Featured this time: Glastonbury (on TV); Alvvays; Arooj Aftab, Viyay Iyer and Shahzad Ismaily; Wednesday; Kokoroko; Emmeline, BINA and Tendertwin; The Beat, Bow Wow Wow and London Calling (Clash tribute band); and Matyas Gayer (jazz pianist)
Seven concerts to report in this latest roundup. Add to that Wide Awake festival, which I reviewed separately, and just this weekend, Glastonbury festival – courtesy of the BBC – and it has been an interesting month of music.
Let’s start with a few observations on Glastonbury. We all know what a great festival it is. Never been myself – the scale of it seems too vast, and it’s difficult to get tickets anyway. I’m happy to sit back, watch a few shows live and catch up with the rest on the BBC2 highlights and the iPlayer. I didn’t watch a lot of shows in real time this year, but I did see all the Pyramid headliners:
Arctic Monkeys on Friday were a bit of a mixed bag – the recent stately ballads and bar room crooning don’t really do it for me, though I did like 2007’s 505, which they played towards the end of the main set. And the performance was interspersed by plenty of the old favourites like Do I Wanna Know, Mardy Bum and best of all I Bet You Look Good on the Dancefloor in the encore. So really, fair play to them, taking new directions but without shunning past glories.
Saturday was the turn of Gun’n’Roses, which seemed an odd choice of headliner. I think this may have been the night when the organisers were hoping to get Taylor Swift – next year maybe? Many would argue that Gun’n’Roses are a bit past it, a caricature. But I have to say I really enjoyed the show. It rocked big time, with Slash imperious on guitar. All the favourites were played as far as I could tell – I was never a massive fan. And it’s hard to beat Sweet Child o’Mine as a rock anthem. Other highlights for me were Welcome to the Jungle, Knocking on Heaven’s Door and the closer Paradise City, with everyone’s favourite rocker, Dave Grohl, guesting. An unexpected delight, this one.
A more expected delight was Elton John on the Sunday. His last ever gig in the UK? Yeah, maybe! But if it was, what a way to go out. A magnificent journey through the best of his back catalogue. As a teenager in the 70s I was never much of a fan of Elton, though I usually quite enjoyed the singles; but I have come to appreciate the quality of so many of his songs, particularly those from the 1970s. Some of the best pop music of all time. Highlights for me were Bennie and the Jets, the sequence of Your Song and Candle in the Wind – fully back to Marilyn – and the final two: Don’t Let the Sun Go Down on Me and Rocket Man. Throughout Elton displayed his love of music and his fellow artists – there were no silly antics, just very fine music. The guest appearances generally didn’t add much, but again they showed his inclusivity and generosity of spirit. A Glastonbury classic.
Through the weekend I’ve also caught up a few of the shows I most wanted to see. Best of all, I think, was The Murder Capital in what is now called the Woodsies tent – the old John Peel tent. I thought their performance was breathtaking – the one most likely to emulate Turnstile from last year, which I ended up watching five times! Jockstrap were excellent on the Park Stage on Saturday, though the Glasto afternoon crowd didn’t sing along quite as much as the Wide Awake audience. The Comet is Coming were awesome on the same stage on Friday. Shabaka Hutchings’ sax playing is truly a thing of wonder. And The War on Drugs were predictably superb on the Other Stage on Sunday, with the closer Under the Pressure as epic as ever. Lots more still to see, including Chvrches, Ezra Collective, Black Country New Road, Loyle Carner and Queens of the Stone Age. And I guess it’ll be hard to resist seeing how Blondie, the Pretenders and Generation Sex fared. Punk/new wave is now a nostalgia business!
The late night highlights programmes on BBC2 were as good as ever too. One band that really shone on their rooftop live appearance was The Mary Wallopers – Irish folk-punks, which immediately makes you think of the Pogues. They’re on at both Latitude and End of the Road so I’ll definitely be looking them up later in the summer.
The iPlayer shows are available for 30 days, so catch up while you can!
Onto the concert roundup then, starting with one that came just before Wide Awake.
Alvvays at the O2 Forum, Kentish Town, 24 May

Back in 2018, I loved the sound of Alvvays, having seen them at End of the Road the previous year. They played a triumphant gig at the Roundhouse in February 2018, when the singalongs to Dreams Tonite and Archie, Marry Me were amongst the best I can remember. But then they disappeared from view, and only re-emerged last year, with a new album, Blue Rev, which didn’t really grab me. A bit of the Blondie/Elastica punkiness was gone and the melodies weren’t as memorable. It grew on me a bit, and I was happy to go along with friends Dave and Gordon to catch them at the Forum. We had some excellent cheese and charcuterie with some very decent wines beforehand at Authentique wine bar and epicerie up near Tufnell Park tube station; and to be honest, that turned out to be the highlight of the evening. The gig was fine, but not very exciting. The new material dominated, and it all seemed a bit routine and samey. When they played Dreams Tonite it took me a while to realise they were doing so; and while Archie lifted the spirits a bit, it didn’t feel anthemic in the way it did in 2018. Was it them or was it me? Or indeed, was it the effect of Authentique? I blame Gordon…
Arooj Aftab, Vijay Iyer and Shahzad Ismaily at the Barbican, 2 June

This is a bit of a ambient jazz supergroup. They first came together in 2018 and apparently played some live shows based on improvisation. This year they released an album called Love in Exile, a beautiful meditative work that combines the music of south Asia with modern electronica. Arooj Aftab is a singer and musician who released a wonderful album called Vulture Prince in 2021 – a jazz fusion with music from around the world. A track from that album, Mohabbat, won a Grammy in 2022. Vijay Iyer is a renowned jazz pianist and keyboard player. I saw him play at the Queen Elizabeth Hall in 2021 – the show was mesmerising. Shazad Ismaily I hadn’t come across, but he is an acclaimed bassist and synth player.
We were six for this show, and continuing the French dining theme, we ate beforehand at a great restaurant called Café du Marché on Charterhouse Square. The joke was that after the fine food and wine, there’d be some snoozing during the performance as the mellow sounds wafted around the hall. That proved correct in certain cases, but certainly not in mine, nor Jon’s. We were agreed that it was a completely engrossing hour and a quarter. Indeed, Jon described it as an intense experience. The show was based on Love in Exile. Arooj Aftab’s vocal were pure and resonating, spiritual even. But she had time for humour in between songs, contrasting London and New York, where she is based. Vijay weaved his magic spells on piano and keys, with some astonishing sequences of virtuosity. A dream-like atmosphere interspersed with those moments of intensity. And Shahzad Ismaily created subtle, unobtrusive but vital beats that underpinned the whole thing. There were no drums – they weren’t needed. This was music on a higher plane – to luxuriate in. And even to shut your eyes and drift away…
Wednesday at the Lexington, 6 June

Wednesday are my latest new favourite indie band. They are from North Carolina in the US and are fronted by singer/guitarist Karly Hartzmann. Their music is a collision of grunge and shoegaze with country and Americana. Only in America! I have the Spotify algorithm to thank for introducing the band to me. I’d been playing some country music, probably Kacey Musgraves or Lindi Ortega, when the album ended and a song called How Can You Live If You Can’t Love How Can You If You Do came on. Bit of a mouthful that! But what a lovely wistful song. I had to hear more and checked out the 2021 album Twin Plagues which that song was on. To my surprise country didn’t feature all that much; instead there were raging guitars, reminding me sometimes of Nirvana, occasionally of Neil Young, and in one particular case, One More Last Time, My Bloody Valentine. My favourite song was Birthday Song, which combined a listless melancholy with bursts of those angry guitars. It seemed to encapsulate a mood which would have been so prevalent in the pandemic, and coming out of it. Later I listened properly to the lyrics and realised they were memories of Karly’s about taking LSD at school and someone breaking his foot! A good example of why listening too closely to lyrics doesn’t always pay. Hasn’t stopped me loving the song though – just makes it even more of a mish mash of feelings.
A new album, Rat Saw God, came out this year. And it is good! More Americana, a bit less grunge, though the second track, Bull Believer, is brutal, with Karly howling at the end. And then – at last! – they announced they were playing a few gigs in the UK as part of a European tour. The London gig was at the Lexington on the Pentonville Road. Capacity about 200, so I snapped up a ticket as soon as I heard. The gig was sold out – mostly people in their 20/30s, dress code mostly quite scruffy. Plaid shirts were in evidence! The band came on and rocked out from the start. And they really seemed to be enjoying themselves – smiles all round rather than the traditional indie nonchalance or scowl. Karly told some stories and laughed a lot. A few songs in she announced that they were going to do some country music. It was Chosen to Deserve from the new album – more Lynyrd Skynyrd than country, but a great song. One of my favourites of the evening along with Quarry, also new and also in the Americana mode. My favourite country style ballads – How Can You Live etc and another new one called Formula One – didn’t feature; nor did Birthday Song. But I loved the set – great raging guitars throughout. Last song was inevitably Bull Believer, and I feared for Karly’s voice if she is performing that sustained shriek every night.

The concert lasted just over an hour and it was one of those I really wished would go on longer. It was only 10.15, so I went down to the pub for another beer before making my way home – with Wednesday on the iPhone of course!
Kokoroko at the Royal Festival Hall, 14 June

This concert was part of the annual Meltdown festival at the Southbank, which was curated by Christine of Christine and the Queens this year. I thought it would be nice to go along to something, and Kokoroko seemed just right for a summer’s evening. They are a London-based collective who play what you might describe as Afro-jazz-funk. It’s lovely upbeat music. I saw them play at Green Man festival a couple of years ago. They were on the main stage and I was just passing by, but their rhythms were so infectious that I stayed and watched for a while. I made a mental note to try and catch a full show sometime.
Kath and I had a bite to eat at Brasserie Blanc then headed up to the river for a beer before the show started. It was a beautiful sunny evening and the Southbank was buzzing. One of those love London moments. The concert was scheduled to start at eight; in the event the band came on at 8.20 and played until ten. And it whizzed by. Those infectious rhythms very much in evidence again. But there were some silky ballads too, embellished by the trombone and trumpet of the two vocalists, two women. And, to my surprise and delight, there were some searing guitar solos too. I think the guitarist was displaying his love of Prince as he hit the heights.

Overall, the songs were fairly mellow to start and the tempo built up over the concert. For the last few songs just about everyone was up out of their seats and dancing. The African influences were at their strongest in the dance tunes. Right at the end the tempo came down again with a lovely slower piece, which may have been Ti-De from their 2019 debut EP Kokoroko. It featured some beautiful cornet-playing* by the trumpeter. A new song finished the show – sounded good. It was a simply joyous show.

And those City lights looked wonderful as we crossed Hungerford Bridge on the way back to Embankment station. Yep, love London.
*Other possibilities are French horn or pocket trumpet.
Emmeline at the Roundhouse Studio Theatre, 15 June

The day after Kokoroko it was up to north London to see poet-rapper Emmeline. This was a speculative one – I’d only come across her a week or so beforehand when I heard her being interviewed on Cerys Matthew’s Sunday show on 6 Music. She talked in an interesting way about her poetry and music, which is apparently described as slam poetry – a new one on me! She played one song on Cerys: Sabrina. I liked it so had a look at what she had on Spotify. There were a few singles, some of which were pulled together in a 2022 EP, Satellite Navigation System, and a new single called Small Town Girl. An easy comparison would be with Kai Tempest, but less intense and downbeat than Kai is these days. I could hear a bit of early Biig Piig too. I put the songs on a playlist, and when that came to an end the Spotify algorithm came up with Pip Millett, which was interesting.
Cerys mentioned that Emmeline was playing at the Roundhouse’s Last Word festival, a vehicle for up-and-coming performers. Tickets were only £8, so I thought I’d give it a try. The venue, which probably holds 150-200 standing, is a pleasant, airy space – I saw Gretel Hänlyn play there at the Pitchfork festival last year. I got there in time for the two support acts. The first was a duo billed as Tendertwin. In fact that’s the stage name for the singer/guitarist Bilge Nur Yilmaz. She was born and raised in Istanbul, but has spent time in Philadelphia, London and now Oxford. She was accompanied by a cellist, which gave the music a feel of Nick Drake – no bad thing. There were only about twenty of us in the room for this show, but there was no sense of disappointment – they gave a very committed and accomplished performance, which was well-appreciated by the select audience.

Tendertwin
Second on was BINA. She’s a south London soul-jazz artist. She was accompanied by an unassuming guy on keys/laptops who provided the music as she sang. I liked her sensuous soul sound a lot and she had a strong stage presence. She received an enthusiastic reception from the crowd, which had grown to 50-60 for this show.

BINA
And then, after the break, it was time for Emmeline. The show was sold out, I think – there were a lot of people in the bar beforehand. I bought a beer and went back in early to get a decent spot – tall last minute arrivals permitting! Soon after I returned a group of people about my age came in and stood near the back. One of them looked remarkably like the Poet Laureate Simon Armitage. I remembered that Emmeline had mentioned rather coyly on Cerys that her parents were poets. It was easy to put two and two together – it was him. The room started to fill up and a lot of people seemed to know each other. This was Emmeline’s first headline show, I think, and it was fair to assume that family, friends and colleagues had turned out to support her. It made for a really good atmosphere during the show. And Emmeline came bouncing on and delivered a lively, punchy set of songs, in a hip hop style for the most part.

Emmeline
The beats were played from the mixing desk as Emmeline covered every inch of the stage. Sabrina and closer Small Town Girl were highlights, and I liked the defiant Girls Write Rhymes. As I write this it did occur that while it’s ostensibly about the male-dominated business, there might be a gentle message to her Dad too. Just before the show started I found myself standing next to Simon and a friend, who’d come up and spoken to me earlier about the book I was reading (Tracey Thorn’s excellent My Rock’n’Roll Friend). So I took the opportunity to say to him, “You must be proud.” “And nervous too,” he replied!
A really enjoyable evening – three very talented young artists. And a rousing performance from Emmeline. I’m sure her connections won’t do any harm to her prospects; equally she won’t want to make a big thing of it, I’m sure. As she sang, girls write rhymes too.
The Beat at the Roundhouse, 16 June
Can’t get enough of the Roundhouse – I was back there the next day! This time in the main hall for a bit of late 70s/early 80s nostalgia. Brummie ska-pop band The Beat supported by Bow Wow Wow of Go Wild in the Country fame. Or so it was originally advertised: on the day we had a very welcome bonus – renowned Clash tribute band London Calling.
There were three of us for this one; me, Jon E and another university friend, Jon L. The Three Johns – there was an indie band of that name in the early 80s! Being in Camden we had to eat at Sushi Salsa by the lock of course. An old favourite, and as good as ever. We made sure we finished in good time to see, we thought, Bow Bow Wow. In fact it meant we got to see the whole of London Calling’s set. And a very good thing that was too! They were excellent, playing with a passion and quality that did the Clash proud. The Clash are one of my favourite bands of all time, so this was an unexpected delight. I made a note of the songs they played. This isn’t in exact sequence, though they did open with Tommy Gun and ended with a rousing White Riot. Ah the memories!
Tommy Gun – Safe European Home – Stay Free – English Civil War – Clash City Rockers – Complete Control – White Man in Hammersmith Palais – Should I Stay or Should I Go – train in Vain – London Calling (of course) – White Riot.
Quite a strong emphasis on the second album Give ‘Em Enough Rope and the singles which followed the eponymous debut album. I loved it and will be looking out for when they next play in London.

London Calling
Bow Wow Wow were an early 80s Malcolm McClaren creation. The sound combined punky guitars and African drums. They were fronted by Annabella Lwin, who was 13 when they started. Others were members previously of Adam and the Ants, who also had a heavy drum sound. They didn’t exactly set the world alight, but had one or two catchy hits, notably Go Wild in the Country, C30 C60 C90 Go (for any younger readers they were cassette lengths) and I Want Candy. Their first incarnation didn’t last long, but there have been various reformations. Tonight they were a three piece: Annabella, now in her 50s and really giving it some; a guitarist who looked like he’d been in ZZ Top and created a wall of sound; and a very rhythmic drummer who played her drums standing up. It was an enjoyable set, with Annabella exuding positivity. C30 C60 C90 Go kicked things off, Go Wild in the Country livened up the half way stage, I Want Candy ended the show. Half an hour and they were off – no overstaying their welcome.

Bow Wow Wow
The Beat were part of the Two Tone movement, although they were only briefly on the label. Their first single, in 1979, was an uptempo cover of Smokey Robinson’s Tears of a Clown. It got to No 6 in the charts. Their biggest hit was Mirror in the Bathroom which reached No 4. Their first album I Just Can’t Stop It came out in 1980, and was a modern ska classic, with pop and rock elements and a lounge crooner, Andy William’s Can’t Get Used to Losing You. One of the songs, Whine and Grine/ Stand Down Margaret had a real political resonance, and despite the specific references to Thatcher, has stood the test of time. It still had a lot of the crowd singing the chorus tonight: there’s still a Tory government we want to see the back of. The original band didn’t last that long – they managed three albums between 1980 and 82. Later the band split into two: one, known as the English Beat in the US, was headed by Dave Wakelin, original singer, guitar and writer of the songs. The other was fronted by Ranking Roger, who was the original band’s toaster (a reggae version of rap – pre-dating and influencing it). A few of us saw the Ranking Roger version of the band in 2015 at Under the Bridge, a venue at Stamford Bridge, home of Chelsea FC. It was a lot of fun. Sadly Ranking Roger passed away in March 2019.
Tonight this was The Beat with Dave Wakelin in good health and spirits. And what a celebration it was. All the hits – except Can’t Get Used to Losing You – and more besides. We had seats, but it was amusing to watch all the balding geezers below in their Fred Perry T-shirts getting on down. There was even some moshing towards the end. And the reggae/ska roots of the band were palpable.

The Beat
A number of ex-band members have passed away in the past few years, and Dave paid tribute to them all, including Roger. Old enmities forgotten. We loved this band back in the 80s, and the three Johns have a treasured memory of them headlining the University College ball in the summer of 1980. As incongruous a combination as you could imagine, but it worked a treat!
So yes, this was a great trip down memory lane. Afterwards Jon E and I felt like continuing the celebrations for a while and stopped at the Oxford Arms on the way back to Camden Town tube. We didn’t get out of there until one o’clock. At one point a couple of lads in their early 30s – I know this because they told us – came up to us and asked if we’d been at the Beat. What made them think that? Obvious – we were the oldest people in the place and I too had a Fred Perry T-shirt on! They’d been there too and we had a good chat about the concert, music, football. All the unifiers. And then the night tube took us home. Did I say I love London earlier?
Matyas Gayer at St Mary’s Perivale church, 22 June
Hosting concerts is good business for churches all over London. Recently Kath heard about those at St Mary’s Perivale. The church is in North Ealing, sandwiched between the A40 and Pitshanger Park, and surrounded by Ealing golf course. The River Brent runs nearby. I’ve cycled and walked past it so often without realising that it puts on music. Part of the church dates back to the 11th and 12th century, and unusually it’s partly clad in white timber. There’s almost a look of an old watermill to it from the outside. Most of the music is classical, but once a month there is jazz. The concerts are free, but donations are encouraged, as it is all self-financing.

St Mary’s – didn’t take any photos inside
There was some jazz on the 22nd, so Kath and I decided to go up there and see what it was like. It featured a jazz pianist called Matyas Sayer. He is Hungarian, but has settled in London and has played with all sorts of jazz luminaries. He played for an hour – mostly improvisations based on pieces by notable jazz pianists from the past and present. One example was Thelonius Monk’s classic Monk’s Dream. He also played a lovely version of Chopin’s Nocturne in E Flat Major. I’m not a great classical expert, but I have always thought that a lot of Chopin’s music leads you into jazz, and this confirmed it. The church is beautifully decorated inside and has a Yamaha piano on the stage, which Matyas purred over. It was a lovely way to spend an hour on a Thursday afternoon. We’ll be going back for more.
Matyas has a 2018 album (a trio with bass and drums) called Never Ending Story. I bought the CD afterwards, and have been enjoying it since. It’s on Spotify if you want to listen. He has a new album out soon, I think.
So that’s it for now. Next up is a trio of nostalgic concerts, the first of which is the Boss himself, Bruce Springsteen on 6 July. That’s followed by Southside Johnny and the Asbury Jukes the next day. Might Bruce and/or Steve van Zandt make a guest appearance? And then a couple of days later, its Daryll Hall – minus John Oates but plus Todd Rundgren. Bring it on!






































































































































































