Shakin' Stevens LIVE

Well it had been far too long hadn't it?

I got out my 20 year old Shaky scarves and got in the Dean-mobile to drive myself, my mate Gee...and yes...my mother to Shaky 2005!!!!



Nice and easy parking close to the venue and straight in...to what looked like the Manchester Care In The Community annual outing 2006. Hell I'm used to be one of the oldest at certain concerts (as young as I am) but even though there was a smattering of under 20's in attendance, they were definately in the minority.

Shaky is far too savvy to need a support act, so come 7:45pm it was straight into the fun. Sadly, Shaky was struggling a bit. Whilst definately giving it his all, he was clearly suffering from a bad throat. Still few in the audience seemed to mind, and he thanked us all for his patience. Of course I was most made up when he unexpectedly did my favourite Shaky song ever "With My Heart" so I was happy regardless.

I don't know what he took at half time (the man is a legend. I mean come on, a pop concert with a proper interval :D) but it did the trick. He came out, walloped straight into Lipstick, Powder and Paint and from then on he was on top form until the end. The hits kept on a coming...A Letter To You, I'll Be Satisfied, It's Late etc...coupled with some old classics like "Ain't That A Shame" and this was just off the scale fun.



He kicked started the encore with This Old House and then hit the classic single "Trouble" and then did a couple more songs before departing to a standing ovation...one that was, no kidding, as loud as 10 times as many Franz Ferdinand fans had made the night before. Whatever you think of the man himself, he sure as hell can put on one hell of a show

Franz Ferdinand LIVE

Back to the MEN...but fear not as we had good seats.

The day started off well with the Mighty Spurs kicking Wigan Athletic all over the park with a well deserved victory. Jimmy who?

Anyways, the train trip to Manchester was, well, different, as we ended up on a train with a load of Spurs fans making the long trip back home. Highlight was the unrepeatable Van Persie chant. Lowlight was the chav golfers who joined the train at one point.

Anyways, a few nice pre-concert drinks warmed us up nicely and onto the MEN. A £3 slice of Pizza went down nicely, though I really shouldn't have eaten that full bag of Giant Buttons. We missed the *DELETE AS APPLICABLE* Cribs/Kooks/Rakes/ support, support act and made it just in time for the Editors. I like the Editors. Can't say I think they're the best thing since sliced bread or anything, but they have one or two killer tunes and quite a few more that are catchy. They're not breaking down any musical barriers, but not all music has to does it?

So then it was onto the Franz. I feared for them in the cavernous arena atmosphere, but I suppose when you have fans as fevoured as the Franz do, it doesn't really matter where you play. Even the lesser album tracks were met with a rousing reception, although the REALLY big ovations were reserved for Do You Want To (which sounded a bit crap live actually), Dark Of The Matinee, Michael and, of course, the mighty Take Me Out.

Steady rather than spectacular it may have been, but it was still a decent night's entertainment which had much to enjoy. Sometimes you just want to have fun. And this was a night where you could have that in spades.

Martha Wainwright LIVE

Well, having took a day off to facilitate my journey to Liverpool, it still took my over an hour to get to the city centre, but I suppose that means it's a good job that I didn't set off after work as I usually would. A couple of pints of Guinness and a look at the photo's from The Like concert later and we were on our way to a "nice little Cuban restaurant." A few minutes later we were making our way out of the said Cuban restaurant, which was ram-packed, and off to Liverpool's China town, which lets face it, is more of half a China street. But hey, any time crispy auromatic duck is on the menu you won't find me complaining.

Anyways, off to the venue it was, and my first visit to the Liverpool Academy 2 (and thus completeing the holy trinity) stopping only for a quick drink in a pub near the venue that I'd never noticed before with the hilarity of seeing a Wigan Athletic match advertised by the use of the phrase "dirty Wigan" and a picture of a turd! :D

Having to queue up for the venue was a novelty, although I did eventually resist the temptation to resort to fisticuffs when some people barged their way in front of us. It was pleasant enough, with a nice little seperate bar area, where I caught my first sight of a delightful Alison Goldfrapp look-a-like (more on her later) and ended up chatting to someone I used to work with.

Anyway, we went into the actual auditorium just in time to miss the support act and saw someone who Gee works with. We didn't actually go over to her of course, but she was eyeing him up all the same. Then my "The Like" badges created a conversation with the afformetioned Goldfrapp doppleganger, although for the most part we did seem to be at cross-purposes. Needless to say, the Dean didn't "seal the deal" but it was still more action than I would usually get on a Friday night :D.

I was a bit sceptical when Martha came on the stage, mumbled something I couldn't hear and then went straight into a song I was unfamiliar with (not having the BMFA ep). But then after that she kicked into "When The Day Is Short", one of my favourite songs off her album, and from that moment on I was putty in her hands.

She rattled through great versions of all her best tracks and treated us to cover versions of songs by the likes of Warren Zevon, The Rolling Stones and Cole Porter. She also did a haunting version of The Beatles' "Help" which stripped away the jovialty of the original and replaced it with the kind of maudlin helplessness well suited to my life. The fact that she'd only decided to do that song hours before the concert and had to have the lyrics in front of her only added to it's charm. There was also the French song she did, introduced as "a song written by Barbara" (said in a sexy French accent), "which is French for Barbara" (said in her sexy southern drawl). Well I laughed at the time anyway.

She also got a lady from the audience on stage to sing backing vocals, had half the audience squawking like Native Indians as a backing to another track and segued a request for Tequilla into a little song. It has to be said she was just ever so slightly barmy, what with forgetting lyrics and occasionally suddenly going off on a tangent mid-song. But by this time I think I was falling in love with her, so I found it all very charming ;-).

Of course all this meant that the show over-ran the curfew, but Martha played on anyway and still did the encore. Then she came out afterwards and, despite the hordes of people that waited to see her, was perfectly sweet to everyone who wanted something signing. Despite the bouncers best efforts to thwart my efforts, I queued up and got her to sign my CD booklet (although, in something which I found hilarious at the time, she took great effort to write the "To Matthew" bit and then scrawled a barely legible version of her own name).



Of course, whilst in the queue I entered a rather bizarre conversation with the girl and lad in front of us, which took in such topics as the relative brilliance of Fern Britton and Ainsley Harriot, and led to me declaring that it would be a great idea for me and Martha to be the contestants on Ready Steady Cook :D

I also got my picture taken with her and thanks to Gee for doing the duties. Of course Gee wasn't quite sure if it'd worked, so he stood there with the camera for a while, which gave me the chance to once again try and crack a joke to a celebrity that once again fell flat. Either that, or she really did want to stand holding me for a while longer... ;-)

So all in all this was an absolutely brilliant concert, and a brilliant night in total as well. I really can't praise the woman enough.

Martha Wainwright...better than Lucie Silvas (by a COUNTRY mile as well :D)

Madonna - Confessions On A Dance Floor

Confession number 1 - I actually quite liked the American Life album. Sure it wasn't the old Madonna sound, but I thought it was very good indeed AND I maintain the opinion that if someone other than Madonna had done it, then people would have looked at it very differenly indeed. At least on that album she sounded as if she had something relevant to say, even if I personally wouldn't have agreed with her.

Confession number 2 - Despite me liking the last one, I too was all excited by the apparent news that Confessions On A Dance Floor was to herald a "return to form" for good old Madge. Even if by "return to form" most people meant "a return to what she used to sound like" that was not neccessarily a bad thing.

Confession number 3 - Whilst the lead single "Hung Up" is undoubtedly a fantastic piece of work, there is always the fear that it was going to be the main highlight of the album by a mile. And I have to say that it probably is. But that's not to say that there isn't a lot to enjoy. Future single "Jump" is more mellow than Hung Up, but its still a fantastic slice of pop music. Other tracks such as "Sorry" and "How High" comfortably sit up with her best work as well.

Confession number 4 - The fact that despite this being Madonna's "new" sound, it all sounds so damn familar should actually turn me against the album. There are certain nods to Madonna's past (at one point a strings sections apes the Papa Don't Preach opening) but the main thing that springs to mind when I listen to this is that some of it doesn't half sound like the Pet Shop Boys. The start of Jump echoes West End Girls (and deliberatly so according to producer Stuart Price) and Sorry brings It's A Sin to my mind. So really, what is in all probability a 3 1/2 star album gets knocked up half a notch to a 4 star album, purely because of the feeling I get that this is almost a PSB album in disguse.

Confession number 5 - However, the "continuous mix" of the album is a rubbish idea and really is a pretty poor gimmick which doesn't work at all. So I'm knocking that half a star off.

Icon's View - 3 1/2 out of 5.

The Like LIVE

What an exciting night was in prospect. Oldham...valley of the kings. The first ever visit for a concert (and my first visit there since I was about six years old). Would we get there? Would we find the venue when we did? Would we make it out of there alive? Thankfully the answers were all yes...even if the latter two looked dicey at one point.

We got to Oldham easily enough, but couldn't find an open car park (or one that didn't look dodgy). However imagine our joy when a bit of a detour managed to find us smack opposite the venue and on-street parking was available. Not much else was available though. There was a Sainsbury's, two kebab shops, a Portugese cuisine take-a-way and one pub.

So off to the Buck and Union it was, where they were getting ready for Karaoke. We didn't sing but we were treated to some rather good renditions of "classic" songs, and some that weren't so good. We did fear for our safety at one point as two guys at the bar started arguing about prison, court cases and killing old ladies, but that soon calmed down and I proceeded towards my task of getting very drunk. There were two ladies in there who so obviously wanted my mate Gee, but as usual he was having none of it. Although in fairness, they could have been trying to set him up with some sting. You know, he goes out the back for a bit of the old slap and tickle and then BOOM, a bunch of burly blokes beat him up and take his money. Better to play it safe.

So then it was onto the venue (pausing only for Burger and chips). Small and compact...and no other bugger in there! Ok that's exaggerating slightly, but it was desperately quiet when we went in at 10. Which in some ways was good. Because it meant a good view of The Like. Which cannot be a bad thing. :D

And yes, I know it's all about the music (more on that in a short moment) but the fact that The Like are rather, a-hem, tasty does them no harm at all. And couple that with the fact that they can really kick ass live, and can write all their own stuff and all that, well...it's a winning combination.

I wish I could tell you all about the songs, but I haven't got the album yet (nor heard it properly - THANKS GEE) although I had heard some of their EP's and therefore did recognise a couple of the tracks they played. I was also drunk. But what I can say is that it was excellent. I really enjoyed it. And that's good enough for me.

Then afterwards, we were lucky enough to meet them all, albeit seperately. They were all very nice, and they all seemed in awe of Gee's marker pen. Perhaps they don't have marker pens in America or something. I was also thrown when we (almost) went on the tour bus and the drummer turned out to have a British accent, and said she "might know" where Wigan was. Gee tried to ruin everything by slagging off Maroon 5 (not a good idea when the lead singer dates one of them apparently) but I think we got away with it.

All in all this was a great night, and proof that The Like are more than a gimmick. They are here for the long haul. And a-men to that.

The Like...better than The Faders ;)

Lucie Silvas LIVE

Ok, prior to going to this concert I had neither heard a single Lucie Silvas song all the way through, nor had the inclination to particularly do so. To be honest I thought she was a bit crap. Not that there was anything really wrong with her (teasely young piano playing singer that she is) but there was nothing to me that stood her out from the chasing pack.

Obviously 350,000 people who bought her album disagree with me, and so if I wasn't exactly open to a Damascian-style conversion to the Silvas army, neither was I so closed minded that I wouldn't give her a chance.

And I was pleasantly surprised. Sure there were a few too many "Mariah Carey" moments of over-wrought warbling...sure some of her lyrics are treading the fine line that seperates the meaningful from the trite...but there is no denying the power of her voice nor the fact that when it matters the tunes are good enough to speak for themselves.

I certainly recognised the singles, and some of the other songs sounded familar too (although whether that is a good thing, or a signs of a somewhat limited range is a question I won't answer just yet) and it surprised me to see her belt out some rather rocky numbers as well, which certainly shook me out of any tiredness.

The cover of Metallica's "Nothing Else Matters" was a clever trick (yes, I know it was on the album, but still, it is a clever trick although I'm sure the fact that it is a Metallica song is lost on most of the people who would buy a Lucie Silvas record); the Coldplay cover was less so. But all in all this was a pleasent evening, with much to reccommend. Although the fact remains that there are better singer-songwriters plying their trade who have to get by without so much of the record-company hype that propelled Silvas to the big time. Still, one shouldn't begrudge anybody that little helping hand, and this show proved that Silvas is certainly talented enough to move onwards and upwards.

Lucie Silvas....Better than Natasha Bedingfield.

The Subways LIVE

Now the last time I saw the Subways it was, well shall we say, an "experience". Back in Gee's home study turf of Preston, in what perhaps was the worst venue ever, but despite all that, and despite only knowing one of their songs, it was a great night and a great concert.

This time around the album is in heavy rotation on the turntable, and I have slowly grown to love it. Add in HUGE ticket sales which bumped this gig from Number 2 to the Main Hall and there is quite a bit of expectation to deal with. There was even MORE anticipation when Gee briefly thought the Kooks were supporting, but thankfully we looked at the timetable on the door before going in to see that they most definately weren't. Which gave Gee the chance to drink more Vodka (ending the night on an estimated 19 shots).

Quite simply the show itself was a rollocking good hour or so of great music. With, thankfully, only a few slower moments. Highlights are too numerous to mention, and even the couple of new tracks they did didn't dampen the crazy mood of the gig-goers. Throughout the show there was a raucous energy prevalent in everything they did and, to quote a certain someone, the young lady sure was a "firecracker."

This was everything a rock 'n' roll show should be and showed that the future is bright for the Subways. Let's hope they can keep it up.

The Subways...better than The White Stripes.

Yet Another Concert Updates List

As you might expect, this is ANOTHER updated concert list. With the first confirmed date of 2006 in the bag!!!! :D

(The ones in red are the ones that have been and gone as of date of this post)

18th February - KT Tunstall - Liverpool Academy 3

27th February - Electric Six - Carling Academy Liverpool

1st March - Natasha Bedingfield - Liverpool Royal Court

7th March - The Donnas - Manchester Academy

16th March - The THrills - Liverpool Academy

12th April - The Subways - 53 Degrees, Preston

19th April - Nerina Pallot - Barfly, Liverpool (technically this is a Paddy Casey concert, but I'm really only going for Nerina :D).

24th April - The Hives - Liverpool Academy

14th May - Casino - Coventry Collesium

19th May - Girls Aloud - Manchester Apollo

22nd May - KT Tunstall - Manchester MDH

26th May - KT Tunstall - Carling Academy 2, Liverpool

27th May - Girls Aloud - Liverpool Empire

8th June - The Subways - Night & Day Cafe, Manchester - CANCELLED

11th June - Ben Fold - The Lowry

17th June - REM (with The Zutons,Feeder & Idlewild) - Lancashire Cricket Club

22nd June - Suzanne Vega/Nerina Pallot - Warwick Arts Centre (which, you know, isn't actually in Warwick!!!!)

15th July - Aimee Mann - Manchester University

8th August - Supergrass - Royal Northern College Of Music, Manchester. (NOT ATTENDED BY ME OF COURSE)

25th August - Weezer - Manchester University

17th September - Fun Lovin' Criminals - Manchester University

23rd September - Super Furry Animals - Liverpool Academy

28th September - Editors - Manchester University

3rd October - (Joseph Arthur) Nerina Pallot - Manchester Hop & Grape

9th October - Supergrass - Manchester Ritz

11th October - Laura Veirs - Life Cafe, Manchester

15th October - Kaiser Chiefs (Plus Maximo Park) - Manchester Apollo

16th October - KT Tunstall - Manchester University

22nd October - Nine Black Alps - Carling Acadmey, Liverpool

2nd November - The Subways - Manchester Academy

6th November - Lucie Silvas - The Lowry, Salford

18th November - Martha Wainwright - Liverpool Academy 2

26th November - Franz Ferdinand - MEN Arena, Manchester

27th November - Shakin Stevens - Manchester Opera House

3rd December - Ian Brown - MEN Arena, Manchester

4th December - Jem - Manchester University

15th December - Ben Folds - Manchester Apollo

2006!

18th March - Sugababes - Liverpool Philarmonic Hall

30th March - Depeche Mode - MEN Areaa, Manchester

27th May - Girls Aloud - MEN Arena, Manchester

Nine Black Alps LIVE

In one of those nice "couldn't they have announced it earlier" moments I've already seen Nine Black Alps live supporting Weezer. Which in fact turned out to be a good thing, because I certainly didn't "see" Nine Black Alps on this occasion.

But to backtrack a little, the evening started out with a cracking little meal at some Italian restaurant. The spicy prawn fritters were alright, but the duck thing was bloody gorgeous. The sweet was less so, given that it simply appeared to be a cup of coffee with a dollop of ice cream in it (no, seriously that's what it was) but in a kind of bizarre way it was good.

So after a mini pub crawl around Liverpool we finally get to the venue, the first time I've graced the halls of the Liverpool Carling Acadmey 2. First shock was the fact that NBA were scheduled to be on at 9, with a 10pm curfew! 10pm curfew on a Saturday night? WHAT IS THE WORLD COMING TO?

Then when actually getting into the venue, we then realised that we were not going to get a great view of the band as they performed their set. In fact, I wasn't going to get any kind of view of any of them. Well that's a slight exaggeration. I saw one of the guitarists fleetingly. To cut a long story short, I'm sure the venue is great if you turn up really early and manage to get onto the actual floor space, but if you don't you may well find yourself without a view of the musicians.

Still, at least it wasn't a teasely group, so there are worse concerts where this could have happened. As such though my atmosphere was slightly off, although as the drink kicked in I found myself enjoying the music. They threw in some new songs, or at the least songs that I hadn't heard before, and it was a polished performance, albeit one perhaps lacking the spark that really would have set the evening on fire.

Then came more comedy gold as we left the venue. I saw some rather buxom lass that had a nice...well you get the idea. Anyway, I give Gee man the nod to check out the bintage and he falls about laughing. No, she wasn't ugly or anything like that, but was actually a girl who used to work where he does who he just happened to fancy the pants off. So it's proof that occasionally Gee does have some good taste :D

Sugababes - Taller In More Ways

Well bugger me, I've fallen into the trap again. Remember "Hole In The Head", the fantastic first single from the Three? It was brilliant wasn't it? Just a pity really then that the album was the usual "three great songs and a load of dodgy filler" routine that I've come to expect from the Sugababes since they went the "manufactured pop" route (as evidenced by choosing an ex-member of Atomic Kitten as the replacement for that one who left).

So yeah, "Push The Button" is a fantastic single, indeed it's one of the best of 2005, but there really is nothing else that comes all that close to matching it. "Joy Division" (sadly not about Ian Curtis :D) and "Red Dress" come close (and will surely go down well at the Christmas disco's) and "It Ain't Easy" and "Obsession" would be decent enough as the songs on a great album that weren't quite as good as the others. Sadly they are the best of a pretty poor bunch.

I often contend that Girls Aloud don't get the huge success they deserve because they don't do enough ballads to draw the parents in. Well no worries about that on a Sugababes album. The only problem is that the ballads that they do serve up are trite, forgettable and so tailored for the commercial effect that I am left totally unmoved by any of them. The worst of the bunch must be "Ugly" (not surprisingly a virtual carbon copy of TLC's "Unpretty" due to the fact it's written by the same fella) and "2 Hearts" which ends the album on the most mawkish level possible.

This will sell by the bucketload I have no doubt, but for all the positive press that the 'Babes get (and yes they certainly can sing) the fact remains that just like every other manufcatured pop group in existance, the bottom line remains the money that can be made. This album, ahem, pushes all the right button in that respect, but you are left with the impression the 'Babes crowing moment is destined to be their greatest hits.

Icon's View - 3 out of 5.

Fiona Apple - Extraordinary Machine

The is one of the most bizarre "new" albums that I will ever review for the simple fact that I had already heard 90% of it up to a year ago. The long (six year) wait since "When The Pawn" for a follow up album was attributed to Epic not thinking that the album that Fiona Apple and her producer Jon Brion delivered was commerical enough. And to be honest, if that had been the case they might have had a point. In it's "unofficial" form, it was the kind of album that all but Fiona's most ardent fans would have been completly non-plussed by.

Of course the official story now is that Fiona herslef was less than happy with the "original" record and wanted to re-record it, but Epic, having spent in the region of $800,000 on the record, were reluctant to give the green light to more expenditure. But the leaking of the music proved that there was an audience for the album and 50 Cent producer Mike Elizondo climbed on board to help finish the project.

The album was probably never going to live up to the hype that a six year abscence whirled up, but Extraordinary Machine very nearly pulls it off. The first thing that is immediatley noticeable is that there have indeed been many aesthetic changes to the version previously heard, and for the most part these are welcome. Gone are the cluttered arrangements of Brion (which at times seemed willfully designed to alienate listeners) but this is still hardly a commercial pop album.

This is very much a "break-up" album (as are all of Fiona's efforts really) but the sense of strong defiance that permiated When The Pawn is still very much evident. "Get Him Back" is a wry look at the aftermath of a break-up and has the pulsating piano one would expect. "Better Version Of Me" is another such track and is one of the definate highlights of the collection. But really there isn't a duff track on the whole album.

It never quite reaches the heights of "When The Pawn" and, to be honest, isn't quite the leap in a different direction that the protracted release of the album lead to suggest. You aren't going to mistake this for anyone else, it's a Fiona Apple record all the way through. Still, she's yet to make one that's anything less than excellent, and this wonderful album keeps that record going. Let's just hope it's not another six years for the follow up to this!

Icon's View - 4 1/2 out of 5.

KT Tunstall LIVE

So for an unprecidented fourth time in one year it was time to see the Tunstall live again. Of course it should also have been the time to see Ed Harcourt live, but we managed to only get there in time to see the end of his set. Don't know what his music was like but that bird he had playing the violin seemed like proper teasely.

Still it was a good kebab (with that bloody lovely girl having her Naan bread and Chips :) ) and it was nice to briefly meet a few fellow Tunstallation Nation members in the Kro Bar. Which was a nice little bar to drink in as well.

I should point out right now that whatever I say in the next few paragraphs, I enjoyed this concert immensely. BUT, and didn't you know there was a "but" coming the whole thing seemed a little superfluous. It was essentially the same show I'd already seen twice in May although there was a new track, Drity Water, performed. This was a decent enough song, but didn't really grab me by the balls and make me love it.

Suddenly I See and Black Horse were excellent, although it seemed like many in the audience had only come along on the strength of the singles, although thankfully there seemed to be an abscence of the usual knob-jockeys in our vicinity.

Heal Over was at least better than it was in May, and Through The Dark was a nice touch. The problem for me was that apart from the odd "extended" version of a song this was a show I felt like I'd seen before. Now I know that makes me seem hypocritical after banging on about hating the "Sweet Dream" version of Heal Over, but there comes a point when overkill is reached. Once her new album comes out and she tours that then I have no doubt I'll be there, but if she does another tour before releasing any new material, I think I'll be giving that one a miss.

Oh and on a final point, kudos goes to Xavi for being the designated driver :D

NME Rock 'N' Roll Riot Tour LIVE

First things first. We didn't make it in time to see the Cribs. We simply couldn't be bothered queueing up and so we went for a swift pint, which turned into two. Still it was worth it for the Elisha Cuthbert-esque barmaid :D.

Well where do we start with Maximo Park....? I've heard great things about them and they certainly have had some good reviews. But to be honest, I thought they were pretty poor on the night. All their songs sounded very similar, and as I didn't like the first one they did it just got worse from thereon in. They were quite entertaining I suppose, but perhaps I'm getting old, but I just don't get the point of them.

As for the Kaiser Cheifs. Well its quite simple really. They have three quite good songs (Everyday I Love You Less And Less, I Predict A Riot and Oh My God) and this fools you into thinking they are better than they actually are. Well folks, it's all hype. Were they terrible? No. But they are hardly the best band ever to have written an album ever or anything like that.

So all in all, I was pretty underwhelmed by both the acts I saw. There isn't really much more I can add to that.

Laura Veirs LIVE

Oh it's always fun to go to a new venue, and on this particular occasion it was the Life Cafe in Manchester. Finding it was no problem, but parking anywhere nearby certainly was! After about half an hour of driving around we finally hit upon a place which didn't seem to far away. And it wasn't too far away although it was a rather eerie walk from the car park to the venue, and certainly one I wouldn't want to try if I was on my own.

Anyways, a nice burger and chips was procured at Squares (very tasty) and then we headed on down into the Life Cafe "Late Room." And what a nice little venue it was. There was the initial fear that we woudn't be able to see the stage once the people at the front deciced to stand up but in a nice little schiznit, they stayed sat down throughout, enabling us a very good view indeed.

It would be remiss of me not to mention the support act. His name was Karl something, and all I will say is that the Bjorn Borg look-a-like gave Mummy & Daddy and The Kills a run for their money in the "most bizarre support act ever" listings. Still, he was certainly memorable.

Imagine our horror then when the support act turned out to be one of Laura Veirs' band. But he kept himself to himself thankfully and the fun could begin. This was quite simply an excellent performance. Most of the show was based around the recent Year Of Meteors album, and as that is a bloody cracker, so was the show.

Highlights were stunning versions of "Galaxies", "Cool Water" and "Spelunking" (which as it is about Caving saw Laura and her band sporting headlamps whilst the lights were turned down completey.

I should also mention the magical "galaxy dust" that Laura passed around and told us to spread on our faces. Yes, I am a muppet so I did as she requested. Still it was funny.

All in all this was a wonderful concert. Laura may be a little too much "out there" to ever gain the recognition and success she deserves, but on nights like this that really doesn't matter.

Missy Higgins - The Sound Of White

People I "know" in this vast inter-web world wide landscape have been waxing lyrical about young Missy for absolutely ages now. So finally I decide to properly check her out.

First impressions would appear to be favourable. She's a woman. She plays the piano. So what's not to like huh? And initially on putting the album on there is a sense that we are on to a bona fide winner here.

Opening track "All For Believing" sends shivers down the spine; this is followed by "Ten Days" which is another winner although sadly it has to be said that already her Australian accent is wearing thin. Now that may seem like a triffling and somewhat baffling reason to put her down, but whilst I certainly don't mind a bit of an accent, at times Missy almost sounds as if she is a non-Australian taking the mick.

Which is a bit of shame really. Current single "Scar" is a decent enough tune, although it does seem over-produced. Missy is at her best on the sparser tracks such as "Nightminds" and "Any Day Now" which really allow her talent to shine through. The problem for me is that it all gets a bit pedestrian at times with a few too many songs all seemingly merging into one. It's only towards the end of the album, with the jazzy "This Is How It Goes" that the tempo picks up, although this is merely a prelude to more miserablism.

It sounds from the above like I hate this record, and I really don't. But whilst Missy certainly has talent, it doesn't shine through often enough on this promising but ultimately disappointing album. Still, it should ensure enough success for her to get a second stab at making the album she is clearly capable of making.

Icon's view - 2 out of 5

Supergrass LIVE

Well there were no hospitalisation incidents leading up to this one, so I FINALLY got to see Supergrass Live in Concert.

But the story starts a little bit earlier than that. Being that it was a Sunday, me and the Gee man decided to have a spot of jackbit prior to the gig and decided to go to Mosa Mosa Chinese restaurant. We're there, tucking into the starters when a few fellas with security laminates around their necks walk in. A bit weird to be sure but we thought no more of it...until five minutes later the one and only James Blunt walked in! Of course at first I'd only noticed the rather attractive teasely who was accompanying him :D

Still the salient points of this are that a) he's a bit of a short arse and b) he likes Chicken (he had it for starter AND main course).

Anyways, this was a new venue for a concert and I have to say that the Manchester Ritz is quite a nice little venue. The support act was on when we walked in. All I can say is that I am glad we didn't catch all of his act. He was called "Son Of Dave" and he used to be in the Crash Test Dummies. Don't bother remembering his name though, as I hardly think he'll be troubling anyone with any musical taste.

Supergrass were pretty cool though. Love the hat as well Gaz. Anyways, they rattled through most of their latest (somewhat underrated) album Road To Rouen and put in most of their biggest hits inbetween. Particular favourites were Richard III (their greatest ever song in my humble opinion), Moving and Late In The Day. They didn't however do Alright. Which is a bit like Robbie Williams not doing Angels or something. But still, although it would have been a welcome addition to the set list, its absence wasn't critical. A good effort from the boys, apart from that utterly pointless Gaz solo half way through. I could have done without that.

Franz Ferdinand - You Could Have It So Much Better

It doesn't seem all that long since I first discovered the delights of the Ferdinand, which is probably due to the fact that it isn't all that long since their debut album was released and thrilled so many people.

The good news for the record company accountants is that Franz have stuck to that old adage "if it ain't broke, don't fix it." From the minute you first put this cd into your player (or download it onto your MP3 Player if you're being all technological about it) you know exactly what it is. Which is no bad thing if you ask me, when 'what it is' is so good.

Lead single "Do You Want To" is little more than an updated "Take Me Out" but that doesn't change the fact that it is bloody fantastic. And there are many more delights to enjoy on the collection. "The Fallen" is a wonderful opener (who indeed gives a damn about the profits of Tesco?) and "Evil And A Heathen" would already fit nicely on to a "Best of Franz" compilation.

But it is tracks such as "Walk Away" and "Eleanor Put Your Boots On" that really strike out, being as those are the "least-Franz" compositions on the album and bode very well for a successful and rewarding future listening experience with the band. Although even these songs retain their Franz-charm (Walk Away references Hitler and Mao-Tse Tung) and overall there can be no doubt. Their debut album wasn't a fluke, and on this showing the best could even yet be to come!

Icon's view 4 1/2 out of 5.

Kanye West - Late Registration

As a rule, I don't particularily like rap. But every so often an absolute CHOON hits the airwaves that not even I can ignore. 2005 sees Kanye West's Gold Digger fill that spot very nicely indeed. It is without doubt one of the classic singles of the year, but it also sets an impossibly high standard for the album.

First single Diamonds From Sierra Leone was disappointing (although kudos for the Shirley Bassey sample) but Gold Digger was SO good, that I just had to check out the whole album. The immediate problem that springs to mind is the sheer amount of guest vocalists on display (heaven help us if Kanye ever teams up with Gwen Stefani for a collabortation album) with the feeling at times that Kanye is struggling to make himself heard above the crowd.

And this leads to another problem...Kanye just isn't that good at rapping. Tracks such as Touch The Sky, Drive Slow and Hey Mama are good tracks, but they would be great tracks with a better rapper.

This is a good album., but can be frustrating at times. If you're a fan of the genre then it's a must...if it's not usually your cup of tea, tread carefully and you could be rewarded.

Icon's view - 3 out of 5.

Shout Out Louds - Howl Howl Gaff Gaff

The Sweedes certainly can proffer up some hot bands these days, and the Shout Out Louds certainly have the tunes and style to follow the worldwide success of bands such as the Hives and the Cardigans.

This is the kind of album that will immediately make you think of one hundred and one other bands. The Strokes, The Wannadies, the Kings Of Leon, the afforementioned Sweedes...all will spring to mind over this perfectly formed collection of pop-rock tunes.

Pick of the pack are "100°" and "A Track And A Train" both of which would, with any justice in the music world, be massive world-wide hits. They can't quite keep up to this level throughout the whole album, but that is a small complaint. Get it now, before they become massive.

Icon's View - 4 out of 5.

Sheryl Crow - Wildflower

Truth be told, the prospect of a new Sheryl Crow album in 2005 does not fill me with the same kind of anticipation that I would have had back in 2000. The Live at Central Park CD was a bit rubbish, her greatest hits was something and nothing (good, but hardly something that was needed) and her date at the MEN last year was a bit underwhelming. Then of course we come to C'mon C'mon, which was in my opinion a pretty poor album and not one that I have listened to in all honesty since about the first four weeks that I had it.

The good news is that Wildflower is not as bad as some reviews would lead you to believe. It's still not a patch on her first three albums, but it kicks the proverbials out of C'mon C'mon. Its definately a mellower affair than anything we've collectively seen from Ms Crow before, and, to almost paraphase the lead single, when it's good its good.

The problem is that once you've heard one track, you've pretty much heard them all. Which doesn't make it neccessairily a bad album, but makes it one that doesn't bear up to too much repeat listening. Fans will probably find enough to entertain themselves, but there will always be the feeling that her best work maybe behind her.

Icon's View - 2 out of 5.