Tag Archives: acoustic

Brunt, Buff Hudd and Tim Bishop – The Golden Lion – 30/09/17

Brunt at The Golden Lion


On the 30th September 2017, for the first time in years, loud and heavy rock music returned to the downstairs bar at The Golden Lion as Brunt took to the small stage alongside acoustic acts Buff Hudd and Tim Bishop.

The event was organised as a fundraiser for Action Aid and presented one of the most varied line ups seen at a show like this in a while.

My review was published in The Guernsey Press on Saturday 7th October 2017 and you can see more of my photos of the show on the BBC Introducing Guernsey Facebook page.

Brunt, Buff Hudd and Tim Bishop review

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Le Quesne – Love And Death

Last of the Light Brigade

Tyler (and Stu) of Le Quesne

Tyler Edmonds has long been known as frontman of Last Of The Light Brigade and more recently for being one of the founders of the School of Popular Music but he has now released his first solo record, under the name Le Quesne, Love And Death.

Featuring long time band mater Stu Carre on drums and produced by Mikey Ferbrache the EP/mini-album sees Edmonds taking his known indie-rock sound into more acoustic and thoughtful territory.

The album is available through iTunes and on Spotify.

My full review was published in the Guernsey Press on Saturday 19th August 2017 and you can read it below.

Le Quesne - Love And Death review - 19/08/17

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Get Cape. Wear Cape. Fly – Optimist

Get Cape Wear Cape Fly - OptimistGiven the fact that Ed Sheeran has recently almost filled the entire ‘singles’ top ten with songs from his latest album it’s hard to escape the fact that when Get Cape. Wear Cape. Fly (aka Sam Duckworth) released his debut album The Chronicles of a Bohemian Teenager back in 2006 he was more than slightly ahead of his time.

Following further albums (including Maps which I reviewed a few years back) Get Cape called it a day to be replaced by solo albums from Duckworth and, more recently, the Recreations EP and album. But now he has returned to the original moniker and sound with two-track single Optimist, in a way that not only feels current with the content of the charts but also timed expertly to go with what’s going on in the UK’s political sphere.

While the Get Cape sound evolved over the years it’s clear from the start that Optimist is firmly heading back into classic territory with Sam’s acoustic guitar and voice leading the charge backed by an array of beats, samples and brass.

The title track continues in Get Cape’s ever-present vein of people politics, focusing on the individual, generally in a way that feels autobiographical, but lacing it through with a message that can be taken into a wider context.

Sam Duckworth, aka Get Cape. Wear Cape. Fly.

Sam Duckworth, aka Get Cape. Wear Cape. Fly.

Meanwhile the B-side, National Health, is more obviously pointedly political but presents this in a double meaning manner that helps make its point all the stronger. Given the title and Sam’s famous political leanings I don’t think I need go into too much detail.

As with all ‘protest music’ (for wont of a better description) all the messages would be for nought if the tunes weren’t there too and I’m very pleased to report that, while not as exciting and new as this was a decade or so ago, Get Cape has lost nothing in his musicality leading to a pair of tracks that certainly come with a purpose but are also highly listenable and, given their beats and rhythms, danceable in an indie disco kind of way.

Welcome back Get Cape. Wear Cape. Fly. I hope this is the start of a new chapter as it certainly feels like the pop music world really needs a firebrand actually saying something important at the moment.

While there’s not a video for either of the tracks from the single since their release Get Cape has posted another new track, Alibi, to his YouTube channel, so I’ll put that as the video for this post…

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Static Alice EP launch with Honest Crooks, track not found and Common Room – The Fermain Tavern – 20/05/17

Static Alice

Static Alice

After making their reputation with countless live shows over the last few years Static Alice have also found the time to record and release both a full length album and EP, and now, they’ve marked the releases of their third record, another EP titled Warrior, with what looked set to be a special show at The Fermain Tavern.

Continuing something of a trend they began a while ago two of the support acts were at the newer and younger end of the scene, with acoustic pop trio Common Room on stage first.

With acoustic guitar, bass guitar and vocals and a very pop sensibility, Common Room presented something a bit different to many acts over here. Vocalist Olivia Manheim seemed to have all the ingredients to be an excellent an engaging front person, though maybe was a little restrained in the face of a small and distant audience here.

Common Room

Common Room

Common Room were at their best when all three members relaxed into the performance as happened a few times, particularly on an impressive original song and as the set went on, and they definitely made a good impression on the small audience.

Second of the young bands was track not found. While they took a couple of songs to hit their stride once they did their combination of grunge, punk and indie rock sounded as good as ever.

While Grace Tayler leads the band with a singular presence that brings to mind Dresden Doll’s Amanda Palmer run through a noisy rock filter, Emma Thomas (drums) and Maisie Bison (bass and vocals) more than ably fill out the rest of the sound, with both carving their own niche within the band.

track not found

track not found

Once again the band gave it their all with Code Red and Ecstasy being particular highlights of a set that continued to win over new fans.

Like the headliners, Honest Crooks are another band who’d taken a bit for a break from live shows earlier in the year.

After outings at Chaos at the Jam and for the Vale Earth Fair’s Liberation Day show at The Last Post where they added organ and saxophone player Naomi Burton to their line up, they brought this more developed ska sound to The Tav .

Being my first time seeing this version of the band I wasn’t sure what to expect and it did take them a little longer than usual to settle into their normal fun and upbeat vibe but, once they were there, the additional sounds really lifted the music to a new level with the best moments allowing a new sonic dynamic between James Radford’s guitar and the organ and saxophone parts.

Honest Crooks

Honest Crooks

With a couple of new songs thrown into the mix, along with some old favourites and a couple of well-chosen covers, Honest Crooks drew the most people onto the dancefloor but with still only a small crowd the set didn’t quite live up to their much deserved reputation.

Even though they were launching a new record Static Alice started out in much the way they usually do with a selection of their now fairly well-known and established pop-rockers, in typically tight and energetic fashion.

Unfortunately with most of the audience seemingly more interested in the bar than the band their efforts did little more than elicit some light bopping from the dedicated few who remained on the dancefloor.

A decent mid set run at Audioslave’s Cochise (the set’s only cover), in tribute to the recently departed Chris Cornell, seemed to grab a little more interest but this soon waned which is a real shame as, as I’ve said before, Static Alice have a strong line in hooky, driven, rock that, at its best, can really get a crowd going.

Static Alice

Static Alice

With three of the four tracks from the Warrior EP saved for a final blast and demonstrating a slightly heavier side to the band even these fell flat as the obvious effort being put in from in the stage seemed to be lost in an energy sucking void before it reached the audience.

While there are always reasons for low turn outs at shows this one felt particularly hard to reconcile given the effort all four acts put in but it ultimately turned what should have been a celebratory night of high energy music into something disappointingly flat.

You can see a full gallery of my photos from the show on the BBC Introducing Guernsey Facebook page

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Guernsey Gigs presents Thee Jenerators, Joe Young and The Bandits and Silas The Assyrian Assassin – The Fermain Tavern – 06/05/17

Thee Jenerators

Thee Jenerators

With a bank holiday last weekend and another coming up next week with Liberation Day, it was hard to escape the feeling of this being something of a limbo weekend, but, thanks to Guernsey Gigs, there was the hope of rock ‘n’ roll salvation at The Fermain Tavern.

The night started off in slightly more sedate fashion than that though with the acoustic punk stylings of Silas The Assyrian Assassin. Silas combined aspects of his past work fronting some the islands most notable punk bands of the last decade with hints of the ranting poetry style of Attila the Stockbroker but all in package that looked constantly on the verge of collapse.

Following a full play of The A-Team theme tune, his performance tonight seemed a little lacking in the energy and spirit of his best ones. That said it was still entertaining enough with the usual grace notes like fumbling with a folded up set list still working well.

Silas The Assyrian Assassin

Silas The Assyrian Assassin

Musically it was as you’d expect with highlights coming with Trust Fund Anarchist, Interesting Facts and God Bless The Daily Mail and, while we didn’t get the full song, Boozing’s My Religion started out as a nice play on the REM classic.

By the end of the set, an improbable cover of Rick Astley’s Never Gonna Give You Up with Stace Blondel providing backing vocals from the audience, it had picked up a little and it remained entertaining but I couldn’t help but think Silas really needs a more intimate space and engaged audience to really be properly effective.

Styles couldn’t have shifted much more next as Jersey four-piece Joe Young & The Bandits launched us through a time warp into the 1970s for a set of hard rocking power blues.

While I found it hard to engage with their performance there was no denying how well they evoked the sounds and styles of the likes of Hendrix, Cream, Zeppelin, et al, but through a set of convincingly created original songs.

Frontman Martin o’Neill (there is no actual Joe Young) was nicely energetic (when he wasn’t stood frustratingly with his back to the audience) though there were moments that felt a little too much like Tenacious D, but in the throwback context they worked ok.

Joe Young & The Bandits

Joe Young & The Bandits

Bass player Eddie Laffoley meanwhile was the most naturally energetic on stage and even put in some nice vocal performances in a few tracks. Of course a band like this wins or loses with its guitarist and Greg Alliban more than lived up to expectations with his playing, but again I found it hard to find a connection with the performance.

Joe Young & The Bandits may be a barrage of cliché but it’s hard to ignore the head nodding groove they invoked, even if it was nothing I hadn’t heard a hundred times before.

After a short break Thee Jenerators took to the stage for the first time in a good while and, to start with, it looked like the good but not great feel of the night was going to continue as the band ran through a few of their newer songs.

Mark Le Gallez of Thee Jenerators

Mark Le Gallez of Thee Jenerators

As soon as they launched into Fight The Power from their Jenerator X debut though things seemed to kick up several gears and never let up as we experienced possibly the most powerful garage punk assault this version of the band have produced to date.

While there were moments throughout the set where each band member seemed to lose their thread a little they didn’t let that slow them down as they powered through a selection of songs spanning their whole time together from Mystery Man to  French Disco to Yellow Fruit Pastille to Daddy Bones and got most of the small audience onto the dance floor.

With three encores culminating with a version of Bela Lugosi that verged on completely falling apart, Thee Jenerators put in a set that ended up showing them as the cathartic force of nature they are at their best and, as frontman Mark Le Gallez pointed out, there may not be many bands like this left around these days but we’re glad of those that there are, and I’m very glad there’s Thee Jenerators.

You can see a full gallery of my photos from the show on the BBC Introducing Guernsey Facebook page

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The Space Pirates of Rocquaine – Vraic And Roll

The Space Pirates of Rocquaine - Vraic and RollWith their show-stealer of a performance at the 2016 Sark Folk Festival, The Space Pirates of Rocquaine released their second full length album, Vraic & Roll.

Pulling together a number of songs that have become live favourites over the last couple of years, since the release of their debut Vraic & Ruin, the record tells tales of Guernsey combining history and legend with a good dose of poetic licence.

My review was published in The Guernsey Press on Saturday 16th July 2016 and you can read it below.

Space Pirates album review - 160716

The album artwork is by Guernsey based artist and designer Helen Arnold and you can find out more about her work on her website.

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Songs And Words – Ginger Wildheart (DVD)

Ginger Wildheart - Songs & Words DVDA couple of years ago Ginger Wildheart announced a new campaign via his now well established channel on Pledgemusic to write and release a book tracing the story of his career song by song, Songs & Words. As seems to have become customary with these things the project expanded from a simple autobiographical book to a live stage show and then this DVD of that show – a kind of ‘Audience with… Ginger Wildheart’.

Recorded on the London leg of the tour, at the Leicester Square Theatre (apparently where the Sex Pistols played their first gig with Sid Vicious, according to Mr. Wildheart) it’s a lengthy affair, as anyone who’s brought any of Ginger’s recent albums would expect, but comes with an impressive air of intimacy as Ginger leads us through his career and life from the moment he was fired from the Quireboys by Sharon Osbourne to the beginning of what became the 555% triple album.

The first half of the show tracks the first run of The Wildhearts, the band for whom Ginger is, of course, most well-known, and while their exploits are fairly legendary, hearing them from the horse’s mouth is something else. This is where the show’s real appeal comes in that it really doesn’t seem as if Ginger is out to hide anything or cover anything up and he is brutally honest about a lot of aspects of his life – far more so than most other musicians you’ll find.

Jase Edwards and Ginger Wildheart

Ginger (with Jase Edwards)

So, we get stories of a fairly astronomical drug intake, misadventure when trying to record a music video in New York, squandering record company money on bizarre video projects in an attempt to get fired and more.

I’m sure that all sounds like a thousand other rock ‘n’ roll stories, what makes this feel a bit different though is the unassuming air Ginger has on stage that makes him come across like a ‘local musician’ (for want of a better description) – someone you could know playing shows in small venues, who happens to have stumbled into this world of excess and somehow managed to survive it for the best part of 30 years and counting.

The second half of the show charts the more musically eccentric side of Ginger’s career with solo albums, joining and leaving various bands and diversions in a Thai prison, punctuated by occasional reformations of the band that gave him his name. In some ways this less rock ‘n’ roll stereotype period (though there’s still plenty of drugs and related misdemeanours) is the more interesting and is where Ginger seems more relaxed – though that could be the brandy he’s swigging throughout the show.

Ginger Wildheart

Ginger Wildheart

A surprise highlight of this is that Ginger even discusses his most unusual album, World of Filth, that he released under the name Howling Willie Cunt, and even plays extracts from a few songs from it – these are not for the weak of heart (or stomach).

It’s not just the country & western abomination that we hear music from as, across the show, Ginger and long time musical collaborator Jase Edwards play acoustic medleys of tracks from most of the albums from Mondo Akimbo A-Go-Go to 555%.

While some of these sound as you might expect or as they do on Ginger’s acoustic albums (such as Kiss Alive II), others are something a bit different and a bit special to hear, especially the material from Endless, Nameless and The White Album which is general less heard to start with, let alone in this stripped down form.

While even three hours isn’t enough to fit in all the trials and tribulations of Ginger’s life (as the accompanying book goes into much greater depth) this is a fascinating watch for any fan and, I would say, for anyone with an interest in stories of musicians and dealing with the music industry as well as the more traditional rock ‘n’ roll debauchery side of things along with some great musical interludes.

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Lord Vapour, To The Woods, Lifejackt and Gregory Harrison – The Fermain Tavern – 07/05/16

Gregory Harrison

Gregory Harrison

With a three-day weekend for Liberation Day this year the sheer amount of live music going on over the three days was huge. My musical weekend began at The Fermain Tavern where three varied but heavy rock bands took to the stage across the course of evening, following a lower key acoustic opening.

That acoustic kick off came from Gregory Harrison accompanied by his double bass playing friend. The addition of the double bass to Harrison’s usual deep and soulful acoustic rock did bring a new musical depth, but, given their lack of rehearsal time before the show meant they stuck with the more down beat material from Greg’s repertoire. This somewhat compounded the lack of engagement from the mostly distant audience most of whom stayed chatting around the back of the venue.

None-the-less Greg and his bandmate played very well and with a brand new track rounding off the set did, eventually, up the energy in their music and in the room getting a highly positive reaction from those who cared to listen.



After a fairly long break from a Guernsey stage (they did play a show in Jersey a few months ago), Lifejacket were back tonight and their time away seemed to have increased the intensity pouring from all three members of the band.

Coupled with this heightened intensity of performance came a now familiar but at times slightly reworked set of songs that drew a crowd down in front of the stage from the off.

While band leader and frontman Andy Sauvage very much focused on the songs as Lifejacket played, bass player John McCarthy provided something of a visual focus, but I have to say my only real criticism of Lifejacket tonight, particularly in comparison to the later bands, is the lack of audience engagement and showmanship during the set.

If Lifejacket were a band to focus on the technical side of their music as they play, from the off it was clear (as if I didn’t know already) that To The Woods were very much the opposite – particularly in the case of their larger than life frontman, Robert ‘Bobby’ Battle.

Bobby of To The Woods

Bobby of To The Woods

Starting the set with a new song, and dotting a few more throughout, its clear they aren’t a band resting on their musical laurels as the new numbers all develop on their grungy formula, one even brought to mind the likes of Pearl Jam from rhythm section James Ogier (bass) and Dan Garnham (drums) as Battle raged over the top in his own inimitable style.

As the set went on mosh pits and attempts at stage diving came and went, while Fire even encouraged a bit of a shout-along (though Bobby isn’t quite Freddie Mercury yet, despite his poses). The crowd did begin to drift a bit towards the end hinting that possibly To The Woods do the opposite of Lifejacket in coming across as too much about the personality as they perform – though they certainly have the songs to back it up.

A special mention has to go to Dave Riley (formerly a bandmate of Bobby in Iron Cobra) for possibly the best/worst stage dive and crowd surf the Tav has seen to date.

After a bit of a protracted break, during which much of the audience drifted away, Lord Vapour launched into their set with a wall of fuzzy, phase-y noise that just about coalesced into a slightly too loose version of their sensitively titled song, Sugar Tits.

Lord Vapour

Lord Vapour

With Island Man they seemed to get back into a nice groove for a few songs before the lead breaks and jams grew and grew to the point where the structure of any songs fell apart.

As this happened, and midnight neared, they once again began to lose many of the audience and, while there were some great riffs and impressive moments from all three members that showed a great potential, it was hard not to see their stoner grooves as becoming unstructured noise with guitar posing from Henry Fears and Joe Le Long’s vocals descending into an uncontrolled wail.

With a few calling for an encore after a bit of a break Lord Vapour rounded their set with what may or may not have been a cover of Jimi Hendrix’s Foxy Lady that closed the show off on an odd note given the very impressive performances that had come before.

You can see more of my photos of the show on the BBC Introducing Guernsey Facebook page

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Gregory Harrison – Self-titled EP

Gregory Harrison EP coverHaving initially come to my attention as fiddle player with The John Wesley Stone, The Rectory Hill Skillet Lickers and in The Ukuladeez backing band, Gregory Harrison has since carved himself a niche as a, usually solo, acoustic performer. Now, taking this onto the next level, Harrison has released a self-titled four-track EP that gives a taste of his sound, in varied fashion.

The record starts off in unashamedly non-acoustic fashion with a crash of instruments that coalesce into the anguished Demons. This track, and third song Working For Nothing, showcase Harrison working with a full band and both feature impressive layering of sounds based around the initial acoustic songs.

Within this framework are intricate electric guitar parts, pianos and more and at times give something of a feel of Dave Matthews Band with a fusion of genres present, but with a slightly more indie rock vibe n the mix.

Over this Harrison’s rich voice is laid and, while there are points where it feels the recording process has missed some of the potential emotion, it is none the less impressive and at its best moments effecting.

The other two tracks are something a bit different.

Gregory Harrison

Gregory Harrison

Taken By The Brew is a more melancholic and sedate tune but again with the full band and, as the shortest track on the disc feels a little unfinished. Listening to the lyrics though, this may be part of the point and it runs dangerously close to feeling a little over earnest, despite being well delivered.

Down and Out meanwhile is something a bit different and has a more raw edge akin to Harrison’s live shows. With just an acoustic guitar and voice it gives a closer representation of Harrison’s songwriting and it seems to allow his performance more freedom.

This self-titled EP, while a stylistically mixed bag, allows an insight into the songwriting and varied musical approach of Gregory Harrison and certainly acts as a great primer to his work and starting point for hopefully more to come.

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Vale Earth Fair: Unplugged – The Fermain Tavern – 30/01/16

Ramblin' Nick Mann

Ramblin’ Nick Mann

For the last few years the new year of live music in Guernsey has really got going with the Vale Earth Fair’s ‘unplugged’ nights at The Fermain Tavern where as many acts as they can squeeze in play acoustic (or semi-acoustic) sets in a showcase style event of non-stop live music.

Once again Tantale drummer Graham Duerden was compere of the night doing his best Jools Holland impression while hyping up each of the acts and the first was one launching his debut album – Ramblin’ Nick Mann.

While some of his songs feel a bit half-formed this was the most together performance I’ve seen from him – his homemade guitar even worked for the whole set. With a slightly knowing nod he grabbed the attention of those who wanted to be grabbed and, other than the indignity of the bass player from the next band tuning up while Nick was still playing, it was a good fun set paying homage to old blues with a unique twist.

With their bass tuned up, new band, Borderline Puppets, were first on the ‘main stage’. They delivered a set of suitably raw, grungy, acoustic rock including a mix of covers and originals drawing on the sound of the mid-1990s.

Borderline Puppets

Borderline Puppets

While the very nature of the music is rough and ready, they fell just the wrong side of this and came across as slightly unrehearsed and reliant on a book perched on a stool between guitarist/vocalist Danny Machon and vocalist L-J Turnbull.

As the set went on they seemed to relax into it somewhat and for a first gig by a brand new band it certainly could have been worse and it’ll be good to see another band inspired by these sounds develop.

Another relatively new band were up next, and it was my first time catching them live, Wondergeist. On record they feature a range of guest artists but live they are an acoustic duo and their brand of indie-folk suits that well. Between Steve Wickins and Peter Gilliver they have a good contrast of sound and style which work together well, Steve playing with a laid back air and Peter a much more intense, jittery presence.



Later in the set Wondergeist were joined for a few songs by Gregory Harrison on the violin which added some extra dynamic to the set that went down well with those on the now busy ‘dancefloor’ area at the Tav.

Over the years at these unplugged nights some bands take their usual set and change it around to fit a more acoustic style, others however just do what they usually do on less amplified instruments, and it was this second option that Honest Crooks chose to go with.

In this case that worked just fine as they had the dancefloor packed with gently jigging and skanking bodies as Raddy strummed his acoustic guitar and Andy bashed the cajon, rather than a full drum kit, in particularly effective style. Otherwise things were pretty much as we’ve come to expect from Honest Crooks as they continue their rapid ascent in popularity.

Honest Crooks

Honest Crooks

Gregory Harrison had hoped to be launching his new EP tonight but the physical copies of it had yet to arrive, but he didn’t let that stop him as he delivered a set of his acoustic, modern-folk inspired, songs that not only went down well as he played, but had many talking afterwards as well.

As always Harrison’s rich, soulful voice was an immediate highlight of his performance and this combined with some fine technical guitar displays to grab the attention of the increasingly noisy audience.

The subject of noisy audiences has come up a few times over the years, particularly in relation to folk gigs and at the Sark Folk Festival, and for the most part it’s not something that has bothered me – after all most of these events are social occasions as well as music events.

Gregory Harrison

Gregory Harrison

Here though things seemed to go a little too far the wrong way at times with audiences members not just chatting at the back or getting raucously involved with the music but being actively (if probably not intentionally) disrespectful of the performers and other audience members.

While Honest Crooks earlier in the night had just played what they normally do on acoustic instruments, grunge-rockers SugarSlam went the other way and slightly rearranged some of their material to fit the nights ‘unplugged’ feel.

Being their first acoustic based show in their near 30 year history it worked rather well, particularly as it showcased a bit more of the power-pop aspect of their sound, doing what gigs like this should in exposing the other side of the same coin, so to speak.

As well as new numbers State and Luck from their upcoming EP, the band played a few old classics, including Wonders from their early 90s debut record that hasn’t been heard live since then, along with a great cover of Sacred Hearts’ Adorable.



This was before rounding the set off, in tribute to Lemmy and Philty Animal Taylor, with a run at Ace of Spades that saw drummer Brett’s ‘Cool Rod’ drumsticks splinter with a good dose of speed-country-rock’n’roll.

Regular visitor to the Vale Earth Fair, Grant Sharkey was back next introducing seemingly every song with the line, “This is a song about the 2008 financial crisis”. As always his loyal group of fans were down the front and lapping up his mix of humour, songs and politics, while the rest in attendance found a lot to like as well.

When limited to a specific set time Grant is at his best as it leaves less time for the political points to shift from thought-provoking to hectoring and the limitations of one man and a double-bass become less obvious – though Grant always does a lot more with that combination than most would think possible.

Grant Sharkey

Grant Sharkey

This led to an enjoyable set that, while not quite as fun and engaging as his last visit to Guernsey just before Christmas, was still good and had the crowd singing along as well as earning an encore in the form of ‘the Onesie song’.

Having enjoyed their outing at Chaos back in the summer I was looking forward to see what Near Bliss’ take of Nirvana unplugged might be, but, from the off it was clear this wouldn’t be quite the classic that performance was. As great as much of Nirvana’s music is, it would be very hard to argue that it is particularly happy, so when, early in the set, Near Bliss frontman Steve Wickins grinned his way through Rape Me, it was clear things were on shaky ground.

Added to this the three-piece hadn’t done anything to rework their sound other than Steve playing an acoustic guitar which left the drums thundering over the top in far too heavy fashion, while showing the gaps that can be found when fuzz and distortion are removed from grunge without other augmentation.

Near Bliss

Near Bliss

While those on the dancefloor seemed to be enjoying themselves with the familiar songs, the rest of the venue emptied as the over-long set went on and Near Bliss’ performance grew looser until it climaxed with a sloppy take on Smells Like Teen Spirit to close the show.

While it may not have ended on a high, the Vale Earth Fair’s unplugged night was one of their busiest fundraising events I remember in some time and, with this being their 40th anniversary year, set things off to a great start in the build up to the August Bank Holiday weekend festival.

You can see more of my photos from the show on the BBC Introducing Guernsey Facebook page

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