Following one almighty tropical storm that practically wiped me out on the dual carriageway from Forfar to Dundee, I arrived at Duke's Corner in the afternoon sun (sic) to catch an acoustic set from The Trade. I got there to find the three of them - Liam the guitarist, Drew the bassist and Ross the singer - muttering that there had been timing issues and that they weren't now going on until after the next band, instead of before. Further mutterings that it might not be worth doing at all as Liam had to go, got me wondering if The Doghouse had any spare slots so as I was going round there anyway, I said I'd ask. As it turned out, they hadn't, at that point there was nothing on at The Dog that caught my attention, so I wandered back to Dukes to tell, what was left of, the band. I'd arrived just in time to catch the set from Adriana, a female singer-songwriter-guitarist from, I think, Glasgow, complete with band. The first song was pleasant enough - guitar driven wistfulness with restraint, economy and clarity, sort of country-ish without being American, perfect for a lazy sunny afternoon. After this song, they announced that they were having to do the gig without the keyboard player, but that the guitarist would make up for that - bet he was pleased!! Now the second track they played proved to be a lot better, revealing a frontwoman with a good voice - full sounding, relatively high on the scale and plenty of feeling with rage and strength, in the sense that you could well imagine it emanating as a lost track from some Tori Amos album or other. The electric guitarist's got one of those high scale, jazzy, clean cut guitar tones, as the rhythm section keep things clear and simple, injecting feeling for force, passion for power. Not overly catchy but carries you with it.
On the next track, the band play with customary restraint, languid electric guitar mixing with slow acoustic, neatly strummed bass and the lightness of drumming. Above this, the high register vocal soars gracefully, swoops with conviction and is beautiful to witness. Next up was a cover of "The Weight" by The Band, a song I dislike, and I couldn't find it in my heart to review the thing. Their last track featured strong acoustic guitar, thumping bass, wailing harmonica, busy drums and an altogether more driving number which suits the female vocal to a tee, as she matches the backing with a strident, flying vocal as the song flows, the harmonica almost becoming the hook, but the lead vocal and the accompanying harmony deliver a high-flying chorus with conviction, as the song climbs and heads down the highway, before coming to an abrupt halt. Overall, a good set - needs more memorable songs to break through, although an album might actually become somethig to treasure - time will tell....
Which left The Trade - or two of them, anyway!! Ross on vocals and Drew, the bassist of the band, playing acoustic six string. They sat on stage, did a sound check which basically mweant a ri=un-through of "Empire" - and began. The first track was "Middleman" off the new album and had Drew strumming that guitar like it was going out of fashion while Ross's gritty vocal gave the song such quality - strength, bite, feel - with Drew on surprisingly wistful harmonies, the electric guitar hook/riff off the album rolling off Drew's guitar work superbly, making an acoustic version of an electrifying track, just perfect. Up next was a Kings of Leon cover that they performed with passionate power, more emotional intensity than an episode of The Bill. There followed another album track, a cover of a track by the Barnaked Ladies band, this being an emotive ballad for late nights by the fireside, sung and guitared with conviction. They then did a cover of John Martyn's legendary "Dealer, from the "One World" album, and really tore through it with a pace that even Martyn never managed, Ross's forceful vocal really delivering the song with authority. Then, of course, following Martyn's "Dealer", they had to perform their own "The Dealer", which they did to end the set and a stunning song in anyone's books was given the acoustic treatment and still sounded memorable, catchy and vibrant - and that was it. Appreciated by the audience there, you do realise that Ross has got such a great voice, he could have sat ther singing the Dundee telephone directory and would still have had the audience mesmerised, while Drew definitely has a career of a folk guitarist ahead of him!!
But that wasn't the end.......
About five minutes after they'd finished, my fone went off. It was the Doghouse - "we've had a no-show for the 6pm slot - are the guys from The Trade still there? Would they like to play?" - so I asked Ross, who asked Drew, and they gamely said "OK - we'll do it". So, 25 minutes later, we all move over to a much more packed Doghouse and the pair do it all over again to much appreciation from the audience. Now there's not many that would do that - hats off to Ross and Drew from The Trade!!
BY now my friends Rudi and Craig had arrived, Rudi being the lady I really want to do my links and ads for the radio show as she has such a unique sounding distinctive, positively musical, voice, the sort of voice that an advert company would kill to have for voiceovers. Now, they're not exactly fans of indie music - they like The Trade - which was slightly ironic as they'd just missed the acoustic set - but they arrived just as the next band were about to play, that band being Lord Luken. The opening track stamped their mark on things right from the start - solid drumming, counterpoint vocals, huge chorus, neat mix of electric and acoustic guitars and strong bass. Intensifying as it goes, they even add a harmonica in there for extra measure as it all builds and a guitar break lets loose on a song that's as strong as any tasty indie band gets. Second track was slowe, bluesier, more of an edge, with a twang to the electric guitar work, this time the guitarist taking the lead vocal and he's got a grittier but pleasing vocal compared with the more "harmonious" vocal of the acoustic guitarist, the two sharing vocals on a track that's more lava flow than bounce. Once again, it builds into a huge chorus, only this time more stretched out, with the drummer's use of cymbals to the fore, adding an extra dimension to a seriously engaging track. Third track sees the guitarist's vocal taking on a smoother quality as the band let loose on a mid-paced song with huge harmonies and a decided feel of, even, slightly sounding like, keyboard-less late Gilmour-era Pink Floyd, only with more of a folky feel, the sort of song that would have been at home on any Dave Gilmour solo album, as superb harmony vocals hint at "Comfortably Numb", blues and almost Richard Thompson - a stunning song. "Heads Up" is a ska-flavoured, clipped rhythm rocker with another strong vocal, this time a tad huskier, irresistible rhythms, increasing guitar intensity, as the bass thunders in and the whole track takes on a new shape for a high-flying chorus before returning to the skanking propelled verses, and another gem. "Mr Cynical" is a superb track - I've been playing a demo of it alot on the radio show - and here it was as strong as ever, a "cruising" vocal with lashings of harmonies on a song that has a massive flow to it, and seems to build when it's already at a peak, the outpouring of emotion from band and singers, truly a thing of wonder. This band can PLAY and WRITE and SING - the word "tasty" was made for them. The next track is a faster number with a lot more force but without losing sight of the multi-textural qualities of the individual instruments in the mix. The rhythm section play it tight, driving a splendid dual vocal-led song that also has a slight ska-edge to it and a really good-time number that proved irresistible to the dancing feet of the large crowd there to see the band. The final track ended things on a peak as an even faster arrangement saw a great dual guitar hook as cyclical guitar and driving rhythms counterpoint the crisp acoustic guitar and the soaring harmony vocals, once again a track to which you could really dance as well as be engaged just listening. With fiery verses and another huge chorus, it's memorable in an all-encompassing way.
So, another faultless set from the band - Rudi was impressed and told the band how much she loved it, and, trust me, coming from Rudi, that's a complement - proof that they have what it takes to get across to one heck of a wide audience - we all agreed that this must surely be just the beginning for a superb new Dundee band.
Back to Dukes Corner for Deadlight Red - managed to witnes most of the set, as opposed to the last few tracks on Friday, and they really are a strong band. Taking up the song strength of The Goodnigts, they've injected the familiar songs with more power and energy, allowing previously relatively restrained songs to come to life with more guitars to the fore, more bite and still the depth provided by the keys/synth. From serenely strong ballads, the set builds and builds as the force is with you, the band inhabiting this welcoming mix of eras, as solid dual-guitar-led tracks echo seventies, while the arrangements, rhythms and singing are pure contemporary, the overall effect being one of witnessing the sort of band for which you'd love to hear an album some day.
With Rudi and Craig in tow, and them thinking Deadlight Red were OK, the show moved on to The Stowaways, new Dundee band out of the former Joots, if I remember rightly. They started with a track for which the rhythmic pace was fairly slow, almost militaristic, arguably "funereal", led by drum and bass thud, as a jazzy guitar lead ushers in vocals that rise and dive from mid-range to falsetto. The feel is quite "gloomy" with only the twang of the guitar brightening things up. Oddly, it's quite hypnotic ina bizarre sort of way, but one heck of an odd way to open your set. Second track was more uptempo, rising into a chorus this time on a mid-range vocal delivery, and it was Craig who stated that it reminded him of The Kinks with a very '60's style of sound brought right up to date. Short, but memorable - a "good tune", as they say. Third track featured bongos instead of drums with tasty guitar work at a delicate pace and acoustic guitar adding to the ethnic vibes. Here the vocal could have done with sounding stronger but added harmonies made up for it on what is quite a cyclical track, slowly drawing you in to its bong0-driven charms. Fourth track was similar to the first only livelier with added jazzy guitar leads and more of a flow to it as high-flying vocals deliver the song. There, I'm afraid, we had to leave it - an "unusual" band that needs further investigation.
Once I'd bade farewell to Rudi and Craig, it was back to The Doghouse. A band called Day of Days were playing and they exhibited songs that conformed to what I'd call the "tortured artist effect", songs that you'd hardly call optimistic, delivered by a band sounding like a slightly slower version of Val Verde. One of the tracks was more powerful with a strong vocal full of angst and hurt, complete with dirty guitar riff at the heart of what proved to be a fast-paced indie anthem with the lead guitarist unleashing a series of chords that sails above the rhythm section strength, the ringing rhythm guitar and the hi-flying vocals. I think if I'd not seen so many bands, I'd have been more recptive to this, so maybe next time, but definitely a band to see again at some point.
Next up were Mass Consensus, a new Dundee band with the guitarist/sax player and bassist from Peg & The Bouffants, plus singer (on occasional synth and guitar) and drummer, playing only the band's second gig - and what an extraordinary gig this turned into. They opened with a track led by a really high pitched synth line that really forms the hook on what is a quite bouncy opening song - all fair enough. Then, for the netck, the singer dons an acoustic guitar and we hear a bass-led ballad with a gritty vocal, completely different from the opener, but engaging for sure.Then the guitarist changes to sax, the singer to electric guitar, and the band launch into this chunky rhythm intro as wistful but powerful vocals deliver a cyclical song complete with huge funk bass, squealing bursts of sax and choppy drumming as the band coalesces into this solid slice of indie-funk. There's good jazzy sax and solid bass with a feel and sound really reminiscent to seventies "Krautrock" fusion bands. The vocals are urgent, with feeling, but the singer's not got what you'd call a "distinctive" voice. Fourth track opens with choppy drumming and solid, stark electric piano chords across deep bass as menacing, angry vocals counterpoint the choppy piano. The vocals briefly hit Dr John territory before they sail upwards as the track goes into a sort of choppy, rocky indie jazz mode. For the final track, the band do reggae - yep, dub-rock intro and a song with purposeful vocals on the quieter side against ringing guitar, dubby, echoed guitar chords and the dab=nceable reggae beats. Surprisingly, it dives into a huge chorus that leaves the reggae behind, for the mostpart, that's more strident and solid. The song them veers between the two styles, getting ever more passionate and aggressive. That was it!! Five songs, five completely different styles - all played excellently and sung with conviction. As to what future audiences are going to make of this, well, that's anyone's guess. But you've got to hand it to the band for having the daring to take it on in the first place.
Up next were The Oswalds - Dave from Hustlers had them on earlier and was saying how good they were. I wouldn't know - by now, I think I'd got gig fatigue!! I saw three tracks and decided I needed a break. What appealed to me at that moment was to go down the other end of town and see what was going on. You see, there had also been gigs on at Macdaniels, The Cooler, Dexters and Lennons at the bottom end of town. So, that's where I headed, to see how things were going. First port of call was Macdaniels - where a band called Gong Fei were playing to a crowd that seemed to consist of about ten people who knew the band or liked them anyway, a few interested spectators, and a pubful of regulars who were, weirdly, showing sings of anguish as to why their pub was being invaded by these young upstarts or, in the case of one guy, playing darts as though there was nothing happening at all!! To these assorted twnty or so people, Gong Fei unleashed this what can only be described as aggressively sung, angular indie-rock, as the trio launched into rhythms that would have Captain Beefheart's Magic band scratching their heads in trying to figure out where the splintered beats were heading next. Over this, the guitarist would wring chords out of the guitar or riff wildly as the vocals were mostly hollered out. It was like being in the Twilight Zone as I took a table at the back and was thoroughly fascinated by thw whole thing. I think I lasted about four tracks before I realised I might just be nodding off - having made the unwise decision for the first time in about 8 hours, to sit down and sauntered over to Dexters.
Now, Dexters had spent most of the Maggies Fest featuring tribute or cover bands - fair enough. Now I've nothing against such bands - not exactly creative, but fills a need on a Saturday night in the city and makes the band some money and if it spurs people on to keep music in their lives, then no harm done. Looking at the schedule, I saw that a band called Cherry Bombz were on to 11pm then a band called Eh! who were an original band of some standing, that I'd not seen before, so it seemed fair to give them a shot. So, I got to Dexters to find Cherry Bombz playing - to about 8 people!!! No sign of the original band anywhere. While I was there, Chery Bombz gave us Adam and the Antz "Stand And Deliver", not exactly a song I partcularly wanted to hear, but I figured it could have been worse. Only then, it got worse! The female lead singer - and god bless the band for doing the gig if this had been what they'd faced audience-wise - then said "Ok - now for a number by Lady Gaga - you can't have a Sunday night without a bit of Lady Gaga".
"Oh yes you can!!!", I thought quietly to myself - and promptly departed. So much for that idea!!
I headed off to Hustlers to catch what was, apparently, the last ever gig from Hell Is Harmony. They proved to be a death metal quartet with this vocalist who just roared and growled and hollered through a set of tracks featuring hellish guitar work, saw-your-head-off bass and almighty drum thrash - god rest all who sail in her!!
Back at the Doghouse, Mum Wants a Mixtape were on - I decided to switch my reviewing head off and just enjoyed the set - a quite complex band with a lot going on in their songs, a band who one promotor told me were improving at a rate of knots - so, that's for the future. When they finished, the reviewer in me had one final act - The Twist!!! Now, with ex-Brogues guitarist Ronnie in the band, I was intrigued to see if they had, indeed, improved from last time I'd seen them. The great news, is that they had!!
The opening track now sounds massive with two guitars and a vocalist laying things down with added vocal harmonies just spot on.The band sounded confident, tight, urgent while the repeated riff is the hookon which the verses sail into the choruses on a track that really grabs your attention and immediately makes you want to hear more. With Ronnie's guitar adding the excellent extra musical depth, the second track begins and this is the one I criticised as the lead guitarist sang it and I didn;t rate his vocal as much as the lead singer. Well, I don;t know if the guy's been practicing or what, but the vocal now sounds really good as driving rhythms and heated guitars career like an express train as, through it all, the vocals deliver the goods above the song's addictive instrumental drive. The vocalks then alternate between the two singers and this is how this track always should have sounded, intense and mesmerising. Third track up, started slower with a swinging arrangement and soaring vocals from the guitarist on a song that becomes the indie power pop equivalent of the Kinks classic "Sunny Afternoon" and is a seriously commercial sounding track. Swirling guitar leads below the surface add to the bite as the rhythm section play it with taste and drama. Fourth track is just basically a fine Dundee band indie anthem - flowing neatly along on a river of thudding beats, heated riffs and perfect dual vocal harmonies, on a short but excellent song. For track five, the lead singer takes the lion's share as high scale guitars play belting riffs on a powerful ska-laced indie piledriver that had the whole audience - of which there were many, as had been the case at The Doghouse through the entire festival - up and dancing. It's a huge sounding track, very bouncy, very energetic with hi-end guitars ringing out on a wordless harmony chorus as hook - a strong and driving slice of magical indie-pop-rock for sure. Next up and a biting lead guitar intro, emotional lead vocal embellished by bursts of harmonies as the song surges forward. Chunky beasts and hot guitar riffs and leads herald dual vocals on a chorus that's being reached by a band taking off like a rocket. Once again, the song's got a commercial sway to it, bit danceable and tasty with dual twangy guitars for added effect. The vocalists duel and shine as the song soars, drives and soars once again. They end with the superbly addictive song "Sex Appeal" but whereas before this song towered above the rest, now it serves as a fitting end to what's been a throughly excellent set of songs and playing from a band who've finally found their feet - onwards and upwards!!
So that was it! Lots of things I didn't get to see, a few mishaps for the promotor along the way - A gig at The Cooler got halted half way through as the people in the flat complained about the noise below and th Police interjected - subsequently The Cooler shut for business - while The Social and Soul as venues, pulled out of the event altogether at the last minute, and the choice of Macdaniels as a venue had some bands moaning to me about the lack of any audience there, one band even cancelling their early Sunday afternoon slot there as there was noone in the pub!! However, overrall, it was a success - raised a lot of money for a well deserved charity, featured a huge array of bands across the city for free - something I'm not overly sure that the city appreciated "en masse" judging by the turnouts - and pleased a lot of people, me included.
For Friday's reviews, go to Maggies Fest 2010- Friday
For Saturday's reviews, go to Maggies Fest 2010 - Saturday