Earlier in the day while exploring Cambridge and remembering that there isn’t much to see in Cambridge. HMHB were mentioned on Radio 5’s Fighting Talk, who asked the panelists for a song that mentions a sports star, with Eleanor Oldroyd picking Bob Wilson Anchor Man. Weird coincidence, but it helped get me into the mood causing me to re listen to their latest album

As is usually the case. The band didn’t take themselves too seriously. Both themselves and the audience seemed to be really up for the gig with a lot of banter between the two and frequent breaks in music as Nigel returned quips with the audience. Despite it being a mainly older audience, the few younger people in the audience, started a mosh fairly early on and the atmosphere throughout the gig was really good. Both playing off each other.

The set list reflected their entire back catalogue. I think there is pretty much a song off every one of their albums. The set list mixing fan favourites with some less heard gems. I have to admit, the last few albums haven’t grabbed me too much. But with the songs sitting amongst the more well known songs (or at least to me), many of the new songs took on a new life. None of them felt out of place rubbing shoulders with Trumpton or Fred Titmus.

Fittingly for the start of the World Snooker tournament, the Len Ganley Stance got an outing. It did make me wonder how many of the 80s cultural references in HMHB songs are understood by the younger fans. But I also reflected on the much needed absurdity HMHB bring to music and why they have such a dedicated following. I mean, who writes a song about a snooker referee?

The evening flew by in no time. Next time, I will not let 8 years pass before I next see them.

• She’s In Broadstairs
• Running Order Squabble Fest
• Bob Wilson Anchor Man
• Bane Of Constance
• Rock ‘n’ Roll Is Full Of Bad Wools
• Petty Sessions
• Awkward Sean
• Fuckin’ ‘Ell It’s Fred Titmus
• I’m Getting Buried In The Morning
• Renfield’s Afoot
• The Bastard Son Of Dean Friedman
• A Lilac Harry Quinn
• Vatican Broadside
• Dickie Davies Eyes
• The Light At The End Of The Tunnel Is The Light Of An Oncoming Train
• The Len Ganley Stance
• Rogation Sunday’s Here Again
• Every Time A Bell Rings
• Terminus
• Midnight Mass Murder
• All I Want For Christmas Is A Dukla Prague Away Kit
• The Trumpton Riots
• For What Is Chatteris
• National Shite Day
• We Built This Village On A Trad Arr Tune
• Joy Division Oven Gloves
• Oblong Of Dreams
• Another Girl Another Planet
• Everything’s AOR

The first of the three nights was played in what seemed like a magical glade in Cambridge Junction. The guys had done a fantastic job of filling the stage with branches with the effect completed by the lighting engineer who did a great job making the stage look like a mystical place. It just seemed right when Scott appeared in his cassock again. It was like we had all been called to the place to be part of a religious experience.

Sea Power have been on fire this year. The new album has been warmly received by fans and critics alike. It has such positive and reflective post-lockdown vibes and has hit the spot with every Sea Power fan I’ve spoken to. Every song has been warmly received live. At one point in the evening I moved away from the pit, to the side of the crowd just as ‘We Only Want To Make You Happy’ was sung. I stood against the wall watching a sea of people with their eye wide open, arms in the air, singing the chorus, shouting up to the heavens. Each face told a slightly different story, a slightly different lockdown experience. But everyone singing with a shared joy that we all missed. These Sea Power gigs have felt special this year. With the amazing stage scenery, this one felt magical.

Support was from the excellent Hamish Hawk who has such a great stage presence.

Understandably the set list was basically the same every night.

• Who’s In Control
• Transmitter
• Two Fingers
• Fire Escape In The Sea
• Cleaning Out The Rooms
• We Only Want To Make You Happy
• Lonely
• A Trip Out
• No Lucifer
• Folly
• Green Goddess
• Lights Out For Darker Skies
• Remember Me
• Bad Bohemian
• Carrion
• All In It
• Waving Flags
• The Great Skua

I first saw Dry Cleaning in 2019. They immediately impressed. But I honestly was’t sure they would transfer to a bigger audience until the Great Escape when I witnessed an indifferent audience warm to them. With a trip to SXSW and the possibility of an album, they were on our ‘bubbling under’ list of bands to watch out for in 2020. For obvious reasons, things didn’t pan out. However, in 2021 they finally released their critically acclaimed debut album, ‘New Long Leg’. They also started to pick up regular 6 Music airplay and since then, have gown quickly and recently sold out the Forum in London. As that is not a favourite venue, I decided to hop onto a train and head up to Cambridge to see how they are getting on.

I thought tonight there was an interesting juxtaposition. Both are bands have lead vocalist who offer musings over music. One takes a post-punk sound. The other electronic tracks. But for me two different outcomes. One I find charming. The other I dislike.

In Audiobooks case, David Wrench lays down synth based indie pop over which Evangelina, acts as some gawky posh rich kid telling rambling stories. While the music isn’t really my thing. It is Evangelina’s shouty posh accent that turns me off. I’m afraid the character isn’t something I can connect to. I was pleased when their set finished. At least this time I didn’t walk out on their performance which I did last time. So maybe they are winning me over.

Tonight’s Dry Cleaning set set consisted of the majority of ‘New Long Legs’ with a few tracks, such as the ‘Magic of Meghan’, from their excellent EPs. The set opened with ‘Leafy’, with its laid back post-punk bass that anchors the song allowing Florence’s stage persona the space to take lead but hinting at what’s to come with subtle swirling guitars. Sadly, the sound felt very wide tonight. It lacked the intimacy of previous performances. I guess part of it might have been because I was the other side of the fence. Every other time I have seen them it has either been a small venue where I am within touching distance, or I have had a photo pass. At least the sound was clear and not overpowering Florence’s voice.

Dry Cleaning are a sum of their parts. I can not imagine the band working with any other members. Lewis’s post-punk baselines, anchor every song with Nick backing up with his drums. The baseline provides the framework for Florence’s meandering musings on life with Tom’s stabbing swirling guitars echoing the mood of each musing. The music is the perfect accompaniment with Florence’s stage character who seems oblivious to the fact her musings into her tape recorder are being overheard.

There are other bands around doing similar things. But none have such a complete sound as Dry Cleaning. Tonight’s set showed why Dry Cleaning keep winning over audiences. They are so incredibly tight and have a charm about them others don’t. It will be interesting to see where they go from here.

Set List

• Leafy
• Unsmart Lady
• Strong Feelings
• Her Hippo
• Sit Down Meal
• Viking Hair
• More Big Birds
• Traditional Fish
• New Long Leg
• Magic Of Meghan
• Tony Speaks!
• Scratchcard Lanyard
• Conversation

I’m not trying to pretending to be ‘feminist friendly’. I’m as sexist as most males. Ellie, the lead singer of Wolf Alice is extremely attractive and it’s part of what makes the band so interesting. But as the Savages have been pointing out over the last year when they’ve written about how they are not an ‘all female’ band, they’re simply a bloody good band. Wolf Alice are the same, a bloody good band and you can only be that if you’re all talented.

You can see from the photos, Ellie’s happy to use her sexuality as part of the band’s image. It’s easy to see this in a cynical way. But the young queue outside the venue before the gig was probably 70% female. Teenage girls aren’t seeing Ellie in a cynical way. They’re seeing a young women with a fantastic voice, strong stage presence, fronting a great indie band and seeing her as somebody to aspire to. The twitter feed the next day was full of girls saying how great the gig was.

I guess what I’m trying to say, is that it’s a great pity if people get distracted from seeing a talented band who seem to be getting better and better as each month passes. Simply because they’re fronted by a female.

Tonight, Wolf Alice were a band bigger than the venue. I mentioned in my last review, that they have everything needed to become a big band. They have a very accessible sound and they’re fantastic live. Ellie’s vocals tonight were even better than I’d heard previously with some interesting little ‘screams’ being added to tail off certain phrases and it’s this constant development of their lie act that’s helped them over the last 18 months expand their audience with every festival performance. It’s pretty amazing that they’ve just sold out the O2 Shepherd’s Bush and tonight managed to fill the Junction in Cambridge, despite the fact that they’ve yet to release an album.

Everything about tonight’s performance was great and the young crowd clearly loved the gig, moshing and crowd surfing throughout the gig. As I left the venue, I heard many expressing that it was ‘the best gig ever’. While I wouldn’t go as far as that. It was a really good gig.

Support tonight was also good. Cambridge’s own Bloody Knees opened the night with a very energetic, direct performance and the Magic Gang were also good.

The Magic Gang

The Magic Gang

Bloody Knees

Bloody Knees

At the end of the gig, both support bands came on the stage. It was fantastic to see three bands on stage enjoying the last evening of a tour where they all appear to have bonded. It was lovely to see these three young bands, who’ve all got a decent future clearly, enjoying themselves. To me, this is what music’s about.

Bloody Knees diving into the crowd at the end of the gig

I’ve seen Arc Iris before. They’re definitely interesting and enjoyable to watch. Mixing multiple musical genres together to create their own unique sound. In some ways, they’re a Prog Rock band. Interested in exploring their own musical virtuosity at the expense of the ‘accessibility of their music’. Personally, I didn’t like everything they played, (or is on the album). But I’d rather listen to something that challenges my musical taste that’s done very proficiently, than just yet another bland indie band.

Arc Iris

Arc Iris

Arc Iris

St Vincent. How do you describe Annie Clark? (am I the only one who thinks her real name is a better name than her moniker?) Is she a musical genius or is she unhinged? I’m really not sure. I’ve never seen Prince perform. But I get the feeling, I would feel exactly the same as I did tonight watching him.

I have to admit, I have some of her albums. I find they contain many interesting ideas, I like her voice, and I think her guitar playing is great. But I don’t ‘love’ the albums. Tonight was similar (I think Prince would be the same).

St Vincent has complete control over her stage presence. Every move, every stroke of the guitar, her stage set, the lighting, everything, is controlled to create the vision St Vincent wants. It’s not surprising. Her videos always and album covers always have a very strong visual identity. Even the way she styles herself is designed to create a very clear ‘St Vincent’ brand. This control in the live arena both enhances and undermines the live experience. I know, I’m not making sense. I’m struggling to put into words my feelings of the evening. Maybe some photo examples.

St Vincent rocking out showing some of her amazing guitar skills – looking and sounding great

St Vincent rocking out showing some of her amazing guitar skills – looking and sounding great

Staged section where she kind of collapses down the stairs

Staged section where she kind of collapses down the stairs

I like a good tight show. But I like tight bands that can make music feel spontaneous. St Vincent choreographs her shows. Clearly the band around her are tight. But instead of using the tightness to create ‘spontaneous’ music. She creates staged moments that become the focus and in some way detracting from the music. It all adds to the ‘weirdness’ of St Vincent. Clearly enhancing her ‘brand’. But when you’re a really talented musician, do you need to have a brand? I’d put her guitar playing amongst the best I’ve seen this year. Her vocals are fantastic. She really is bloody talented. So I was left feeling cheated in some way. I think I’d rather see her and her band in a tiny club stripped of the stage presence and the choreography, with Annie Clark blowing me away with her awesome guitar skills. When you’re this talented, you don’t need gimmick.

Luckily the gig did improve my spirits. It was the usual good performance from the band. Unfortunately, I was in the crowd rather than my usual position at the front as I was meeting a friend who wanted to see what BSP were like and therefore I didn’t get there for doors opening. So the gig never hit the really high points some BSP gigs hit. But it was still and enjoyable evening.