Pink Martini - Live at Hall 1, The Sage, Gateshead

As the cha-cha started up, and China Forbes cast the first phrase of Amado Mio across the audience, everyone was reeled in. The syncopation and melodies of this experienced, internationally-formed mini-orchestra sparkled in the air of the auditorium.

Between songs, Thomas Lauderdale curated with playful syntax, serving up each next instalment with lateral explanations of their widely-sourced influences. Prior to the interval, Pink Martini indulged in some extended instrumentalism, with the djembe solo slightly pushing patience. 

True to a traditional format, after the break was utilised for the hits, including Let’s Never Stop Falling In Love and Je Ne Veux Pas Travailler. The addition of Hunter Noack joining the tour and performing a solo piano piece by Ravel was a glistening cherry. 

Hall 1 of The Sage has often seen battles between its formal structure and more fluid programming. Though many watching are often internally keen to oblige a request to dance, a perception of the space oppresses the necessary conviction. Tonight though, Pink Martini’s balance of implicit musical studiousness and immediate performance playfulness framed such a response as a liberation, and initiated pockets of people to rise like sunflowers throughout. The energy eventually climaxed at the end of the night in the formation of a conga line flowing like water throughout the aisles. 

[2016.09.16] for NARC Magazine.

Ceiling Demons / FUQ / The Milk Lizards - Live for ENDLESS WINDOW at The Cumberland Arms, Newcastle

Having often seen bands sloppily indulge in pastiche (convinced a self-awareness of their revivalistic practice alone speaks to some kind of genius,) it was deeply satisfying to watch The Milk Lizards modestly and carefully perform fuzzy surf instrumentals simply for the joy and spirit of that sound. The boiler-suited trio even signed-off with Misirlou; a wink that having fun was at the core here.

Having performed a riotous set for EW at The Tanner’s Arms for NARC Fest in July, tonight FUQ return with slickness tailoring the presentation. A soft spotlight illuminated the stage, and whilst Rezaei painted rhythms and vocals from her colourful MPC, Bothwell stepped in-and-out of the shadows, a microphone in one hand, a mobile phone in the other. Their neatly composed songs rode the rainbow, including pop swagger in Sins and playful disorientation of Zim Bell.

There are few performers from which a ceaseless heartfelt appreciation for life, gig-in gig-out, beams, but that affection is written so deeply within Ceiling Demons conception, even Eeyore could not frown for the optimism within their work. Ritualistically emerging from masks, CD offered another impassioned set, filling the programme with their latest single, Lost The Way, the restless beasts from their Belly Of The Hopeless EP and the euphoric anthems of yore.

[2016.09.16] for NARC Magazine.