Tag Archives: live

TalentBanq: the new home of live music takes wing

28 Jan
Coffeepot Drive Soundbanq

Who says the devil has all the best tunes? Coffeepot Drive rock the launch of TalentBanq at 229 The Venue. Photo by Brown Eyed Girl

What a night! This week saw the launch of a new live music company devoted to, as CEO Ray Jones enthusiastically put it from the stage, “discovering, nurturing, promoting and paying new and unsigned talent”. The company is called TalentBanq, and they have 50 artists on their roster already.

Some of the best were showcased at 229 The Venue in central London, and they ranged from excellent to ridiculously good. Definitely in the latter camp is Liverpudlian solo artist Joe Slater, whom I wrote about in December. The Oasis-tinged tunes were as mighty as the first time I saw him, and this time I could concentrate more on the lyrics. “Singing for my sorrow, drinking for my pain/ Close the blinds in sunshine, walk around in the rain” was one couplet from Slow Down I scribbled in my notes.

Joe Slaetr Talentbanq

Joe Slater at TalentBanq: destined for stardom. Photo by PJ Photography

With his raspy voice, perfect pitch and soulful delivery, Slater is unquestionably destined for stardom, though he fared a little less well in the second half of the night, when we were ushered from an intimate venue into a much larger space. He was still magnificent, but a portion of the audience wouldn’t know it – those at the back kept talking through the performance, and Joe hasn’t yet developed the stage presence to get them to shut the f*** up. Would acquiring two more musicians help him transition to the larger venues he’ll soon command?

Another favourite from the December gig closed the night: Coffeepot Drive, still with their guitarists’ angel wings – one pair black, one pair white – and again getting the whole audience moving. When the keyboards were foregrounded they sounded a little like Deep Purple – if Deep Purple had a frontwoman with a gospel-powered voice, afro hair and knee-high boots, and swung as much to funk as to rock. You can imagine them wowing every festival in the UK come summer.

Some other shout-outs: Hollie Rogers has an unusually low-pitched and warm voice, giving real depth and emotion to her songs. I also bloody loved Anavae, a three-piece that had no problem filling the huge space. Their intro was pure showmanship: the lights came up on three drummers, one seated at a kit, the other two – a man and an elfin woman – standing bashing at drums to make a wall of sound like those Japanese drummer monks. After a minute or so, the two broke off into their natural roles – her singing, him at the guitar – but by then the spell was cast: the audience were hooked.

I’d struggle to describe or define their sound, which means it’s original enough not to be easily pigeonholed into a genre. But let’s try this: If Björk were to do heavy rock, it might sound a bit like this. The guitarist/singer duo, Jamie Finch and Rebecca Need-Menear, have been making music since 2011, and their experience shows. But whoever the drummer is they had with them on the night, he’s great – and I speak as the father of a talented drummer. I’d happily go see again.

Ray Jones Talentbanq

Ray Jones, CEO of TalentBanq. Photo by PJ Photography

All in all, if this selection is indicative of the quality of artists on the TalentBanq roster, they’ll soon be supplying original live talent to every conceivable venue from pubs and coffee shops through corporate gigs to massive festivals. The talent behind the scenes is impressive, too. As well as CEO Ray Jones, who brings a surprising energy to the role of compere – like David Rodigan, he looks like an accountant, but can get a vast room hanging on every word – the chief investor is Sir Mervyn Davies, Chairman of the Royal Academy of Arts Board of Trustees and also of Corsair Capital. He joked: “I love fine food, fine wine, and great music, and I invest in all three – luckily two of those make money.”

TalentBanq’s Chairman is Pablo Ettinger, one of the founders of Caffè Nero and the man responsible for its promotion of live music. And TalentBanq’s Creative Director is the irrepressible Laura Westcott, a classically trained singer with a great ear for talent of whom I’ve previously written when she launched Soundcheque and then Music for Mental Wealth. She’s achieved amazing things since leaving The Times (where I have recently gone back to work), especially given her unusual handicap: she cannot recognise certain common words, namely “can’t”, “no”, and “impossible”.  🙂

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Television live: a hefty helping of Marquee Moon, but hold the noodles

14 Jun

marquee_moon_album_coverTelevision’s Marquee Moon was one of the formative albums of my university days: its different musical parts interlocking with the precision of a Swiss watch, it was nominally part of the New York punk scene yet boasted virtuoso musicianship and guitar solos. And the lyrics! Mostly elliptical fever dreams from some bad trip, but with a smart sense of humour: “I fell right into the arms of Venus de Milo”.

At a hot and sweaty Brixton Electric on Sunday night, I discovered I was not alone. Right from the jaunty opening track, where on the chorus the audience spontaneously shouted “Prove It!” as one, you knew you were among like minds.

Television ripped through their main hits, including every song on Marquee Moon, all at a slightly faster pace better suited for live play. Elevation and See No Evil were particular stand-outs, with Verlaine’s skittering guitar as fresh as it was 39 years ago. Just as the Chinese have a whole different musical system from ours, it’s always seemed as though Verlaine was literally off the scale – playing a series of (mostly minor) notes that bear no resemblance to the conventional octave.

Some of his solos seemed adapted and improvised on the night, which keeps it fresh, but the downside of this became apparent during a ponderous instrumental segment towards the end that had many people heading for the smoking patio.

This wasn’t mere guitar noodling. This was Tom Verlaine heading to his local Noodle Bar and ordering every item on the menu. Oodles of noodles. With a sheet of doodles to go.

But all was forgiven with the thrilling climax: Marquee Moon itself. Again, played a little faster, lacking some of the usual tight control (brilliant drummer Billy Ficca did seem a little sloppy at times), it nevertheless all came together during the final slow guitar instrumental, where the backing builds and builds into a giant wall of sound, with Verlaine adding a slight change to the final chord sequence that achieves an even more satisfying resolution.

“Prove it!” the audience had shouted at the outset. By the end, Television had nothing left to prove.

Television play tonight (June 12) at the De La Warr Pavilion, Bexhill-On-Sea