Live Nation presents Naomi Scott plus special guests.
The “infuriatingly talented” (Noisey) Naomi Scott has just released her new track ‘Irrelevant’, ahead of a string of live dates across the UK this spring and a performance at this year’s Great Escape Festival in Brighton. Featuring the MOBO-nominated rapper Nick Brewer, ‘Irrelevant’ is a slow-burning, soulful cut, and a declaration of independence from this rising artist.
Her acting credentials speak for themselves. From landing a lead role in Steven Spielberg’s US TV series ‘Terra Nova’, appearing alongside Antonio Banderes in ‘The 33’, saving the world as Kimberly Hart in the Lionsgate reboot of Haim Saban’s ‘Power Rangers’ movie and to most recently being casted as Princess Jasmine in Disney’s live action adaption of ‘Aladdin’, directed by Guy Ritchie and due for release in May 2019.
Music has always been a driving passion of Naomi’s from writing songs on her piano since she can remember to now balancing the process of writing and recording whilst also being on movie sets. Naomi released her debut EP ‘Invisible Division’ in 2014. From this the song ’Hear The Bells’ was used for DeLeón Tequila’s North American digital advertising campaign, which premiered and was frequently showcased during AMC’s Mad Men. Earlier that year, Naomi revealed the songs ‘Fool’ (premiered by Noisey) and ‘Lover’s Lies’ (featured on The 405) from her second EP, ‘Promises’. 2017 saw her release ‘Vows’ which was premiered via the popular lifestyle platforms HYPEBEAST and HYPEBAE.
With two EPs and a groundswell of critical support already under her belt and whether it’s telling a story on screen or through music, Naomi Scott steps into the spotlight as a bright star who is definitely one to keep an eye and an ear on in 2018.
Under 18s must be accompanied by an adult
‘Selling out some of the best small venues in Britain thanks to a flourishing reputation for live shows’ The Independent
‘Sugar coated power-rock’ Q Magazine
‘Bellowing bluster of guitars and thumping instrumentation that should act as a vehement and fully-charged bridge in to wherever they might head next’ Gold Flake Paint
When October Drift appeared at the start of 2015 with their beefy yet melodic sound, they had the confidence to win over audiences.
Ever since then, from multiple sold out tours up and down the UK, to growing online hype around their sparse but eloquent releases, they’ve done just that, becoming a major success story on the independent circuit.
Despite the early success of their incendiary debut singles receiving support from Steve Lamacq, John Kennedy and Q magazine to name but a few – and string of sold-out gigs, this band still remain something of an enigma.
October Drift’s music is similarly ambiguous, characterised by their signature wall of sound guitars, soaring, ponderous vocals and driving, urgent drums.
Cambridge Portland Arms, Mon, 4 Jun 2018 at 7:00pm
You can sum up the journey of Seán McGowan, the son of the smith, with the title of his first EP on Xtra Mile: Graft & Grief. Work and stress. Life at the anvil and hammer, bearing the brunt of life’s weight. Since 2009 he’s been at that grindstone, gathering stories and carving melodies while working late nights in bars between shows armed with just an acoustic guitar. Somehow the perpetual new artist, even as others adorned with that title come and go, and Seán is still at it allowing the songs to pour forth like the finest lager.
‘Boy Azooga, the psych-flecked musical vehicle for Cardiff’s Davey Newington multifarious musical mission.
A prodigous musical talent, Davey Newington is a young man with much musical heritage. One of his granddads was a jazzer who played drums for the Royal Marines. Davey’s dad (violin) and his mum (clarinet) both played, and met, in the BBC National Orchestra Of Wales. Davey himself took up drums at the age of six and also enjoyed orchestral engagement, playing in various Welsh Orchestra’s and Jazz bands as a teenager.
Paul Goodwin grew up in London but lives in Cambridge now. He spent the first decade of the 2000’s dragging his guitar around the rail network and on the odd plane, playing his quietly heartbreaking songs anywhere that would have him, to anyone who would listen, and quite a few people that wouldn’t. His music has taken him all over the UK as well as to Canada, France and America and he’s played alongside acts ranging from Alessi’s Ark to Waterson:Carthy to Wayne Hussey. His painstakingly produced first album, Scars came out in 2009 and the follow up mini-album Trinkets and Offcuts was released in summer 2011. His well received second full album The Northern Lights In The Neon Tube eventually followed in late 2016. Real life things have taken over lately and this rare full band show will be the first time he’s played in a year and a half.
“a truly astonishing album… As insights into and articulation of the dark recesses of the human condition go, Scars is pretty hard to beat” – Maverick Magazine
“These are songs of depth and intensity… a sombre, but compelling experience” – Whisperin’ and Hollerin’
“sounds… like Joe Cole giving a post match interview” – Uncut
Glymjack is the indie-folk project of Cambridge singer-songwriter Greg McDonald.
Born out of a recording collaboration with Show of Hands legends Phil Beer and Steve Knightley Glymjack’s debut album Light the Evening Fire received rave reviews, with Acoustic declaring Glymjack “as good as contemporary folk comes”.
The term “Glymjack” is Victorian criminal underworld slang for a street child who led strangers through the streets of London at night with a lantern.
Greg’s award-winning songs have previously been called “genius” (Rolling Stone), “captivating” (Q magazine), and “enough to remind you why you got into music in the first place” (Tom Robinson, BBC 6music).
Like a baseball player who quietly hits 30 home runs every year or a golfer who regularly finishes in the Top Ten, Josh Rouse’s continued streak of excellence is easy to ignore and maybe even downplay a little — Tim Sendra, Allmusic.com
You don’t have to work hard to enjoy Rouse’s music. His songs present themselves to you with an open heart, an innate intelligence and an absolute lack of pretension. They are clear-eyed, empathetic and penetrating. Without pandering, they seek to satisfy both your ear and your understanding. The verses draw you in with telling detail, both musical and thematic, and the choruses lift and deliver. They resolve without seeming overly tidy or pat.
KOLARS is a Los Angeles duo that blends rockabilly, disco, glam, and mod sounds with modern rock through minimal instrumentation: guitar and a tap-dancing drummer. As Rob Kolar sings and strums his rollicking guitar, Lauren Brown uses her whole body as a percussive instrument, tapping out the hi-hat rhythm with her feet atop a bass drum while simultaneously playing a stand-up kit, using dance to transform rhythms into natural extensions of her movement. It’s quite the workout and undeniably mesmerizing to watch.
We wanted to create dance music that combines all the genres of music we love, but with our own original twist, says Kolar. It’s that idea of taking a pop song and getting people to move to it. To listen but also feel it in their bones. The result is a kinetic, pulsing sound anchored in vintage style with a modern sensibility towards production.
Currently celebrating 20 years piloting his revered record label Bella Union, Simon Raymonde has scaled another personal peak, a new collaboration with drummer Richie Thomas. They’re called Lost Horizons, and their stunning debut album, Ojalá, released 3rd November on Bella Union, is a rare sighting of two gifted musicians who, for different reasons, have been largely absent from music-making for the last 20 years. Yet the record is proof of a telepathic relationship through music, established when the pair first became collaborators and friends in the eighties.
Ojalá also incorporates a heady cast of guest singers. Some are signed to Bella Union, such as Marissa Nadler, former Midlake frontman Tim Smith, Cameron Neal (Horse Thief), others are long-time favourites of Raymonde’s (Liela Moss of The Duke Spirit and Ghostpoet), or newer discoveries (Beth Cannon, Hilang Child, Gemma Dunleavy and Phil McDonnell). And then there is the incomparable Karen Peris of The Innocence Mission, one of Raymonde’s most beloved artists, in her first collaboration outside of The Innocence Mission and solo recordings.
Together, the Lost Horizons ensemble has created an hour of exquisite, expansive and diverse spellcasting, from facets of soul (‘Bones’, featuring Cannon, and ‘Reckless’, featuring Ghostpoet) to dreamier invocations like ‘She Led Me Away’ (featuring Smith) and Ojalá’s lengthiest trip, ‘The Engine’ (featuring Hilang Child). There’s the odd louder, faster detour, like ‘Life Inside A Paradox’ (featuring Neal, with Sharon Van Etten on backing vocals), but the dominant mood is a deep, rich melancholia.
Under 18s must be accompanied by an adult
“Straight out of south London and determinedly DIY, Goat Girl are feisty, furious and fearless. Their incendiary rock, with shades of mid-noughties Cat Power and Medway garage girls Thee Headcoatees, challenges everything from national apathy in to the perils of public transport on Creep on the Train. The latter features the refrain “I really want to smash your head in,” and while singer and guitarist Lottie’s vocals are delivered deadpan, the firestorm of sharp riffs, pounding rhythms and defiant bass make the anger palpable.” The Guardian
BC Camplight returns this summer with Deportation Blues, his second album for Bella Union, available 24th August via the label. Camplight has shared the title track of the LP, which is streaming HERE, along with an album trailer, which can be viewed HERE. An extensive UK tour for the Autumn has also been announced, the dates of which can be found further down.
“You shouldn’t have a tough time finding the angle to Deportation Blues,” claims Brian ‘BC Camplight’ Christinzio. “The past few years have been a f*cking nightmare.”
But what a f*cking great record he’s made off the back of his nightmare… Deportation Blues is an exhilarating, dynamic document of calamity and stress, relayed through richly melodic and bold arrangements spanning singer-songwriter classicism, gnarly synth-pop, ‘50s rock’n’roll and various junctures between, mirroring their maverick creator’s jarred emotions and fractured mindset.
Back in early 2015, after years battling battling addiction and mental illness, and having relocated from the US to Manchester, BC Camplight released the album How To Die In The North to rave reviews and the future was looking bright. So imagine his mood when he immediately fell foul of UK immigration: “I’d had such high hopes for the album, and I was told I was being deported two days after it came out, and banned from the UK. The next thing I know, I’m playing Pac Man in my parents’ basement in New Jersey, thinking, this is my life now.”
Occasional gigs in Europe, where his Manchester-based band could meet him, broke up the monotony, but it was still like “living in a constant panic attack.”
But then the cavalry arrived! Courtesy of his grandparents, Christinzio secured Italian citizenship. It cost time, money and a portion of his sanity, “but after a year and a half I could finally shove my Italian papers in their faces at the airport and return to sunny Manchester. The thing is, despite being American, I feel Mancunian, and I couldn’t think about making another record, until I got back.”
To add insult to injury, “Brexit happened, like a day after I got back. Can I get a f*cking break here, please?”
Once the dust had settled, Christinzio realised, “I didn’t feel any better, I had so much anger, I felt destroyed. The demons were back and had lost me friends, I’d drunk too much, and I felt nothing but dread and disease. I thought, I can’t wait to hear what this next album is going to sound like.”