Originally published in LeftLion magazine.
Lone’s music works best in the hazy heat of high summer, his sun-baked wooziness making an apt soundtrack for indolent, blissed-out afternoons. On his sixth album, there’s a shift away from the more rave-based textures of Galaxy Garden, and a reintroduction of some of the more chilled out, hip hop-derived elements of earlier releases. Downtempo tracks such as the floaty, mellifluous Jaded wouldn’t have sounded out of place on Lemurian, his 2008 release for Dealmaker, while even the housier tracks, of which there are plenty – Aurora Northern Quarter, 2 Is 8 – tend to ebb away into softer codas. On the perkily insistent, pan-pipey Begin To Begin, a voice cuts in: “am I dreaming, am I awake”, encapsulating the liminal mood. By the album’s end, you do sense a depletion of fresh ideas – but taken as an ambient piece, there’s still plenty to tickle the synapses and soothe the soul.
Originally published in Pride Life magazine.
It’s a long way from the Welsh valleys to the streets of Brooklyn, but for Rod Thomas, the Neath-born purveyor of electronic pop who performs as Bright Light Bright Light, New York already feels like a natural home. “I moved over there in March 2013”, he tells me, “because I was working on my second album, and wanted a different stimulus. I’m a firm believer that the world around you and the people you interact with have a big impact on your outlook, so I thought it was a good idea to try living somewhere new.”
The album’s title, Life Is Easy, suggests a new-found contentment, but given New York’s reputation as a tough, competitive city, perhaps it shouldn’t be taken at face value. “No, my life is not easy”, Rod admits. “It’s a tongue in cheek statement. It partly refers to the idea that everyone dreams of the grass being greener somewhere else. If you go away and have an amazing time, part of that is escaping things you need to deal with, and part is being caught up in the magic and charm of being somewhere exciting and new.”
“But also, life is kind of easy”, he continues. “If you want to enjoy life, you really can. There are people with such horrendous circumstances across the world, who really make the most of life, while so much of our modern culture is based on reaching for something new, not being happy with your lot, improving, upgrading. But you can meet so many wonderful characters in your day to day life, who can change the way you look at the world.”
“There was nothing easy about moving to New York. I worked harder than I’ve ever worked in my life over the last year. It’s a hard place, but it suits me. People work hard, but they also play hard, which is how I approach my life. They make sure that when they’re not working, they enjoy this wonderful city that they have, to make it worth working that hard.”
This newly optimistic mood is reflected in the album’s subject matter, described as “a snapshot of my last year and a half”. Rod credits much of this to the friends he has made in New York, who have “brought me back from a place where I felt exhausted, and at a bit at a loss, to a place where I feel positive and excited again. The album is about taking back control, and getting to a point where I can see life for all of the wonderful things it has to offer, rather than being caught up in a slightly British mindset of moaning.”
Del Marquis from the Scissor Sisters, one of Rod’s closest friends, is heavily involved with the album, and on its lead single, I Wish We Were Leaving, another friend supplies guest vocals: Sir Elton John, who has since invited Bright Light Bright Light to support him on tour during June and July. “I wouldn’t have asked him to do it, if we weren’t friends”, says Rod. “It means more than just having a ‘featured artist’ – because what does that add, unless they mean something to the track?”
Inspired by the ending of a real-life relationship, the song examines the situation from both sides, focussing on forgiveness and acceptance, rather than the self-pity and blame of so many break-up songs. “It’s not bitter”, he agrees. “The relationship hasn’t worked out, but you don’t hate them for it. You want to hold on to what you like about them.”
The video adds poignancy to Rod’s lyrics, being filmed in one of his ex-boyfriend’s favourite restaurants. The location was suggested by the video’s directors, who had no idea of its significance when pitching the storyline. “It was a real shock”, he admits. “So I thought: well, that’s fine, I’ll go along with the treatment!”
Although Rod is an openly gay performer, and the song is undeniably about the break-up of a gay relationship, the drama is re-enacted for the video by a heterosexual couple, and there are no gender-specific lyrical references. “I thought it was quite nice to show a connection between a man and a woman”, he says, “because some people would presume I’d never think about heterosexual relationships. It’s important to see life from every perspective, which is what my whole album is about. It’s about friendships, family, and relationships: straight and gay.”
On his previous single, In Your Care, Rod tackles a theme which many gay listeners can relate to, especially those who have left home to forge a new identity elsewhere. “I’m an only child, so I feel guilty when I leave my family behind. It’s important that people back home don’t see it as a snub. The song tries to get across what is sometimes hard to say: I do think about you all the time, and you are in my thoughts. It’s a direct song to my parents.”
“I find it hard to perform In Your Care live, and I nearly cry every time I sing it. I never thought it would affect me quite so much, because I’ve sung so many songs about people who have broken my heart, and it’s never got to me on stage. But that song does, and I’m pleased, because it’s about something very real.”
“Not many gay artists have written songs about their families specifically, and I just felt: fuck it, this is probably the biggest issue that anyone I know has got with their sexuality, especially if their family are religious, or from a small town. I wanted to do something as a gay artist that wasn’t just about sex or love. It’s a different type of love. Yes, I go on stage in fucking chenille jumpsuits or whatever, but I also can be quite boring. I like to go home and have a cup of tea with my gran, because I love her very much, and I never see her, or my mother and father. Gay people very clearly have families, and it’s important that people recognise that.”
Originally published in the Nottingham Post.
Personally invited by Elton John onto this section of his world tour, Bright Light Bright Light – the alter ego of Welsh-born Rod Thomas – delivered a crisp, well received set of tuneful, heartfelt electronic pop. Elton guested on his last single, and a second album, Life Is Easy, is due out next month. “The best thing is that we get to watch Elton every night for a month”, Rod grinned, enjoying every moment of his time on stage.
Despite all the sumptuous, extravagant gloss of his celebrity lifestyle, an Elton John show is first and foremost about the music. The staging was straightforward and gimmick-free, and the performances were spirited, soulful and technically immaculate. Over the course of 26 songs and nearly two and a half hours, the 67 year-old superstar drew on material that spanned 44 years of continuing success, from his 1970 breakthrough hit Your Song to the most recent album, The Diving Board.
To mark the 40th anniversary reissue of Goodbye Yellow Brick Road, the set opened with selections from the classic double album, starting with the whole of Side One. A magnificent Funeral For A Friend/Love Lies Bleeding set the bar high, the lights coming up during its atmospheric instrumental overture to reveal the band, which included long-term collaborators Davy Johnstone on guitar and Nigel Olsson on drums. Dark suits and dark glasses were the order of the day, with a side order of glitter on Elton’s costume.
Hopping back a couple of years to the Madman Across The Water album, Levon and Tiny Dancer were early highlights, the former showcasing Elton’s piano-playing prowess with the first of many dazzling, rapturous solo breaks. This was to become a common theme for the set, as songs were extended and brought to thrilling instrumental climaxes. During these passages, the players exchanged broad smiles, nodding approvingly at each other, as if hearing each other for the first time.
A stately, mellifluous piano solo introduced Rocket Man, teasing us with its unfamiliarity before eventually cutting to the familiar opening line. The ovation at the end of the song drew Elton away from his piano for the first time, as he acknowledged our applause from each corner of the stage. This was good news for the seated punters on the left hand side, as they finally got to see more than the back of his head.
Introducing Oceans Away, written to commemorate the centenary of the First World War, Elton dedicated the song to the memory of those who lost their lives in military conflict. “Everyone who fights for freedom for us deserves our respect”, he told us. Appropriately enough, it was followed by Someone Saved My Life Tonight, another standout moment. Elsewhere, Philadelphia Freedom was so funky, that even the cameraman at the side of the stage couldn’t help jigging along.
Towards the end of Don’t Let The Sun Go Down On Me, as if summoned by an invisible signal, the punters in the front three rows surged towards the edge of the stage, ready for the final rock-out: I’m Still Standing, The Bitch Is Back, Your Sister Can’t Twist and a rip-roaring Saturday Night’s Alright For Fighting.
They stayed put for the encore: Your Song, a glorious Are You Ready For Love, and a gleefully celebratory Crocodile Rock. Reprising the first verse, Elton cheekily altered the lyric – “I remember when rock was young, Doctor Crippen had so much fun” – as Davey Johnstone mimed an axe murderer’s chop.
Blending much-loved classics with favourite album tracks from Elton’s vast catalogue, the set ranged from stripped-down balladry to blue-eyed soul and surging rock, uniting the generations and reminding us of Elton John’s continued mastery of his craft, both vocally and instrumentally. He can come back and entertain us as often as he likes. An outstanding night.
Set list: Funeral for a Friend/Love Lies Bleeding, Bennie and the Jets, Candle in the Wind, Grey Seal, Levon, Tiny Dancer, Believe, Philadelphia Freedom, Goodbye Yellow Brick Road, Rocket Man, Hey Ahab, I Guess That’s Why They Call It the Blues, The One, Oceans Away, Someone Saved My Life Tonight, Sad Songs (Say So Much), All the Girls Love Alice, Sorry Seems to Be the Hardest Word, Don’t Let the Sun Go Down on Me, I’m Still Standing, The Bitch Is Back, Your Sister Can’t Twist (But She Can Rock ‘n Roll), Saturday Night’s Alright for Fighting, Your Song, Are You Ready for Love, Crocodile Rock.
The Rescue Rooms is one of the jewels in the crown of a city that punches above its weight in music venues.
Capacity: 450. Upstairs, a separate performance space (the Red Room) holds 100.
Who plays there: Critically acclaimed bands on their way up, with the odd heritage act or tribute band along the way – the likes of Rudimental, Pere Ubu, Chvrches, John Murry, Fuck Buttons, 65daysofstatic, London Grammar, John Newman, Public Service Broadcasting and Low have appeared in the past year or so.
Originally published in LeftLion magazine.
As Youthoracle’s star continues to rise in the world of battle rap – he co-organised Don’t Flop’s Nottingham showcase in April, battling the league’s reigning champion – this four-track EP serves as a timely reminder of his skills as a recording artist. It’s an outspoken, socially conscious affair, pitting the MC’s fierce and furious flow against tough grime, dubstep and hip hop beats.
Hellectricity is an uncompromising opener, building from a wide-eyed ode to the wonders of nature (“the birds, the bees, the butterflies”) to an ever-accelerating blast of cold fury, so densely packed that only multiple plays will unlock its message. Just Be offers a statement of personal liberation, as Youthoracle asserts his right to be his own man, before laying into the superficialities of celebrity culture on Fake Sells. Finally, and most memorably of all, there’s the jaw-dropping, heart-stopping StoryTeller, a life story laid bare in unsparing, brutal detail.
Originally published in LeftLion magazine.
As the title of her long-awaited début album suggests – it’s a tribute to the legendary Nottingham record store, which closed in 2009 – Ronika is a committed crate-digger, whose journeys through pop music’s past have helped to shape her direction as an artist.
She might not be the first performer to be inspired by the Eighties, but her ability to absorb and reconfigure such a wide range of the era’s key pop-dance styles, with such loving attention to detail, marks her out from the pack.
For committed fans, just over half the tracks on Selectadisc will already be familiar – from 2011’s Forget Yourself to last year’s Rough N Soothe – but there’s plenty of new material here, too. Believe It is a languid, sultry summer jam, staccato stabs punctuate the frisky What’s In Your Bag, and long-time live favourite 1000 Nights mashes Taylor Dayne with Into The Groove, to instantly memorable effect.