Mayday Parade

When people queue outside any other built-up venue, they're often greeted with strange looks, raised eyebrows and the odd passing comment about the madness of people who stand in the cold for hours just for 'some band'. However, when that venue happens to be The Electric Ballroom on Camden High Street, no-one bats an eyelid. Here, no-one is mad. No-one is crazy, weird or strange. No matter how you're dressed, what you look like or who you're waiting to see, people just walk straight past. They pretty much ignore you. And I, along with many other Mayday Parade fans in the same queue, would much rather blend in for once instead of be the target of those all-too-familiar strange looks.

As the venue slowly fills, the first support act of the night hit the stage. The Natives (right), a five-piece rock band from Hampshire, set a fantastic atmosphere for the night as soon as the first note kicks in. Throughout the duration of their short but sweet set, they manage to get the crowd off their feet and thoroughly pumped for the whole gig- something many unknown support acts struggle to do. Their music is solid and consistent; the beat is strong and the vocals are honest. Songs such as This Island and Big Plans have a raw, almost brutal tone to them. In hindsight, this is refreshing in comparison to the typically American pop-punk sound that proceeds them throughout the night. They are tight, gripping and, as their name suggests, thoroughly British. An excellent first choice. 

For the Foxes (above) have a very different sound. They are the second support act of the night and are experiencing their first tour overseas, giving them a humbled image which goes down well for their performance. Undoubtedly, it's good to see a band truly appreciate how lucky they are. However, this sweetness turns slightly too sweet at some points; they are almost bubblegum pop-punk, especially when following a band like The Natives. They use an acoustic guitar, hint at 80's pop influences and even feature a ballad in their set. Not that this is a negative; in fact, The River is a heartfelt song that gives the crowd a pleasant three-minute breather. For the Foxes are just as good as the other support acts, they simply take a much softer approach to the genre. 

The final support act of the night are Arizonia-based band The Summer Set (left). They are much more established than the other bands so far, with two full-length albums under their belt already and a third to be released next year, and it definitely shows. They take the standard up a notch purely due to experience; tireless recording and touring has paid off for this band. Their set is full of punchy pop-rock numbers, churning out one feel-good song after another. There isn't much chance to stop and think about what you're listening to, but you realise it's making your feet tap and your head bounce, and it feels great. Songs such as Chelsea and Young are particularly catchy. Their set simply flies by before your eyes, but you just know you're going to go home and listen to them again because the feeling of fun they produce is addictive. 

So, after what seems like a lifetime of waiting through three support acts, the main event is fast approaching. Fans of Mayday Parade are fiercely loyal and they have been waiting patiently for hours now, so when five figures emerge from the darkness onto the stage, the whole crowd surges forward in united relief and excitement. They begin with a song from their latest self-titled album, Oh Well, Oh Well, which is a perfect choice. As the song begins softly, the crowd get a chance to let the band know they are there by singing along as loud as they can, but it then plummets into the fast-paced body of the song and everyone is off their feet. This charged atmosphere is maintained throughout the night with songs such as Kids in Love and When I Get Home, You're So Dead, songs with great rhythm and gutsy choruses. Older songs are a huge hit, as the crowd go crazy when the undeniable first few lines of Jersey blast out, and when they perform Three Cheers for Five Years, everyone falls in love with it all over again. Just when it seems this crowd will never be restrained, the lights dim and lead singer Derek Sanders sits alone at a keyboard and performs Miserable at Best, their most poignant ballad, and the jumping and screaming comes to a halt. It is replaced by 600-odd people singing at the top of their lungs; in fact, much credit should be given to the crowd in this performance, as they end up singing half of the song by themselves, with the band taking the position of 'audience' for a minute or two. The melodic You Be The Anchor That Keeps My Feet On The Ground, I'll Be The Wings That Keep Your Heart In The Clouds has a similar result, another sing-a-long performance to another lyrically beautiful song. They finish their set with Jamie All Over, which always gives a feeling of being young, carefree and hopeful, making it the perfect song to finish with.

Mayday Parade are always grateful for the opportunities they are presented with and the experiences they have had as a band. Their fans, however, are even more grateful to the band than the band are to them. The reason for this is that Mayday Parade have managed, in three albums, to produce songs that can provoke a whole range of emotions. They have written songs with poetic lyrics and thoughtful meaning, but they've also written songs that are simply about making the most out of life and having fun doing so. Whether happy or sad, you can count on one thing for sure: Mayday Parade always will be there.

Graduation Live 2012, 1/7/12

The prestigious London music college, Tech Music School, are set to hold their popular annual event Graduation Live, which celebrates the achievements of the college's students over the past year, particularly students who are graduating. This year, O2 Shepherd's Bush Empire hosts the 22 bands that are set to play, each of which are performing one song alone to impress the audience and showcase their abilities. Of course, each and every student performing show a range of impressive skills and undeniable talent. However, some bands among the twenty-two stand out more than others and really steal the show. Instead of providing a repetitive list reviewing every band, without a bad word to say about any of them, the following only notes the bands that truly shone- despite only being onstage for one song- and remained in the memory long after the others were forgotten.

The first band to really pack a punch is Band 3, who perform a mash-up of Rihanna's Please Don't Stop the Music and Michael Jackson's Wanna Be Starting Something. Female vocalist Ati Fisher is like a mini-Rihanna, but with one major difference; her live vocals are a class above the Barbadian chart-topper, and her attitude shows that she is a force to be reckoned with. A well-chosen song for their early position in the listings, as the infectious beat gets the crowd stamping their feet and clapping their hands along with the music, and this delivers the first hints of audience participation. They set the atmosphere perfectly. 

Band 6 bring a breath of a fresh air to the set list so far, performing an original song, I Won't. This is an excellent example of the young, natural talent that Tech Music School has to offer, as Isobel Thatcher is the writer, singer and lead guitarist of this track, and with it became the winner of the Songwriters Showcase. She is unique and likable, and the song is an enjoyable acoustic number with relatable lyrics and a catchy tune. She truly steals the spotlight during their slot, and her appealing character is undeniably enchanting.

Band 7 are a duo, consisting of Sebastian Abermann and Vicky Osterberg, and they bring the second original song of the night. Kathleen, written and played on acoustic guitar by Sebastian, is charming, attractive and delightful to listen to. It's honest; no gimmicks, no hidden messages, just beautifully written and performed music. Vicky's choice of instruments- a brick-a-brac of unusual and intriguing objects- seem simple and basic at a first glance, but once she begins playing three or four instruments at the same time to various beats, it proves to be much more complex, and results in a quirky, off-the-wall sound that is not replicated by any other band.

The next band change the pace from pleasant acoustic numbers and bring back attitude in a big way. Band 8 perform Raise Your Glass by P!nk, and only someone with bags of confidence and courage can pull off a song by the spunky pop-rock princess; singer Freya Franklin does just that. She bounds onstage full of colour and energy and gets the crowd absolutely buzzing again. Instead of swaying on the spot, people are jumping up and down and punching their fists in the air, and this group manage to actually engage with the audience within the short space of three or four minutes. Guitarists Connor Loney and Alex Hilman have a great chemistry together, and this makes them feel more like a 'band' rather than just a group of 5 people thrown together a couple of months ago. The vigorous dancing and throwing glitter into the audience may have a slightly 'Glee' feel to it, but this just adds to the element of fun that this act brings.

Band 10 deliver a larger-than-life portion of raw rock music by performing Halestorm's It's Not You. Vocalist India Haywood has the potential to be the perfect female rockstar; she's strong, she's confident, she creates an air of rebellion and defiance and she absolutely owns the stage. The musicians perform a much darker sound than that of the previous acts, which is both haunting and exciting all at once, and India's voice is powerful enough to fill the whole venue with seemingly little or no effort at all. A perfect choice as the evening reaches its' mid-point, as they prevent the crowd from becoming bored or distracted and instead grab their full attention.

The final band of the first half, Band 11, are something totally different all together. They perform a combination of Bob Marley's Stir it Up and OutKast's Hey Ya, surprising the audience entirely and catching every single person off guard- in a very positive way! Stir it Up is the first taste of reggae and soul that has been experienced so far, and it is a refreshing change of pace, with the classy sound of the horn section (Ross Moore, Kenneth Brown, Owen Muir and Kayleigh Sharp) adding something a little different into the mix. Then the smooth transition into the 21st Century with Hey Ya adds a unique, modern twist to the reggae beat, and in this way they manage to appeal to everyone. Vocalist David Lawrence is an all-rounder, showing talent in both singing and dancing and, with his charismatic appeal, he is clearly born to perform.

Band 16 (originally listed as Band 4 in the programme) perform Gavin DeGraw's I Don't Wanna Be, which is a real crowd-pleaser. They are one of the few bands that perform a song so popular and so current that almost every single person in the crowd were singing along to the chorus at the very least, and by doing this, they really make their mark in the setlist. It suddenly turns from being a mixture of different bands covering different songs and becomes all about Band 16; it is almost as if it is their own gig, and everyone is here to see them, changing the atmosphere completely. Not all credit can be given to the excellent song choice though, as vocalist Aidy Aziz is possibly one of the strongest male vocalists of the entire night.

The following band, Band 17, perform probably the best ballad of the night, which is Empire State of Mind by Alicia Keys. Vocalist Martha Powley, at a first glance, is a slim, slight-framed, young woman, but as soon as she opens her mouth, the voice that pours out is outstanding. It is impossible to believe that such a strong voice is coming from such a tiny figure, but it is undeniably happening. It takes a truly powerful voice to carry out such a huge number without a single mistake, but Martha manages to do just that. She is pitch-perfect, and is complimented by the melodic tune from the keyboards, played by Mike Dunne. The song is performed beautifully and, in my opinion, her voice is the best- and my personal favourite- of the whole night.

Band 18 provide something a little different from the rest of the groups. It is easily noticeable that, although the songs chosen tonight enable the vocalists to show their talent and range fantastically, they do not make full use of the musicians in each band and, despite the overwhelming amount of skill tonight, the songs do not showcase the amazing musical ability to their advantages. However, in this song- Let Me Go by Maverick Sabre- it is actually the musicians that outshine the vocals, in particular, guitarist Aaron Forbes. Veronica Marie Jones' vocals are good, no doubt, but not especially memorable. Aaron Forbes' guitar solo, however, is outstanding, attention-grabbing and the most memorable part of this performance.

The evening so far has been full of variety, with a little reggae, a touch of rock, a hint of modern hits, and a sample of everything in between. This next act, Band 19, still manage to bring something new to the table by performing an original track, My Guy. The unique difference between this act and all the others is that Band 19 provide a whole new level of class and sophistication for the evening. The lead singer and writer of the song, Meg McCall, creates a sense of subtlety and maturity surrounding her, drawing the audience in and heightening their interest. Her image, along with the smooth sound of the song, takes the listener somewhere else (possibly back to the 1950's!) with a refined, suave, and above all impressive performance.

Band 20, without a doubt, should have been given a much earlier slot in the evening. They perform Cochise by Audioslave and it is pure rock. They burst onstage with a strong energy, raw determination and a hard-hitting song, rejuvenating the audience and breathing new life into the night. They are the first and only band to prompt a mosh pit during the night, and there is no denying the crowd have been desperate for them to break out onto the stage and really shake the place up. They boast confidence, attitude, and a hot lead vocalist (Nikita Nuttall) to really get the audience buzzing, and the response is positive. Of course, the song is performed brilliantly, but the best thing about this band is that they have managed to get the crowd totally pumped with the third-to-last song of the evening. If they had played in an earlier slot, the crowd may have been a hell of a lot more active, a hell of a lot faster.

The final band of the night, Band 22, are definitely worth a mention, even though they were not the strongest group of the night. The vocals may not have been overwhelming, the music may not have been outstanding, and the song may not have been particularly memorable (Freakum Dress by Beyonce). But a performance is something totally different all together, and they certainly delivered on that front. They hit the crowd with the shock-factor, for a start, with vocalist Ayana John strutting on the stage wearing the skimpiest outfit of the night, but completely owning it, oozing confidence. I've never been entirely sure what 'swagger' is, but whatever it is, I'm pretty sure she has it. All musicians wear the same dark eye make-up, uniting them and making them feel like a true band, and guitarist Karl Arheden doesn't shy away either, wearing very 'loud' clothes, and playing an even louder guitar solo. The whole band play like a well-oiled, attention-grabbing machine, and it definitely works to their advantage. They are the perfect final act, setting the tone for the whole night with one word; unforgettable.

To find out more about Tech Music School and their students, please follow the link below:

http://www.techmusicschool.co.uk/index.php

Charity Challenge Live, 21/4/12

In a admirable attempt to raise a considerable amount of money for charity- two charities, in fact; Great Ormond Street Hospital and Cancer Research- sixteen-year-old Amber Whiffen from Herne Bay has organised a great night of five bands from the local area to perform in Whitstable All Saints hall. The bands draw in a reasonably good turn-out for a small scale town gig, especially considering there is strictly no alcohol allowed to entice the younger crowd members on a Saturday night. However, the crowd does arrive, and begins to mingle around in the hall, waiting for the first of five bands to start playing and entertain them.

The opening band is Canterbury-based South Coast Saints, a relatively new pop-punk band formed in October 2011, consisting of four members. Having listened to some of their recorded material on their Facebook page and enjoying it, I felt a certain excitement about hearing them play the material live, and was really looking forward to it. Their live performance, however, didn't quite match the standards of the recorded tracks I'd previously heard. The music was good. The vocals were good. But, when put together, there simply seemed to be something missing, some element to the performance that could have glued it all together but, unfortunately, was lacking. Indeed, their cover of Girl All the Bad Guys Want by Bowling For Soup sadly came across rather shambolic, as half of the lyrics were actually missed out, and this was perhaps a slightly rushed cover that does not hold a candle to their recorded cover of, for example, Gossip by You Me At Six. Their original tracks had a certain creative flair, and credit where credit's due, not many bands can pull off decent quality originals in just six short months. Overall, their performance was not as good as it could have been, but this could simply be down to inexperience or the fact that they have not been together for that long a time period and are still trying to find their comfort zones when performing live with one another. There's still something I like about them though, and I think they could definitely go places if they work on their live performance so that it matches the standard of their recorded material. I'd certainly recommend checking out their recorded tracks on their Facebook page: http://www.facebook.com/SouthCoastSaints

Next up are Throughout Our Fears, a metalcore band also from Canterbury. They definitely hit the crowd in a completely different way to the previous band, turning off all the hall lights and switching on a strobe light for their entire set. This gets people pumped before they even strike a single chord, which definitely works in their favour. The vocals and music, lead guitar in particular, completely fill the venue and hit the audience in a way that most were definitely not expecting which, again, is a strong advantage to the band. Not being a fan of the genre of music, I didn't recognise many of the songs that they performed, be they original or covers. The one song I did recognise, however, was Sorry You're Not a Winner by Enter Shikari. This being my favourite Enter Shikari song, I know every word, but even I struggled to follow their cover of the song as the vocalists, both lead and backing, seemed slightly disorganised, and the lyrics were all over the place. However, despite my personal dislike for this cover version, it received the best reception from the audience, with people clapping along and moshing in the middle of a small town hall, and it went down pretty well. I think, compared to the metalcore band that are set to follow them, they are not quite up to scratch, but then again, other people from the audience seem to feel completely different. Although I personally think their live performance needs some refinement and some more practise, they seem to have a pretty decent fan base that love them just how they are, and they'll probably be much better listening to their opinion above anyone else's.

The middle band of the line-up are The Homecoming, based between Folkstone and Canterbury, and they are the second metalcore band of the night. However, they manage to set themselves apart from the other bands straight away purely with their level of professionalism. Having already been on tour as a band and released singles and an EP of their own, they seem to have gained some experience that makes them stand out amongst the other bands, and this is refreshing. They have clearly considered their audience and their image as a metalcore band, as the two vocalists are on the floor in amongst the crowd instead of on the stage right from the beginning of their set, and this sparks interest amongst people who are unfamiliar with the band. This must be a minority of the audience though, as many people in the hall seem to be big fans of The Homecoming and are moshing and starting circle pits right from the first song, and the band absolutely encourage this, even joining in themselves when they get the chance, creating a great atmosphere. The band connect well with most people there, and the audience involvement is the best out of all the bands so far tonight. Again, not being a particular fan of the genre, it seems like a foreign language to me, but for hardcore fans of the genre, this band are obviously hitting the spot. From what I can see, I'm inclined to take their side, and say that The Homecoming pull off a good performance with a great atmosphere.

The penultimate band of the night are Faversham and Herne Bay based The Roswell Decision, a band that blur the boundaries between funk, pop, rock and indie to try and include a little something for everyone, and that is something they provide tonight that other bands so far have failed to do. Their covers, for example, include Hyper Music by Muse, Smells Like Teen Spirit by Nirvana, After Midnight by Blink-182 and Seven Nation Army by The White Stripes, and their own original tracks have a definite funk twist on the otherwise vague genre of 'rock'. There's not one person in the audience- which has, unfortunately, thinned out a little by this point as many came to see mainly The Homecoming and didn't want to stick around and see what else the remainder of the night had to offer- who doesn't know at least one song in their setlist, and this is definitely a benefit for The Roswell Decision. The audience participation has also lessened in comparison to the previous band, as their music doesn't open itself up to quite as much madness as the metalcore music proves to, but this does result in more people actually stopping and listening to the band instead of being distracted by people throwing themselves around in the middle of the hall. This is the case for the first half of the set, anyway. Their singer- the same Amber Whiffen who has  organised the entire night- seems a little restrained at first, but then she follows their guitarist off of the stage and onto the floor and suddenly seems to let loose. She becomes relaxed and comfortable with her own performance and gains the same level of confidence and ease as the rest of the band, and this is when it all truly comes together. At this point, the music and vocals meet in the middle, both of which are at a high standard for a relatively young band. With conga lines and clap-a-longs, The Roswell Decision definitely pull off a great set, and it is clear that they are a band full of potential.

The final band of the night, closing the five-band charity event, is Lite Vinyl, a young rock band from Herne Bay. It is a huge shame that a large proportion of the original crowd has left by this point, because it would be fair to say that Lite Vinyl are probably the best band of the entire evening. However, they don't seem at all deterred by this, and this has simply opened up the floor to the remaining audience who respond very positively to their set, clapping, dancing, singing along, and just basically enjoying themselves, which is what live music is all about. The boys on stage also seem to enjoy the set, and although it is assumed that they are quite a young band, they perform excellently for their age. They take the audience back to the 1980s with classic rock covers such as Back in Black by AC/DC and Crazy Train by Ozzy Osbourne, and then straight back to the 21st Century with Dani California by Red Hot Chili Peppers, and they also throw in a little blues with Foxy Lady by Jimi Hendrix, providing a fantastic range for the audience to enjoy- which they do! The vocals are clear, coherent and sound great, flowing perfectly with the well-executed instruments that are played with good skill. If you were to shut your eyes and simply listen to the band, they would be just as easy to enjoy because, musically, they are obviously very talented. The only thing possibly missing from their setlist is an original song or two, but this goes practically unnoticed as the covers that they play appeal to the tastes of most people anyway. The audience enjoy them so much, in fact, that nearly all of them climb onto the stage by the end of the performance and sing-a-long to their final song, Under the Bridge by Red Hot Chili Peppers, and it is the perfect way to end their set and the night. The variety of bands that have played over the course of four hours has been diverse, interesting, and enjoyable, but, in my opinion, Lite Vinyl just about steal the show. 




To check out any of the bands mentioned from this gig, follow the links below:


South Coast Saints http://www.facebook.com/SouthCoastSaints


Throughout Our Fears http://www.facebook.com/pages/Throughout-Our-Fears/373798164602

The Homecoming http://www.facebook.com/thehomecominguk

The Roswell Decision http://www.facebook.com/pages/The-Roswell-Decision/10150131178315048



Lite Vinyl http://www.facebook.com/pages/Lite-Vinyl/146459132063341

3 Doors Down

HMV Hammersmith Apollo in London is, tonight, on the 15th March 2012, surrounded by people excitedly waiting to see one of the finest rock bands to ever come out of Mississippi. Of course, this excitement is very different from a bunch of school girls waiting to sneak a peak at the latest popstar poster boy they've got plastered on their bedroom walls- these are dedicated rock fans, looking forward to a night of larger-than-life guitar riffs and some good quality circle pits. The streets are lined with people chatting, mingling with other like-minded people in the queue, all under the light of the illuminated sign that lies above the doors to the legendary venue, which spells out in glowing red numbers and letters, '3 Doors Down'. They are the glue that is holding this cold, anxious group of fans together.

The first support act are Takida, an all-male four-piece rock band from Sweden. Their appearance doesn't exactly scream 'loud and proud' as they stroll on stage, but as soon as they start playing, it's obvious why they aren't hiding behind a 'rockstar' image; they don't need to. They provide a fantastic set and, although it seems that they may be practically unknown to this particular crowd, they still manage to get a good number of the audience off of their feet, jumping and cheering along to their songs, such as Never Alone Always Alone and The Fear. They sound tight, working like a well-oiled (if a little wild and unpredictable) machine, and they fit absolutely perfectly with the other two bands that are lined up to play in terms of genre. It is clear that, because of this, the crowd thoroughly enjoy their set. However, there is still one main band that the crowd have their hearts set on hearing, and they aren't going to settle until they do so! 

Well, actually, scratch that. There is not only one reason many members of the audience are here tonight. Although 3 Doors Down are the largely anticipated headline act, there are just as many broad-shouldered bearded blokes in band tops that have the word 'Seether' scrawled across them, and this is because Seether are the second support act of the evening. A large portion of crowd go mad when they arrive on stage, and there is good reason for this. After eleven years and six successful studio albums, it's a surprise to see they are still touring as a support act, as they certainly make the 45 minutes they are on stage their own, instantly having fans eating out of the palms of their hands. They play favourites such as Rise Above This, Fake It and the acoustic hit Broken, which brings the crowd together in a harmonious sing-a-long. For Seether devotees who know every line of every song- which is a good number of people- this set is absolutely fantastic, because it involves maximum performance of songs and minimum audience interaction. However, for those members of the audience who are unfamiliar with the band, their lack of engagement with the audience manages to make their set feel rather repetitive and dragged out, especially as their set is considerably longer than most support acts' would be. They give great musical performance, but for those of us who are not fans, it feels as though we are missing out on something that the rest of the crowd are relishing.

The lights go down for the third time tonight, and this is when the audiences' cheers erupt, because it is time for the headline act. The screen at the rear of the stage brightens and the camera swoops through a variation of scenes that flow too quickly to catch up with, until it settles on the image of a large clock tower, which most of the crowd assume is Big Ben (we are in London, after all) and as it strikes, the 3 Doors Down logo fades in and everyone cheers. The band walk on stage and dive straight into the title track of their latest album, Time of My Life, giving a pretty accurate indication for the rest of the night. Their set is full of so many different elements, all of which come together to make an exhilarating, emotional and exciting show, keeping the crowd on their toes. They don't give a single person the chance to get bored, because there is always something new, something fresh, something unexpected that draws you in and thrills you all over again. For example, during Changes, lead singer Brad Arnold dives- literally, this time!- into the audience, sending the crowd surging in his direction, desperate to just place a hand on him, perhaps to enable them to feel, just for a second, the raw emotion that he clearly expresses in every song he sings. This is just further enhanced by the short video clip played on the screen before they begin to play When You're Young, which basically shows the frontman encouraging the crowd to live every day as if it is their last. This may be a cliché expression, but when said with such heartfelt sentiment from one man directly to over 5,000 captivated fans, it seems to really hit home. Emotion once again fills the room when a couple are introduced onto the stage, a grinning man and a shocked and slightly scared woman, and it doesn't take long to guess what is going to happen next. Yep. The audience is even treated to a live marriage proposal, putting a smile on just about everyone's face and a tear in everyone's eye, especially when followed with a heart-wrenching performance of Heaven. Brad Arnold is not the only band member to really connect with the crowd though, as lead guitarist Matt Roberts and bassist Todd Harrell frequently visit the front of the stage and encourage the audience to scream and sing at the top of their lungs. Favourites such as Away From the Sun, Citizen/Soldier, Loser and Here Without You provide a perfectly balanced combination of slow sing-a-longs and hard-rock classics to produce a superb show.


As the band return for their encore, the crowd instantly hushes as Brad Arnold and Seether's lead singer and guitarist Shaun Morgan stroll onto the stage with a guitar and a couple of microphones, and they treat the audience to a fantastic rendition of Phil Collins' Another Day in Paradise. Shaun leaves the stage and is replaced by the members of 3 Doors Down, and the volume increases again to accompany possibly their most famous hit, Kryptonite, which is well-received, to say the least. They go on to then give a great performance of Believer, and finish off with the brilliant When I'm Gone, dedicated to the armed forces of both the UK and the USA. When boiling it down to basics, the gig consists of a bunch of musicians playing a bunch of songs to a high standard. But that isn't how the crowd feel when they leave the Hammersmith Apollo at the end of the gig. To them, it was a mind-blowing two hours of skilfully written and performed songs, imaginative visual effects, engaging audience interaction and a feeling of unity and belonging. Overall, a sensational show. 

McFly

The wind is blowing but the sun is shining along Margate's sandy shore on a pleasant March evening. Spring has almost arrived, but there's a different kind of atmosphere in the air tonight aside from the first taste of warmth that England has felt this year so far. As group after group after group of giggling girls line up outside Margate's Wintergardens, they are all chatting excitedly about one thing- McFly. There are four reasons why these girls can barely contain their adrenalin-filled screams before they've even entered the building; Danny Jones, Tom Fletcher, Dougie Poynter and Harry Judd. Girls, need I say more?

But there are two support acts for the audience to sink their teeth into before they catch a glimpse of the boys, the first of which are Hertfordshire-based Wayward Daughter. Originally a two-piece group consisting of singer Lydia McAllister and guitarist Becky East, tonight they are joined by three extra musicians to complete the act. They are here because they have won a slot on McFly's Battle of the Bands competition, launched in 2011, and have been given the opportunity to play in front of this very crowd to support one of the UK's biggest boy(with instruments)bands. They may look more like a band performing at a school concert rather than professional band playing at a reputable venue, as their image is all over the place and it's clear that they haven't quite found the Wayward Daughter 'look' yet. However, their musical performance is flawless. Their music is perfectly balanced and executed with brilliant talent, and McAllister's voice rings out clear as a bell, in tune and highly enjoyable to listen to. Combining their original songs, such as The Game, with a cover of Ed Sheeran's You Need Me, I Don't Need You enables this practically unknown act to become a hit with the audience in their short but sweet set. They may be unsigned at the moment, but their set is tighter than a good number of currently signed artists out there, and they will certainly be one to watch in the future.

The air is getting hotter, the crowd are cramming in closer, but there's one support act left. Ivyrise. A four-piece rock band from London, and most of the audience members have already encountered one or two of the musicians from the band in the queue as they try plugging their act, hyping up their reputation and building the excitement surrounding them. It has worked- to an extent. They are energetic and, again, obviously musically talented. And credit where credit's due, their set is professional, original and enthusiastic. But they seem to have slightly misjudged the crowd. They might have forgotten that their target audience consists mainly of teenage girls who voted for Harry and Dougie devotedly on reality TV programmes just so that they can see their faces for another week, and who probably still sneakily kiss posters of Tom or Danny before they go to bed at night. Oh, and some unfortunate mums and dads as well. Instead, they blast out a set of hard-hitting rock music. This hits the spot for some members of the crowd, but the majority of them mainly seem to be tapping their feet out of impatience rather than along with the music. It's a simple case of the right set, the wrong place.

The venue darkens, and ear-piercing screams erupt. These screams only amplify as sirens begin to wail and one by one, the band members walk on stage. Some girls are hysterical, some are even in tears, as potentially the four best-looking men in the South East coastal area at this moment in time all come together on one stage. But, looking past their blinding beauty, the music speaks louder than looks. They burst on stage with a bucket-load of energy, and they all have a certain glint in their eyes, signalling that this night will be full of mischief and fun. And the boys don't disappoint. In particular, Danny and Dougie are constantly cracking jokes and fooling around, providing more than just a musical performance, but instead offering a whole array of light entertainment. If only Harry had got up from behind his drumkit and gave the audience a sample of Strictly, it could have turned into a whole variety show! They throw a few brand new tracks into the set, and the song Red stands out especially as a potential number one hit- it is brimming with energy, but has underlying tones of sultry darkness; a perfect combination. These 'test runs' are well received by the audience, but there's no denying it, they still crave the classics, and McFly have no choice but to deliver. Hits such as Broccoli, I Wanna Hold You and a mash-up of favourites Obviously & All About You send the crowd crazy, and it's obvious that the cheesy lyrics of adolescents boys mucking around with mates will never die for this band. And, to be honest, they don't really look like they mind. Slower, more delicate songs such as She Falls Asleep Pt 2 and A Walk in the Sun hush the crowd into a lullaby-esque sing-along, with cameras swaying to and fro, lighting up the room. Along with this, they perform snippets of Rihanna, One Direction and Gotye in a successful attempt to satisfy every single person in the venue. It works. They are one of the most engaging live acts that have possibly graced the Wintergardens in a while, as they manage to balance perfectly the amount of audience participation with great-quality musical performance. 

Five Colours in Her Hair leaves the crowd desperate for more, and they return for their encore of the beautifully sung A Walk in the Sun, and the powerfully performed Shine a Light and many, many thank you's. As Tom points out, the band have been together for nine years now, starting out as a boyish, playful  group of teenage lads who just enjoyed messing around with a few instruments and some lyrics. Now they are a regarded as a household name, part of the British music institution, and manage to storm the mainstream charts as well as sneak into the CD collections of rock-lovers all over the country- although they may not admit it! Whether they are a guilty pleasure or played at top volume with pride out of the car windows, there is no doubt about it; they are loved nationwide. Skeptical as some people may be- "who wants to hear a bunch of pretty boys jump around pretending to play guitars?" etc.- there is no denying the talent they ooze as a live act. Flawless and fun. Sexy and satisfying. Big-hearted and bloody brilliant!

Reel Big Fish

Amongst the dark, cold streets of Shepherds Bush lurks the O2 Empire, a well-established music venue occupied by thousands every year. When one simply walks past the building, it blends into the seemingly endless row of pale-brick buildings that line the pavement. However, inside this building tonight, on the 9th February 2012, a burst of high-powered ska music is going to make it come alive with colour in the form of Reel Big Fish, and that is definitely something worth taking a second glance at this particular building for.

The first support act, The JB Conspiracy, are a great warm-up for fans of Reel Big Fish, as they have all the right components to bring a small taster of up-and-coming ska music into the atmosphere; energy, talent, and dancing brass instrument players. Although many of audience haven't yet arrived and the venue is rather empty, this certainly doesn't seem to dishearten TJBC, and they play a tight set, even attempting some audience participation which is well-received by the crowd. They may not have had absolutely everyone up on their feet, but they definitely set many toes tapping, and what more can a support act who are relatively unknown in the UK ask for?   

The following support act, Orange, strut confidently on stage, although their appearance provokes some confused looks amongst those unfamiliar to this L.A based band- 'Orange virgins' as frontman Joe Dexter later dubs us- as their look consists of a wild-haired, wide-eyed man in a military jacket, a blonde Billie Joe Armstrong lookalike, and a bloke in a sombrero. However, as soon as they start playing, they are taken much more seriously. They are a punk act, clearly inspired by The Sex Pistols and other 1970s punk bands, and their set- despite some slight sound issues- is very engaging, and a hell of a lot of fun. They also interact with the audience several times, and it is clear that they are all born entertainers, dedicated to what they are doing- and why shouldn't they be? They really get the crowd going, and it is incredibly refreshing to hear raw punk music- not POP-punk, just pure punk- being brought into the 21st Century.

The headliners are up next, and looking around the venue, at some point during the sets of the two support acts, the crowd has flooded in and filled up the standing area, as well as two seating levels above. Reel Big Fish are being eagerly awaited. The theme tune from Superman plays, and the six members of the band stroll on stage, casually goofing around and instantly connecting with the audience. Aaron Barrett, in his trademark sunglasses and Hawaiian shirt, simply grins at the crowd and at his fellow band mates, who then blast out the recognisable into of Everything Sucks, and the audience go wild. Reel Big Fish, and alike bands, are some of the only gigs where the crowd can be clearly heard 'do do do-ing' along to the tune of the brass instruments before singing along to the lyrics, and it sets a united feeling amongst every person there. Not only that, but RBF fans are definitely a dedicated bunch, as there isn't a single song that strikes a dull chord with the audience, as they know nearly every word to practically every song. For example, songs such as Don't Start a Band, I Want Your Girlfriend to Be My Girlfriend Too, Suckers and Trendy get everyone singing along, and the instrumental 241 is purposely played as a song to get everyone deliberately dancing instead of just wildly jumping up and down. Cover songs from their album Fame, Fortune and Fornication are also well-known, so much so that anyone who doesn't know them is told to "fuck off" by the band. The song S.R., played towards the end of the night, is used to take every last ounce of energy from the audience and make sure they throw it into this gig by adding alternative death metal, country and dance versions of the song onto the end of the original, prompting headbanging, square-dancing and booty-shaking. The last two songs played for the encore are as classic as it possibly gets for RBF, as their two most well-known songs- Sell Out and Take On Me- finish the night off perfectly. Every fan in the crowd knew that there is no way they would leave the venue without hearing those two favourites blown out of the speakers.

Reel Big Fish are a fantastic live act, as they sound just as good on stage as they do in the studio, but with the added extra of hundreds of fans screaming the lyrics back at them. Although the same techniques and introductions have been used by the band for the past three times I've seen them, the routine never gets old, and that's because the positivity and enthusiasm that the band spreads throughout the audience every time, giving each person a big ol' smile on their face when they leave- and who could ever get bored of that?!

All Time Low

A queue as long as the eye can see, consisting mostly of young, swooning girls, is the scene outside the HMV Forum in Kentish Town on a snowy 4th February. Freezing, soaking wet, but completely undeterred, All Time Low fans slowly filter into the venue for a fun-filled night.


The first support act, Poughkeepsie-based We Are The In Crowd, have a pretty tough job on their hands, as the majority of the crowd are shivering through their snow-coated clothes and not quite in the mood for moshing just yet. However, the energy and enthusiasm that bursts from the band, particularly from the thrashing, head-banging pint-sized Taylor Jardine, is enough to put anyone in a good mood, and they definitely set a light-hearted, enjoyable tone to begin the night.


The next support act are The Maine, from across the pond Arizona. They have a slightly more mature, subtle sound than the previous act, but absolutely to do fail to entertain. They play a sophisticated, sexy setlist and allow the audience to combine ruthless rocking-out with soft, swaying arms in the air to give everyone a little taster of the music they've got to offer, and to ensure a decent preparation for the main act.


The lights go down, and the piercing screams of thousands of girls dying with excitement and anticipation fills the venue. The band enter the stage one by one, with Alex Gaskarth strolling on last with his guitar, and the crowd hit the roof. The tick-tock of a timer clicks away, building the tension and sending heart-rates into oblivion, until the beginning riff of Time-Bomb, a favourite from their new album Dirty Work, bursts out and gets everyone jumping. Lead guitarist Jack Barakat is certainly in the mood for a party tonight, and spends most of the evening hopping on and off of the amps, encouraging the crowd to go nuts (not that they need any encouragement!) and ends the night by throwing himself into the first few rows of the crowd. Other tracks from Dirty Work seem to be relatively well-received, considering that it wasn't met with the best critical reception. However, the album, including songs such as I Feel Like Dancin' and Forget About It, became their highest-selling album overseas to date, so they never really had much to worry about in the first place. Old classics, such as Six Feet Under the Stars, Coffee Shop Soundtrack and Poppin' Champagne prove the perfect way to open up the pits and get some fast-paced moshing underway, as do classic favourites, such as Lost in Stereo and Damned If I Do Ya (Damned If I Don't). Remembering Sunday, played beautifully by Alex on an acoustic guitar, brings out the melodic singalong that the evening has been craving, and really brings the crowd together. Being the last date of the tour, every single person, even the roadies and backstage crew, are dragged onstage together to toast the end of the tour together, and it's a perfect way to end the night. Well, almost. A band can never leave without an encore, so the tour is definitively put to rest with the excellently selected final songs, Do You Want Me (Dead)?, Weightless and Dear Maria, Count Me In.

All Time Low may not be a ground-breaking band, nor is anyone claiming that they are the new musical geniuses of the 21st Century. However, they are talented, engaging, and, overall, good at what they do. It is clear from the dedication of their health-risking crowd- most of whom have now probably caught pneumonia- that they are well and truly loved, and everyone leaves the gig feeling that they have had a great time, which is what All Time Low are all about- fun!