, it is encapsulating and not easily forgotten. Colin Moley’s voice is particularly striking, reeking of power and angst then quavering with passion, all within the space of a chorus. It holds the kind of repetitiveness that sits happily on the membrane all day. Moley self admittedly “misses the epicness of the other albums” but as a sixth album for the well experience and travelled musicians, this 10 track change of direction captures a story of life lessons and analogies of human emotions through nature – a true message of the folk idiom.

It could be argued that they should have stayed entirely faithful to the growing art of folk rock, which they do so well and clearly contributed to its creeping popularity. However selling a chart significant 94,000 within the first week of release their noticeable but by no means off-putting adaptation in style must be positive, or they have an avid state size cult following!

www.decemberists.com

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One thing that is always enticing about duos, especially the male and female partnership is the musical conversation of beautiful harmony, which as an audience we almost feel as though we are eavesdropping upon. Although the partnership have other projects, it is clear through their intimate dynamic (microphone sharing and the whole works) that they had performed together many times and evidently enjoy it. There seemed to be an absorbing presence from a singular guitar and entwined vocals, a capturing of pure folk roots.

The energetic and spirited Rum and Coca-Cola gets a lot of people in a Hawaiian sway and presumably increased a few bar tabs. The duo who met in high school sharing a passion for taking songs and making them their own, slotted in recognisable tunes from Bob Dylan, Woodie Guthrie and Peter DeRose, which all appear on their recently released self titled album. They finish the set with an a cappella number after a playful disagreement about the starting note,  and receive great applause and admiration.

Meredith Godreau under the pseudonym Gregory and the Hawk (to avoid the female singer-songwriter categorising) is one of the most awe inspiring solo acts ever to perform live. She is able to bring silence to a late night music venue with a magical allure, a cross between music box beauty and shoe gazing. Even when the alcohol had risen almost to the ears of the wistful listeners the slurred shouts from the crowd are still “your amazing,” as opposed to heckles between songs.

However the humble Meredith smiles it off with a polite thank you and return of sentiment, before playing the haunting Whisper The Answer. Her vocals are soft and have a sense of innocence about them, but this multitalented instrumentalist is clearly very switched on yet still in touch with her audience. Although she embarks on a fopar whilst sitting cross-legged on the floor telling us to check out her stripy pants (which as we know across the pond means trousers) she gracefully continued to pluck her hand held harp to dreamy early release Dare and Daring. The heir of mystery surrounding this sound is on a different plane of musical beauty and is a treat to see live.

www.lesshelleys.com

www.gregoryandthehawk.com

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With musical associations of individuality the British public are crying out for originality, and ironically reverting back, much like fashion, to bands from the decades of old. Hence the emergence of Suede’s upcoming tour dates and echoes of a Pulp reunion equating to a possible Britpop revival? The experimental noughties are grand as far as music is concerned, alive with a mash of new subgenres, but sometimes our post punk pop or dubstep disco remixes crave a bit of operatic old school rock. This is not to say the modern successors such as artic monkeys, libertines, doves etc. don’t give the same impact! But admittedly modern ‘guitar bands’ don’t have the ambient violin or piano edge of Suede’s keys player and authentic synth master Neil Codling. On that note the door slamming days of wistfully singing (or quietly weeping) to epic passion fuelled tunes such as Beautiful Ones, Stay Together and Saturday Night can now be recreated.

It’s not all melodrama and tension though! The lively superhits Can’t Get Enough, Lazy, Trash and Aminal Nitrate are enough to get po-mo’s to mods grabbing air guitars. Predictions are that this album will be gratefully received, create old memories to be had over pints, or less idealistically a few sentimental smiles whilst walking to the bus stop. In essence button up the blazers, switch off Sonic the Hedgehog and blast out 97’ top ten hit Filmstar it’s a Saturday night! Retro is full of clichés which this band have a legacy far detached from.

www.suede.co.uk

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