Album Reviews #3

Another ten long players you need to hear!

Aimee Mann - Mental Illness

Lacking any distinction between one slow paced track and another, Mann's 'Mental Illness' is nicely sung and gently performed but is about as exciting as a slow walk around the supermarket. Relentless downbeat and samey even when the pace picks up on tracks like 'Patient Zero' is feels tired. Not my cup of tea. (4/10)


British Sea Power - Let the Dancers Inherit the Party

The latest album by British Sea Power is a 12-track 49-minute opus that starts with a subdued 30-seconded intro before going into the catchy, REM-like radio-friendly first single 'Bad Bohemian' which still sounds as good a few months after hearing it originally. 'International Sound Station' is a bit more quirky and includes spelt out lyrics and a less structured feel but at least holds ones interest, whilst 'What You're Doing' is a little calmer and more involving but doesn't feel like it really goes anywhere and the vocals feel a little too laid back, though the repeat of the title at the wake of the track works better.

'The Voice of Ivy Lee' is a sweeter more intriguing track with its plinky-plonky synth and Editors-style development, feeling different from what has come before it. 

Second single 'Keep on Trying (Sechs Freunde)' certainly feels like a wise choice for that accolade, the catchy hook of the words in the brackets combined with the electronic and poppy feel making this a welcome burst of energy at the half way point of the album.

The intriguingly titled 'Electrical Kittens' calms things down a little and is a smooth little number but the energy flows back for 'Saint Jerome' before ebbing a little for 'Praise for Whatever' with its instrumental waves moving back and forth between darker lyrical passages and a strong conclusion.

The vocals go more subdued on 'Want To Be Free', a sweeping ethereal number that floats along nicely to the final two tracks. 'Don't Let the Sun Get in the Way' perks things up a little with its opening piano riff before settling into a sweet little ballad that sounds like single #3. Things wrap up with the five-minute 'Alone Piano' a sweeping soundscape that ties the album up nicely but doesn't really do anything, concluding an album that takes a listen or two to build and had a snatch of great singles and some good connecting tracks. Nice enough. (6.5/10)

Some more albums that you need to hear!

Craig Finn - We All Want The Same Things

'We All Want The Same Things' is a 10-track 44-minute album that sounds like the voice of Bruce Springsteen and the pretentiousness of Morrissey without the ear for a tune of either. Opener 'Jester and June' has its moments and the quirky electronic riff of 'Birds Trapped In The Airport' adds something interesting, but it's tricky to find anything on the album that doesn't feel like a continuous flowing stream of consciousness. 'God in Chicago' is a spoken word poem that only belatedly becomes a song whilst 'Rescue Blues' has a more poppy side to it that makes it my favourite track on the album. Elsewhere it's just a little bit too samey and rambling for my tastes and the rock-and-roll tinged 'Tracking Shots' with its Status Quo-esque guitar feels like too little too late. Craig Finn has a good voice, the songs are well composed, but just don't hold my interest. (4/10)

Desperate Journalist - Grow Up

'Grow Up' is the second album from 'Desperate Journalist' and is a dark and murky slice of pop-indie that takes a few listens to enjoy. Starting with the sombre and grumply six-minute epic 'Hollow', it's the Paramore-sounding second track 'Resolution' that is a better showcase of Bevan's octave-jumping punky voice. Complete with a catchy drum riff, this is a strong indie-rock number with hints of Editors at times. 'Be Kind' leaves any hints of pop to one side from track two for a more sonically difficult number that lacks the interest 'Resolution' suggested with the vocals lost deep into the music. 

'All Over' regains some ground thanks to its fast paced guitar, soaring chorus and quirkier outlook but once more the music is a little too over-powering and for every thumbs-up quieter Morisette-like breakdown there's an uneartherly clatter of guitar.

'Purple' is another darker track and feels a bit more like a bit of filler but has its sweeter moments. 'Lacking in Your Love' is a more fun punky number with some catchy moments and more emotional, angsty lyrics, when it's not once more crunched up in its loud guitars, and becomes one of my favorites on the record.

'Why Are So Boring', with its less obtrusive production, actually proves to be the opposite of the title, a more progressive and listenable number that allows the lyrics and Bevan's vocals to be the focus though it does get a bit screechier towards the end. 'Your Genius' is an OK track whilst 'I Try Not To' with its rocking opening feels much more approachable, and has much more passion and energy and sounds a little like a Morrissey number, but in a good way! 'Oh Nina' continues the theme of the album with another fun little entry, whilst closer 'Radiating' is a much more stripped back number with lyrics that are much more down to earth and personal and actually leave the album in a much stronger position.

In retrospect Desperate Journalist's second album is a mixed bag. I enjoyed moments of it and several tracks and it's hard not to admire the band's scope and the vocals, but it's better when it's not going all blazing with the guitar which is not enough time. Give it at least two spins; it needs time to breathe. (6.5/10)

Emily Barker - Sweet Kind of Blue

Emily Barker returns with a delightful 39-minutes of calming, beautifully sung music over ten tracks, starting with the foot-tapping and funky title track that mixes retro sounds with hints of country and a ballsy chorus. 'Sister Goodbye' is a slower, more Nina Simone-like smooth ballad with real quiet and a gentle delight. The funk returns for single 'Sunrise', with layered vocals that keeps the cool number rolling on, and letting you wallow in its bright imagery.

Onto track four and 'Number 5 Hurricane' feels like the first skippable track; not that it's bad but it just feels overly familiar and doesn't particularly go anyway, but Barker's voice is still very listenable. 'If We Forget To Dance' feels more like it, with a sweet vibe, strong brass interjections and a jaunty rhythm, with the 'let's put a record on' section very evocative.

Hitting the second half of the album the string-infused 'Crazy Life' is probably my favourite track on the album with the most heartfelt lyrics, brought to vivid life by the touching musical score. 'Over My Shoulder' cranks up the emotion with some beautifully produced music highs and lows and more note-perfect emotional vocals and imagery. 'Change' is another gentle number before the pace abruptly shifts for the delightfully bouncy retro number 'Move!' which channels the sixties in a very fun way. The album wraps up gently with the soaring yet subtle 'Underneath the Honey Moon' which showcases Barker's vocals and sums up a sweet, listenable, classic-sounding LP. (7/10)

Father John Misty - Pure Comedy

Father John Misty sure has written some strong lines for his latest and lengthy opus, lines like "he takes his final breath / but first checks his news feed to see what he's about to miss" from 'Ballad of the Dying Man' and "Betting Taylor Swift every night in the Oculus Rift" that opens up latest single and track two "Total Entertainment Forever". Mixing up biting satire and observations, 'Pure Comedy' is an album almost as long as the capacity of a CD but doesn't feel over-long, even though it does, clearly go on a bit. The titular opener ties itself up in religious symbolism and has plenty to say in its Tim Minchin-style rock-opera number. The aforementioned 'Total Entertainment Forever' feels like a catchy brass-led single as it laments the future of technology whilst the slower track three has a title - 'Things It Would Have Been Helpful to Know Before the Revolution' almost as long as the album itself but lacks the excitement the title would suggest. 'Ballad of the Dying Man' is more like it, with its catchy rhymes and Beatles-esque vibe.

'Birdie' at five minutes is slow and forgettable compared to a strong opening four songs, even if it does lift up its energy levels in the dying moments, but it's nothing compared to 'Leaving L.A.' in length, topping thirteen minutes, and even though there are smatterings of sharp lyrics and a rather self-effacing set of verses, it's a bit too languid for my tastes. If you can zone out and let it wash over you then it's good, just don't expect sharp focus to remain on it if you concentrate. 'A Bigger Paper Bag' continues in much the same vein, with interesting layered-vocals and instrumentation but ultimately forgettable, as is 'When the God of Love Returns There'll Be Hell to Pay' and 'Smoochie' passes with a similar vague familiarity as the album ends up being like a comfort blanket of sweeping music and gentle vocals that send you drifting off.

'Two Wildly Different Perspectives' lifts up a little bit but again feels rather sombre and similar. 'The Memo' is a much better number though the weird production decision to overlay random electronic phrases over the second half as it you've accidentally triggered Siri or played an automatic Facebook video in another tab either smacks of saying something or pretentiousness, and I'm not sure which one. Penultimate song 'So I'm Growing Old on Magic Mountain' completes the vibe is slow and gentle tracks that blends together, leading into a slow finish with 'In Twenty Years or So'.

'Pure Comedy' is a well produced and flowing record full of sharp lyrics and a determined focus. It might descend into pomposity at times with lyrics and titles that even Sparks would raise a wry eyebrow at, but it's well observed and has some strong lyrics, though musically it descends into similar monotony and never re-captures the greatness of the first four tracks. I didn't know what I was expecting from the album but I was pleased with what I got even if it's more of a sensory piece than a jaw-dropping collection. (6.5/10)

Future Islands - The Far Field

With a lead vocalist that sounds like a cross between Sylvester the Cat and Groucho Marx, this 12-track LP is a fun, high-energy release that sounds a little like a poppier Kraftwerk. From the fun opener 'Aladdin' to the slower but throbbing 'Black Rose', there's plenty to enjoy over the dozen electronic-heavy songs with hooks a plenty. The energetic vocals of 'Time on Her Side' are a winner and though the vocals are low in the mix the multi-layered music never seems to clash.

Track five 'Cave' lifts things up a bit more with a very catchy drumbeat and the energy that percolates through the entire piece, and tracks like 'Through the Roses' settle down well, the 'We can pull through together' hook of that track great. With further electronic wizardry on 'North Star' and riffs in 'Ancient Water', the tracks maybe blur into one another a little but what there is is great, through to the funky beats and radio-friendly moments of my favourite track, the fast-paced 'Day Glow Fire'. We even get a guest appearance from Blondie's Debbie Harry on the penultimate song which adds a great extra spin on what is already a pretty fun track.

With distinctive vocals and some great production, this is a really fun and funky album. Love it. (7.5/10)

Kathryn Williams - Songs from the Novel 'Greatest Hits'

A soundtrack album to Laura Barnett's latest novel, Williams' album is a gentle exploration of the novel's issues but one that takes a handful of tracks to get going after the meandering country-tinged opener 'Common Ground', throbbing 'Architect' with its 'pencil and a line hook' (the best of the opening three), and 'Living Free' with its indie guitar strumming and smooth, 'Sixpence None The Wiser'-vibe.

The duet and brass of 'I Wrote You A Love Song' signals a shift to something stronger with its sultry nature winning over. 'Just Us Two' is a short but sweet little ballad whilst the Blondie-esque 'Road of Shadows' becomes the first big stand out track with Williams' vocals really resonating and the chugging guitars, catchy vocal hooks and gritty production effects working well.

Things return to a gentler nature with 'Don't Step on the Cracks' which ambles along nicely enough but the lead single 'She Wears A Dress' with hints of sixties and Motown lifting the mood and making this a refreshingly brassy uptempo number as we hit the half-time point of the album. Full of some catchy lyrical moments it's biggest shame is that it's only two minutes long.

Reaching the second half the album fluctuates between the sombre monotony of 'Lillies' to the sweeter, sunnier 'Brightest Star' with its pleasing layered ending. 'Home' with its plinkety-plonkety opening and mixture of instruments, is fun while it lasts. 'Edge of the World' goes down a further gear for an airily-sung number that goes a little darker, next to the sweeter 'Queen of the Snow' though its still a little slow and sombre for my tastes.

'Gethsemane' and 'When Morning Comes' keep up the vibe of similarly sounding, introspective tracks whilst things go a little Scissor Sisters and their 'Comfortably Numb' cover on closer 'In This Garden' which feels like a strong ending number.

The 'Greatest Hits' LP doesn't quite live up to that moniker but it has some big highlights and a strong progression, but it could do with a few more uplifting number amongst the samey, slow numbers. (6.5/10)

Lover - Human Geography

Lover first came to my attention last year with their catchy and quirky pop song 'We Are Stars' and their new album, which sadly doesn't contain that song, is in a similar vein, with lead vocals that are just on the right side of holding together and plenty of pop hooks.

This 12-track album opens with the electronic hum of 'Red Roar', a Blondie-esque driving forward number, that is one of the poppiest and most memorable on the album, with sections of production that shine like the vocal whispers breakdown. 'Fallen Famous', the album's lead single, comes next and again boasts a singable chorus, some raw guitar and a fun vibe.

'Mood Swings' again mixes the formula of intriguing instrumentation, punky lyrics and a grunge-style, with a stronger attitude-heavy swagger. 'Story (Money Shot)' is the first track that doesn't grab me as much, but the quickly starting 'Self Destruct' is much better with its faster pace that hooks you in, with a poppy, clap-along chorus. 

With its storm-backing 'Passing Through' is a darker number and boasts a strongly produced atmosphere; 'Somebody Somewhere' has hints of ska amongst its bleeps and blops and a big chorus; and its back to the 80s for 'The Light Around You' which has some good lyrics but isn't the most memorable track on the LP. 'White Bears (Ironic Process Theory)' is named after a psychology process - yes really - and is a contender for the next single, whilst 'The Girl I Almost Kissed' is the best on the album, its soaring, sad and dramatic chorus winning me over.

The LP wraps up with 'Weekend Caligula', a brassy number with another Blondie-sounding chorus, and the pub crowd-tinged 'Seven Words Unspoken' which ties things up nicely.

I like the album as it has a good mix of production styles, hooks and vibes. There's something I can't place about the production of the vocals that works and doesn't in equal measure at times but if you imagine Blondie adopting a grungier outlook then you get Lover. (6.5/10)

Red Sky July - Radio Mixes (EP)

This 'Radio Mixes' EP showcases four incredible country-tinged songs from the mid-tempo sinister Dixie Chicks swagger of 'Dodge' to the drum beat of 'The Truth and the Lie' that mixes Ward Thomas with the Cardigans in a poppy, bouncy number. In the middle we get the sweeping 'Sway' that proves to be a heartfelt ballad with gusto, and the best of the four 'Jet Trails' with its Alanis Morissette / Robbie Williams vibe and gutsy central stadium-friendly chorus. Brilliant! (7.5/10)

New Music Review #61

Do you want ten more songs you need to hear? Well you're in the right place!

ALMA - Chasing Highs

The best song from ALMA so far, it might have moments of inspiration from many other club songs but it's difficult not to enjoy her lead vocals even if the production is samey and chorus too repetitive. (6.5/10)

Beauty Sleep - All In

'All In' is a catchy pop-indie track with a simple yet summery choral hook and a nice laid-back vibe that will keep you interested. (6.5/10)

Big Boi feat. Adam Levine - Mic Jack

Maybe not up to the power of Outkast at the heights of their power this is still a fun collaboration, though Levine's pop-centrered chorus is more interesting than Big Boi's OK rap-verses. (7/10)

Hailee Steinfeld - Most Girls

The lyrics and delivery are more uplifting and inspirational than the generic music backing, but as a whole this is a well-aimed slice of pop-rnb. (6.5/10)

Hebe - Take Him Down

'Take Him Down' is a catchy, indie-pop number with a catchy central hook that's like a lighter, more care-free, Florence and the Machine. (6.5/10)

Jesse Malin - Meet Me at the End of the World

The vocals may be a little muddied by the production but it's a fun and funky driving little indie-rock song with a warm vibe. (6.5/10)

Kathryn Williams - She Wears A Dress

'She Wears A Dress' is a fun, airy, laid-back number with an early summer vibe. Nice and relaxing. (7/10)

Matrix & Futurebound feat. Calum Scott - Light Us Up

Again, like many of its contemporaries, its the guest vocalist that excites more than the generic club-music, but is plenty of fun festival-focussed power even if it sounds too familiar. (6.5/10)

MØ - Nights With You

Another great pop-rnb song from MØ with plenty of balls, a bass-hefty swagger and a catchy vocal hook at its centre. (7/10)

Rita Ora - Your Song

The lyrics may be a little fag-packet and the chorus tired but it a bouncy pop-feel to keep you smiling, though it's a shadow of her previous work. (6/10)

KBPS Interview: The Ghibertins

Italian Folk Rock trio, The Ghibertins, have just released their new single, 'Breathe For Me’ on the 26th May via Mob Sound Records. We spoke to Alessio Hofmann about the song and began by asking him to describe the track.

The song talks about the moment when you realise that you love someone so much and your love is so strong and rooted it leaves you powerless and defenceless. Breathing is extremely easy. When I ask myself ‘breathe for me’ I’m asking ‘are you going to be you there for me’, even when I struggle and when I really need you, just breathe for me. I don’t need you to do anything else, I just want you to stay close to me. The problem is that the main character doesn’t know if this love is reciprocated, so he keeps asking this question obsessively, and the more you ask this question the more the song’s rhythm increases, as the doubt increases, which is why the song starts extremely slow and becomes more powerful and full of energy. As I ask the question to myself, the more I have the doubts that my love is not being reciprocated.

Did you enjoy that way of balancing the lyrical style with the changing production?

I really enjoyed how this song came about. For this song I had something in my mind which was very precise. I had in my mind to keep it very folk-ish, to have just acoustic guitar and then I went away for a weekend – I don’t remember when – and my band went away to rehearse without me and they came out with this new arrangement with the strong bass and drums, so the first time in the band’s life I appreciated that the band understood what I wanted to say and transmit from the song, so it was great.

You released your debut single ‘Round Trip’ in 2016; has your sound changed?

Our previous work was completely different. It was recorded with just two acoustic guitars and a bass, and we used as percussion the guitar case, so it was a softer, minimalist sound. What we wanted from this album was to see where we could get to, and wanted to do something more complicated and explore new sounds, so a lot of work has been done between ‘Round Trip and ‘Breathe For Me’. I think the sounds are totally different. Even the lyrics and the arrangement [have] something more.

Have you got plans for a video for ‘Breathe For Me’?

Actually the video [premiered this week]. We have a simple video that reflects the lyrics of the song. It’s in black and white; there’s a girl and boy running, and you can’t tell if they’re running towards each other or away from each other, so it reflects the lyrics.

You have your album – ‘The Less I Know The Better’ – coming out later this year. What was that like to record?

It was an adventure! We had so many musicians on this album as there were ten, playing the strings, brass [and] piano. It was a lot of fun but it was quite a lot more difficult considering that the previous EP was recorded just with three of us. Even writing the lyrics of this new album was difficult. I always love to talk about love and hate as these are the feelings that make the world go round. Considering what’s happened lately, I also wanted to say something more. I’m talking about Kabul and Manchester. I didn’t just want to talk about this. I wrote three songs that I was particularly proud of lyrically. The [album] title comes from this feeling. Especially here in Italy, we are bombarded with news of refugees crossing the Mediterranean Sea; every day people dying. I sometimes feel people to prefer not to see what’s happening and live their life happily ever after, so that’s where the title ‘The Less I Know The Better’ came from.

How would you describe your live sound?

We like to keep our live sound the same as the album because when you are an emerging band I think the expectation of the audience is to hear what they hear on the album. They don’t care if you are an emerging artist or a top artist, and you have to prove that you are able to recreate what you can do in the studio. As soon as we reached the studio that’s what we said: we wanted to create an album that we could easily replicate during our gigs, no matter whether we play in front of ten people or a thousand people. We have to do that!

We also recorded, last month, a live video [of four tracks] inside a marble cave. It was tough, as there was mud everywhere and we had all our equipment, but I think the result is great!

Do you have any plans to come over to the UK?

That’s a dream actually. We never succeeding in playing outside of our country, and that’s a pity because when you speak in English it’s always better to have an audience in front who actually understand what you are saying, so we’ll [be] coming to the UK as soon as we can. It’s more than a dream; in a few months it will become a reality!

Finally what are big ambitions for the rest of the year?

Talking about myself and the other band members, it would be the opening act to one of our favourite bands. In my case it would be Mumford and Sons, or John Mayer, or Ryan Adams. That’s a dream but we’ll see what the future has [in store] for us!

Find out more about the Ghibertins on Facebook.

Live Review: Robbie Williams - The Heavy Entertainment Show (Manchester - 2nd June 2017)

*** Warning: contains spoilers for those who are seeing him live ***

Robbie Williams began his latest mammoth tour with the first of two nights at Manchester's impressive Etihad Arena. Coming around 10 days after the awful attack at a sister venue in the city naturally the events overshadowed the gig - signs warning people not to be alarmed about pyrotechnics the most obvious sign in the run up to the gig - but the crowd was packed and enthusiastic and the resolve to not give in to terror formed an emotional back-end to a gig that was visually spectacular, inventive and packed with the best of Williams' increasingly large back catalogue, even if a few choice favourites were absent.

The gig began with a generous 45-minute support set from Erasure, lead singer Andy Bell and keyboardist Vince Clarke were dwarfed by the set with only the world's sparkliest dress and two voluptuous support singers (which could have been drag queens, but it was too far to see) for support. I'm not a huge fan of the duo so a lot of the songs played were unknown to me but it was hard not to be won over by the thumping dance beats and those older than me seemed to be enjoying it. They did perform a great version of their current single 'Love You To The Sky' early on, which was welcomed, plus a well received version of 'Sometimes', and closer 'A Little Respect' really setting the mood, with a small rain shower as they walked on stage just before half-seven having little effect in dampening the mood. For me they didn't have the catalogue of songs that the Pet Shop Boys had who supported Take That at my last visit to the Etihad, but the performance was spot-on and there was plenty of energy from the stage and enthusiasm from the crowd in return. 

With thirty minutes to kill before Robbie arrived on stage for his 100-minute long set, we got to enjoy the two huge Robbie silhouettes being filled in by some CGI-fly-posterers and the occasional corporate sponsor message. 

The set opened with a hilarious crowd-sing-a-long as the words of the national anthem were tweaked to be focused on the singer, with some well written barbs in his own direction relating to drugs, his success in America, rapping and infamous single Rudebox (more on that later).

With the sing-a-long getting the crowd warmed up Robbie emerged on stage in his boxing-gown attire and surrounded by similarly themed dancers to perform the double-header opening songs of the tour's titular track, the huge Robbie-shaped screens helping the crowd see him from a stage that was otherwise too-low to really get a good view of what he was doing, and 'Let Me Entertain You', which was accompanied with the usual good feeling and singing from the crowd and some great press-cutting visuals that mashed up the lyrics with gif-like snatches from a whole range of videos from debut single 'Freedom' to the present day. The visuals, as hoped for at such a show, were breath-taking throughout the entire gig and really added an extra element and it was a shame there wasn't a real-life rewind button at times to capture all the details, and some of the effects on live camera work were something to behold.

The hits kept coming in the show. We got 'Monsoon' to visuals of lighting, ran and a confetti and the art-inspired 'Party Like A Russian', the first time of many in the night where Williams mentioned his chart positions, which was possibly meant as being a bit self-depreciating but came across as a little too bitter really. The graphics complimented the song well, especially the well-timed sequence set to the 'inside a plane, inside a boat' moment.

In a backward looking, retrospective section, we got some anecdotes about 'Take That' and a spot-on version of contemporary collaboration 'The Flood' before Willliams' own debut was whipped out after many years in the wilderness for a monochromatic tribute to George Michael who recently left us.

With the first of two funny anecdotes about fatherhood, Williams clambered into a mechanical boxing glove to go out into the crowd, echoing previous tours, to deliver the brilliant 'Love My Life', and a mechanical failure at the end added a bit of humour, and it could well have been scripted in. The observation that it does seem odd to sing a song about loving your kids whilst traversing in a boxing glove was correct from Robbie, but his suggestion that he didn't even want it felt weird as surely he would have final creative say?

Moving on we got a fun crowd section going through some 90s songs in a karaoke fashion before 'Come Undone' was mashed-up with a sing-a-long ending of Take That tune 'Never Forget' which Williams confessed he'd added in because of jealousy over the crowd reactions from his time re-joining the boy band on tour several years ago.

Continuing on, a member of the crowd was brought onto the stage and fitted with a Nina Conti-style face-mask to perform a duet of 'Something Stupid', which worked well but was slightly surreal, and he admitted at the end that they were trying new things for the tour which might not be re-appearing, but it could have again been part of his banter.

Up next we got most of 'Rudebox', which was a surprise, and as a fan of the track was pleased to get the chance to sing-a-long but it seemed to get a muted response from the rest of the crowd, then a spirited version of 'Kids' with the singer joining him having some proper lungs on her. The rap was missing, sadly.

With a retro television appearing in the background we got a duet between Robbie and his dad on Neil Diamond classic 'Sweet Caroline', at least once the sound guys had turned on Pete's mic, and aside from the weird juxtaposition of his father in full suit and Robbie in his boxing dressing-gown, was a fun crowd sing-a-long that nodded to his swing moments.

As we neared the end of the set we got 'Motherfucker' from his latest album. To my amusement two parents behind me told their young daughter - maybe eight - never to repeat that word as he mentioned it in the anecdote that preceded it. I didn't get chance to see if they covered her ears for the multiple times it was sung loudly by the crowd, or indeed the drug references from 'Come Undone' that came earlier. With the crowd in full voice this worked really well live, especially when combined with 'Hey Jude' at the end and Robbie's own tribute to Sergeant Pepper.

The main set wrapped up with 'Feel', with lasers dominating the arena, and 'Rock DJ' with its neon-vibe graphics and bouncy pop feel.

Williams returned on stage for a three-song encore which was heavily focussed on recent events. The lyrics to 'Strong' were tweaked to show defiance in the face of terror complete with karaoke lyrics on screen and multiple crowd-led encores. 'Angels' was dedicated to those who lost their lives and a clearly emotional Robbie - tears on his cheeks - struggled to complete much more than the opening and closing verses, but the crowd had his back. With 'My Way' used to finish off, the mood was judged about right in memory of those affected by the events last week though perhaps went on a little too much.

Overall those turning up for a good night got one, with a great selection of songs, visuals and anecdotes. Some of the elements - the person pulled out from the crowd, the novelty stage-arm device - are perhaps a little tired, some songs like 'Candy' and 'Mixed Signals' were mysteriously missing, and Williams occasional came across as a little bitter about some songs and their chart performances, like a multi-millionaire muttering how they should have earnt more, but these were minor quibbles in an energetic, fun and exciting show that even saw him take the mickey out of himself by having a stage hand bring on a large bottle of Listerene and some hand-sanitizer during 'Somethin' Stupid'.

It was a great night from a top showman, with a selection of brilliant songs well delivered both musically and visually. (8/10)

Click here to view the entire set-list.

[Album Review] Cody Chesnutt: My Love Divine Degree

Chesnutt's first album in four years begins with the short declearion that 'anything could happen when the music is good' and 'My Love Divine Degree' proves that his music is good enough to make a smile wander across your face and your feet tapping, if not a little short of anything.

The album begins proper with 'Africa the Future', a heartfelt politics-heavy song to the prosperity of the continent, its hefty words and choral-led calls for supporting Africa, well constructed in a strong, energetic number. Track 3 of 14, 'She Ran Away', kicks off with a fourth-wall breaking radio introduction that should put some jocks out of work if the song gets cut as a single, leading to a summery, funky number that continues the solid opening that bounces a long with a rhythmic, tempo-shifting vibe.

From here on in the album perhaps takes a bit of a step back in its lyrics and atmosphere. 'So Sad To See (A Lost Generation)' promises plenty with its title and it has swagger but lacks the energy of previous numbers. The Raphael Saddiq- featuring 'Bullets in the Street and Blood' with its 'Do It For the Baby' has a fun enough rhythm and flow and is a much more laid back and chill-out track, whilst 'Always Sebrena' with its timpani-esque opening has a caribbean fairy-tale feel though it doesn't really grab you over its sub-2-minute running time.

'Make A Better Man', with its acapella opening, and then funky rhythm lifts things up more and feels like a future single with its summery, bouncy rhythm and catchy vibe. Track eight and lead single 'I Stay Ready' with its poppy vibe, strong production and catchy hooks, still feels like the best the album has to offer though the electronic-tinged 'Image of Love' gives it a run for its money as one of the most interesting and musically great tracks on the album. 'It's In The Love' is another warm track with funky vibes and a catchy hook, though doesn't quite have enough to stand up as easily distinguishable from the tracks around it. 

There's a slight early Labrinth-feel to 'This Green Leaf' really lifts the spirits as the album ends and the metaphor is nicely delivered in a covert manner. 'Peace (Side by Side)' is a gentler number but works thanks to its strong lyrics and gentle, unobtrusive vibe, but if you really listen to the lyrics it hits home.

'Have You Heard Anything From the Lord Today', the penultimate track, is a soulful number and though a little repetitive is a fun little listen and flows nicely through its jazzy improvised vibe. The album wraps up with 'Shine on the Mic', a cool and calming calypso-lite number.

'My Love Divine Degree' is a joyful, well written and performed album, and though its politicised lyrics might take priority at times over its song structure, it's a warming, summer-friendly LP with bite, though 'I Stay Ready' remains its big stand-out track. (7/10)

New Music Review #60

Ten more songs for you to hear!

alt-J - In Cold Blood 

alt-J return with one of their best songs since their early work like 'Tesselate', with an electronic-indie single with enough drama and thematic changes to keep you interested. (7/10)

Cheat Codes feat. Demi Lovato - No Promises

The music is something you've heard hundreds of times before - seriously how many songs sound like this one around at the moment - but it's the vocals from Demi and the bridge that give it something more interesting. It's fun, but too sound-a-like to really buy a copy. (6.5/10)

Kygo & Ellie Goulding - First Time

As with the Cheat Codes song this is a heard-it-all-before club track but with a better inclusion from Goulding. Thank someone for interesting singers to combat the boring DJs. (6.5/10)

Maggie Lindemann - Pretty Girl 

The lyrics may be as cheesy as they are uplifting and the swearing feels forced, but compared to the sound-a-like generic tracks dominating this edition, this is a breath of fresh air with a strong sense of attitude, a memorable chorus and some lyrics that resonate. (7/10)

Mullally - Wonderful

Coming to our attention maybe six months late, this is a summery pop-indie crossover with hints of Adam Levine in its vocals and music. (6.5/10)

Muse - Dig Down 

A much slower song than you'd usually expect from Muse, this is a throbbing, cut back song with a catchy yet repetitive chorus. It's not one of their best - it certainly feels subdued for a lead single - but has enough interesting production to keep you listening. (6.5/10)

Robin Schulz feat. James Blunt – OK

Musically it's pretty much Robin Schulz by the numbers but adding Blunt's vocals to it makes it at least a little bit more interesting. You've heard it all before but it's still worth a few spins. (6.5/10)


Sheryl Crow - Be Myself

With hints of country, this is quite a laid back number from Sheryl, with a radio-friendly chorus and some sweet vocal work from her, but it could do with a little bit more energy to pep things up. (6.5/10)

Thea Gilmore - New

Musically inspired by ELO - at least at the start - this is a retro-sounding driving number with plenty of interesting musical and vocal stabs, but doesn't feel quite as satisfying as you'd hope as a whole. (6.5/10)

Tom Chaplin - See It So Clear

I have to say I preferred the acoustic version with the dual vocals, but this take from the album is still a touching ballad, though the lesser verses seem to take an age to get to the more appealing chorus. (6.5/10)

New Music Review #59

Ten more songs that you must hear!

The Alibi - No Solution

'No Solution' is a hefty rock number but with enough of an ear for the radio to give it some more memorable moments to listen back to. (6/10)

Ayo Beatz - Make It Right

Summer is always the time when we want to hear from ska and reggae-infused songs and this is one of those, mixed in with an urban feel. It perhaps doesn't get to the big chorus that you'd expect but is fun, clubby summer number. (6.5/10)

foreverandever<3 w. Sameblod - feel smthn

I'm not sure what it is about the song that I like but its quirky production values, reluctance to fit into a box and a vocalist that sounds like Justin Bieber if he was interested in what he was singing, make for a heady mix. (7/10)

The Ghibertins - Breathe For Me

With hints of Ronan Keating in the vocal style, this is a touching, on-point indie-soft-rock number with a strong central heart to its lyrics and a dramatic build up of strings that give it a haunting quality. (7/10)

Hanson - I Was Born

Back to celebrate their 25th anniversary (!!) this is a great pop-indie comeback song with a Bryan Adams-esque soaring chorus. Quickly catchy and bouncy - love it! (7.5/10)

Jonas Blue feat. William Singe - Mama

It might embrace more music cliches than I could list but it's a poppy, summery number with a catchy enough chorus and not too many club-music tropes to drown it in familiarity. Singe's vocals help lots. (6.5/10)

Mike & The Mechanics - The Best Is Yet To Come

Mike and the Mechanics' comeback continues well. Though this isn't quite as great as the last song - it's pretty subdued and low-key - it has a strong enough production and chorus to keep you interested. (6.5/10)

Miley Cyrus - Malibu

After the headline grabbing wrecking ball-era, 'Malibu' goes in the completely opposite direction as a mid-tempo, subdued, stripped-back indie-song that has its moments of pop amongst some quite somberly delivered moments. Something different from her. (6.5/10)

Steve Rodgers - I Will Grow

'I Will Grow' is a smooth, atmospheric, dark number with hints of Richard Marx in its slow, building delivery and gentle, stripped-back, outlook. (6.5/10)

Tuxedo - Thank You

I keep hearing more from Tuxedo and enjoying everything they put out. 'Thank You' is perhaps not as immediately great as the others but it's 70s-throwback Chromeo feel will put a smile on your face and get you moving. (6.5/10)