Pony Up for some Pins and a pint of Honeyblood. Cheers!

I owe a debt of gratitude to Pony Up. Since February 2014 when they picked up the reins formerly held by local music promoter Twee Off they have introduced me to some pretty damn fine music. Pony Up quickly established an enviable reputation for booking new and breaking national names, and matching them to some exciting local support. The idea was to lay on an evening of top quality acts, but with a ticket price that anyone could beg, steal or borrow. They commissioned Jo Stafford, of Print To The People, to produce artwork for the gigs, and even gave away limited edition prints to the first punters through the door at each event. Over the last two and a half years Pony Up has introduced me to the likes of Young Fathers, Kagoule, Declan McKenna, Micachu and The Shapes, Menace Beach, and God Damn, as well as giving me a chance to hear local favourites like Teen Brains, Collider, Peach Club, Claws and even Let's Eat Grandma. So, to Pony Up, I say, 'Thank you'.

For what is probably the last Pony Up of 2016, they change direction slightly, and bring back two bands that have played Norwich before. Both have each released second albums to critical acclaim, and, with all-female line-ups, have helped to challenge the status quo in a business that has a sorry history of being fiercely and protectively male-dominated. It was therefore a big welcome back to Norwich Arts Centre to PINS from Manchester, and Honeyblood from Glasgow.

PINS

PINS were formed in Manchester in 2011 by a fashion photographer, Faith Holgate, who enrolled cello-playing Anna Donigan to play bass, fellow guitarist Lois McDonald, and then persuaded Sophie Galpin to take up the drums. Later a fifth member, Kyoko Swan, would learn keyboards to complete the current line-up. The sound of their first album Girls Like Us probably owed more to Scottish rockers Jesus and Mary Chain than it did to the Manchester sound , but was then followed up last year with Wild Nights, recorded in America and showing a transition to a more open and wide-hued palette. They have played within our city walls at two Norwich Sound and Vision events, firstly in 2013 and then again last year at The Mash Tun. However, as is often the case with NS+V, there was so much going on elsewhere that I missed their set on both occasions. Definitely time to make amends.

                            

PINS open with Trouble, released as one side of a 10" single earlier this year especially for Record Store Day. It is a dark and menacing number, a million miles away from the other 'Trouble' from nineties 'girl power' bubblegum pop band Shampoo. The Arts Centre stage is bathed in dark blue light, and the smoke machine is doing its business as Holgate's snarling refrain of 'Don't call me sweetheart' sets out their stall perfectly. The remainder of the set draws from both Girls Like Us and Wild Nights, the latter showing melodic touches that you could easily re-work onto a Beach House album, or in the case of the stomping Young Girls even give a contemporary country makeover to. Overall, though, they stylistically remind me a lot of The Horrors - moody and atmospheric, delivered with a huge amount of panache and style, but with occasional moments of pleasure-seeking sharpness. The one nod to their Manchester adopted home comes with a cover of Joy Division's Dead Souls, slipped in to the set without introduction or fanfare. Really impressed by PINS. Please, please come back and perform a headline set here before too long.

Glaswegian duo Stina Tweeddale (vocals, guitar) and Cat Myers (vocals, drums) have been together as Honeyblood since September 2014, although the band was originally founded in 2012 with Shona McVicar, who at the time was a dental student, on drums. The eponymous debut album was recorded before stick duties were handed over to Myers, and she had only just enough time to learn the songs before I first saw the band play at Epic Stuidios in Norwich in November of that year when they supported Superfood. (Incidentally, opening that night were local favourites Claws, my first ever time seeing them play live)

Honeyblood

From a dark, packed stage with the five-strong members of PINS to a backlit projection screen and just a guitarist and drums combo placed on opposite sides seemed to leave an awful lot of space unfilled, and Tweeddale remains fairly static for the first couple of tracks, including Ready For The Magic from this year's 'Babes Never Die'. Even though the auditorium seemed almost full, and everyone seemed well up for a bit of a dance and a jump around (the Arts Centre had even obligingly put the safety barriers up ready for a bit of surge and bounce activity), the duo themselves seemed intent on a slow build. They featured mostly slow to mid-tempo numbers until about half way through when Sister Wolf  seemed to be the signal to raise the flag for a bit of audience calorie burning. From then on it was energy levels on high right up to the end, when Super Rat and Killer Bangs provided the seamless 'encore' - no walking off and coming back, just a warning that these really would be the band's final songs of the night.

 

Yet another blisteringly good Pony Up, although if I had to make the Sophie's Choice between the two bands I would probably go with PINS. That is not to say I would not make the effort to recommend, or go to see again, either of these two bands. I most certainly would.

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Kid Wave Headline Pony-Up at Norwich Arts Centre

I always look forward to the Pony Up nights at Norwich Arts Centre. I don't always know a huge amount about the headliners, but know that it will always be something worth listening to and something that is trending down in London Town, so it keeps me on my toes. There will also be a couple of local acts supporting, and often stuff going on in the bar. All in all, for an admission price of around six quid, and a limited edition poster sometimes thrown in for free, there are far worse ways to spend a Tuesday night in Norwich.

This week I was particularly excited. Not only had I seen the headliners Kid Wave before, but I knew they were dead good and had released their debut album, 'Wonderlust', only a few months ago. Also, support was coming from local favourites Claws, plus the debut of Graceland, a band formed out of the ashes of Fever Fever, and before that, The Brownies. 

There's a good crowd in tonight, and Claws open to an appreciative audience. I've seen them a couple of times over the last year, and whilst lead singer Josie's vocals can be a little screamy at times (she only seems to operate on one volume - loud!), you cannot fault the energy and enthusiasm of all four members. The songs are all strong enough that you certainly remember and recognise them next time around. 

The buzz and anticipation around Graceland's appearance is frenetic, and guitarist Ellie is still frantically scribbling notes down on scraps of paper just before they go on stage. Understandably there is a large contingent of friends and family present for the debut, a practice run for their upcoming appearance at Bestival. Despite the apparent pre-stage nerves, they did not need to worry. The set is a blinder, with atmospheric guitar and keyboards, pulsating bass and steady drum work all powered along by the girls' vocals. Think Interpol meets Joy Division - rocking rather than indie, but pushed along by harmonies and strong melody.

Graceland

Kid Wave take over for the final hour, and do not disappoint, although it was a shame that not all of the Graceland support hung around for the headliners. Still, that was their loss. Not the longest set, as is often the case when headliners are still promoting debut albums, and it admittedly seemed to take a couple of numbers to settle into a stride - maybe they were also taken aback by how good Graceland had been. Very different in style, and certainly taking inspiration from the 90's guitar bands that we all loved so much, this is a revival that has already seen the likes of Wolf Alice take the festival season by storm, as well as bands like Slowdive coming back with a vengeance. Great drumming from Serra Petale, almost hidden in the shadows at the back of the stage, lively bass from Harry Deacon, leaving front-woman Lea Emmery to share guitar duties with Matthias Bhatt. 

Sometimes a little static, but with flashes of energy at the appropriate points in each number, it is the songs rather than the stage performance that carry this set, leaving me to muse that the soundcheck and the actual album both surpassed the live show. A shame, because with a bit more engagement and commitment, they had the potential to be so, so much better.

Kid Wave

'Wonderlust' is available now on Heavenly Recordings, and Kid Wave have a website at http://www.kidwavemusic.com/ . They are touring throughout September.

Graceland will be at Bestival, then no doubt back in Norwich at some point. In the meantime, listen to their blinder, 'Jackdaw' on Soundcloud over and over again at https://soundcloud.com/graceland_band/jackdaw

Claws are on Facebook at https://www.facebook.com/clawsband , and also have an EP to listen to on Spotify

Pony Up Guys! - It's Friday, It's Norwich Arts Centre... and It's 'Top of the Popops'

In the week when Uncle Melvin finally revealed the 10th Latitude Festival headliners, and we  collectively sucked in our breath to mumbled strains of 'Well, is that what we get for £200?', it is reassuring to see that it need not cost an arm and a chicken leg to watch exciting live music in Norwich.

Yes guys, on Friday at Norwich Arts Centre, for less than the cost of a KFC Zinger Meal, I managed to get first looks on Aldershot's bad boys 'Venus Lyx'; experience the best named band in the universe 'Let's Eat Grandma'; and twisted my melon man with the Rainbow Renegade himself  'Pop-Op' -  all on the same stage, and no wellington boots or trench foot required.

Venus Lyx

'Venus Lyx' were on stage first, taunting us for being so quiet. For a band whose debut single is allegedly about burning witches even a deconsecrated church can still invoke a little biblical wrath. Their aggressively chaotic vocals, menacing bass, and a lead guitar that persistently became detached from its whammy bar, were driven along by a drummer who clearly takes no prisoners. These guys look as though they know how to look after themselves. Having played and survived the squaddie bars of Aldershot, we must have appeared like a room full of pussies. This was proper nostalgic menacing rock and roll the like of which I have not felt since 1977. Joe Strummer would be proud of you. I loved them.

Let's Eat Grandma

Next up are the kooky boho-chic duo that are 'Let's Eat Grandma'. These two have already whipped up a feeding frenzy of anticipation since appearing at Norwich Sound and Vision last October, and not without good reason. Whilst the live performance is still in its evolutionary state, the look and the attitude are already in place. The smart little synchronised moves that only come through knowing exactly what the other is thinking are dropped into their routines effortlessly, contriving a trance-like possession of dark forces at work. The girls switch instruments continuously, and as can be seen from their videos, they still have more up their sleeves. The songs blend spoken word, poetry, melody and an air of transcendentalism. Don't be fooled by the butter-wouldn't-melt innocence of their years. They have enough gothic tricks up their lacy sleeves to send us all to Hell. Fear and respect.

Pop-Op

Last but not least is the analogue wavelength shifter and purveyor of lo-fi dance music that is Jay Barsby's alter ego Pop-Op. The last time I saw him perform was in a crowded bar at the Gravy Records album launch for BK and Dad, when I wallowed in his modulated rhythms and distorted vocals, and lusted after his jaunty skull microphone cover.

Tonight Pop-Op has de-camped to the main stage of the Arts Centre auditorium. He still has the trademark plastic skull, the wild hair and the baseball cap, but tonight he is flanked by a guitarist on one side and a drummer (who, it turns out, is none other than Pip from BK and Dad) on the other. The cumulative effect is a total assault on the eardrums, as if Royal Blood themselves had gatecrashed a Chemical Brothers set. The thing with Pop-Op is that he just does not let up from start to finish. There is no encore. How could there be? We are all reeling from the sonic blasting that we have just received.

Do not underestimate the Pop-Op. And don't be surprised if you wake up next morning with a stiff neck, and blood still trickling from your ears. And a plastic skull in your bed.