Category Archives: music review

Gig Review //Arcade Fire @ Baths Hall

On Wednesday 7th June 2017 Arcade Fire played The Baths Hall in Scunthorpe.

Like many people around the world, I was shocked at the announcement that global music superstars Arcade Fire had confirmed they were playing a warm up gig at the Baths Hall in Scunthorpe, just days before headlining the Isle of Wight festival on Saturday. Continue reading Gig Review //Arcade Fire @ Baths Hall

Gig Review // The Kooks @ The Baths Hall

Last night The Kooks played the Baths Hall in Scunthorpe. The show was sold out with fans still trying to get last minute tickets from social media. Continue reading Gig Review // The Kooks @ The Baths Hall

Gig Review // Billy Bibby & The Wry Smiles + Support

Review & Images by Steven Potter

The Lincoln Imp and Aggressive Management presents Billy Bibby & The Wry Smiles, The Marras and Sabella.
Former Catfish and the Bottlemen member Billy Bibby, brought his new band Billy Bibby & The Wry Smiles to the Lincoln Imp in Scunthorpe, for a fantastic triple header of live music.

Everyone in attendance was treated to three excellent bands, all offering their own style of indie / alternative rock music.

Continue reading Gig Review // Billy Bibby & The Wry Smiles + Support

Gig Review // SNUFF @ Lincoln Imp

The line up consisted of Snuff, Wonk Unit, Vanilla Pod, One Car Pile-Up at The Lincoln Imp on Saturday 8th April.

Saturday night was a bit of a punk nostalgia session with seminal rockers Snuff returning to the imp for the first time in 15 years after reaching the heights of punk rock.

First Support were local boys One Car Pile-Up, who were also having a bit of a reminisce. Their set was quality, well received and they definitely had a few fans in. Towie, on the drums for OCP, then did a second set with next band Vanilla Pod, more high energy, with them moving the mics down off the stage front onto the floor for a more crowd intimate experience. Continue reading Gig Review // SNUFF @ Lincoln Imp

Team Wanted // Scunthorpe Nights

REVIEWERS AND TEAM MEMBERS WANTED

If you have followed Scunthorpe Nights from the beginning you will have realised there has been a dip in gig/event coverage & reviews. This is simply because there is not enough time for me to organise reviews and cover the gigs and also maintain the networks. So if you have some spare time and think you would enjoy a new hobby, join the team or do guest reviews now and then, it’s up to you.

Continue reading Team Wanted // Scunthorpe Nights

Review// Circus Of Horrors @ The Baths Hall Scunthorpe

The Circus Of Horrors have come a long way since first experiencing them on Britain’s Got Talent. Obviously on a TV audition a lot more is crammed into a small slot of time so I wasn’t quite sure what the full show would entail or how it would be padded out.
Initially first impressions were made by the dazzling set. The props and set design are interesting in themselves.

The show is filled with bright lights and lots of fire and smoke so be prepared to see some pretty fancy staging. The introduction to the show was very comical and got the crowd nicely warmed up with plenty laughable innuendos then it’s onto a great aircraft style introduction video. I don’t mean it says wear your seatbelts (it maybe should) but it makes a fun instructional video and warns people of a nervous disposition to “F**k Off”. I’d say this is pretty acurate as if you’re easily offended or ridiculously squeamish then you are probably at the wrong show because what you are about to see digs deep into some people’s emotions of shock, horror and amazement. I will also warn that if you are crazily scared of clowns then please be prepared as some people in the audience looked at though they may faint or cry at this part of the show. I won’t say what happens but I will say the show does get involved with mixing in the audience at times.

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I really loved the accompanying videos on the multiple screens throughout the performance and the camera man filming the show for the screens did a brilliant job at focusing on the detail of what was going on. In shows like this when you are rows away from the action it can sometimes be a little hard to see and then in turn results in it being less dramatic but the close ups were brilliant. The pyrotechnics and lighting arrangements were quite striking. At times the lights used to illuminate the audience were a little blinding but never the less a very good arrangement.

I am not going to write a play by play of what happened in the show because this show is based on it’s element of surprise so if I went into “this happened and that happened” then you would know what to expect. This show is definitely one that’s better left a mystery until you see it. Although the nice man sat next to me said he had been many times before and enjoyed it more and more each time he came. The shows full live band and the vocals throughout were powerful and rocky and the female vocalist especially had a great rock range.Picture

Be prepared to see some full frontal nudity of the male and female origin and bare in mind this is advised for more mature audiences so the advisory is 16+. There are some pretty raunchy costumes.

All the acts in the show are great entertainers and all dressed to perfection and you will not be bored or disappointed, maybe a bit horrified at some parts but mostly entertained. The show builds suspense nicely as the audience watch intently to see what will happen next.
There is a lot to see from the cast from contortion, to swinging around in the air by their hair to swallowing or attaching things to themselves that you didn’t think possible and plenty of fire to warm your face.

The show is built around the element of combining a freak show and circus into one, which works very well. There were a lot of impressive things throughout the show and I would definitely go see it again next time it comes to the area. I would recommend this show as a MUST SEE. Some shows I walk away and wonder are people getting their money’s worth here, well with this show I don’t need to wonder because YES, YOU ARE! It is great value for money.

FUTURE TOUR DATES 

http://www.circusofhorrors.co.uk

Summary// Party In The Pines 2016

It’s always such an experience at Party In The Pines. Believe me you’ll always have a memory of it once you’ve lived it, whether you want it or not lol.

Once again we were lucky for another year with exceptional sunshine and heat beaming through the trees, maybe even a little too hot.

Entering the car park and camping field it already seemed a lot busier earlier on than previous years. I have been attending Pines since it started publically and every year has just seen more and more new and returning faces from Scunthorpe and from a far. Continue reading Summary// Party In The Pines 2016

Review: Puddle Of Mudd // Doncaster Diamond Live Lounge

I’ll be quite honest in this review and say there wasn’t all that much of a gig from Puddle of Mudd themselves to review. Which if I had read up on the band and the lead singer Wez Scantlin, I probably could have expected that for my £15, I would see a grown man at his lowest in life rather than the two songs I know them for “She f**king hates me” and “Blurry” now I won’t pretend I was or am a massive fan of Puddle of Mudd but their songs bring some nostalgia from my era of growing up.

The two support bands worked hard and got the crowd pumped for the headliners Puddle Of Mudd, but they probably couldn’t quite have prepared the crowd for what did happen.

It was quite apparent that something was wrong when we waited around 30-40 minutes after the second support band “Unzucht” from Germany finished their set. People were getting a bit restless and the hype seemed to die down. Eventually the bands entered the stage and a guy with a black hoodie with his hood up and long blonde hair stood with his back to the audience, clearly everyone assumed this was Wez, so cheering occurred but no this was his friend pretending to be him until he arrived, sort of funny seen as Wez then rocks up a few minutes later with a backpack and a beer strolling onto stage like he was just passing through. I don’t really remember too much of what happened after that, not because I was drunk, but to be honest I wish I was drinking, as then it might not have been so cringey to watch. I say I don’t remember because I was just so engrossed by this man and how he was going to make it through a whole set.

The crowd stood and watched Wez struggle through barely managing to pronounce the words, the band continued to play and no one did or said anything to stop this horror show. In between songs he went off on a bit of a rant and a story in which he admitted to some addictions. Although i’m not sure it needed admitting as we could clearly see this man was in no fit state to be performing nevermind on tour with paying fans. Wez gave up mid song and threw the mic to the ground and walked off, to be honest it was probably the best decision for him, if it had ended there!

The crowd started boo’s and shouting abuse. We were then told he was just cooling down and would be back in a minute to sing “Blurry” the crowd cheered and changed their tune again to encourage him back on. This didn’t last long , he started to sing “She F**king Hates Me” and was really struggling to remember the words or even speak. Again someone apparently threw some drink at him and he got up to leave again when a fan entered the stage to calm him down and get the crowd to support him. Funnily enough it didn’t work this time and the crowd were pretty mad.

Another fan invaded the stage and started to carry on the song for him until security took him off “he actually wasn’t bad” and clearly is a bit of a legend for giving the people what they wanted to hear, words to a song they know the band for. I won’t go on much more but let’s just say after this, the gig did not continue and it turned more into chants, drinks thrown and boo’s. I did feel for Wez, as yes it is wrong people have paid to come and see him and his band perform songs and they didn’t really get to see that and Yes, he probably shouldn’t have spent all day getting wasted in a local bar. But this guy has some serious issues and people abusing him and throwing things at him was not really appropriate. He is a human and he clearly needs help. Yes, it was disappointing to fans, but you did at least get a show of some sort.

Now a positive would be the support bands seemed to go down really well, Fear the Fallen and Unzucht, not really my cup of tea but very well played and plenty of enthusiasm. The venue itself “The Diamond Live Lounge” handled it well, probably the best they could and the bouncers and security seemed pretty good and fair with any problems that arose. The venue did remind me of The Light in Scunthorpe a little, with a similar layout. It had great lighting and a nice atmosphere “Until the plastic cup throwing”. The sound for the headliner wasn’t great as Wez’s mic kept giving feedback but to be honest, there wasn’t any point in sorting it out because I don’t think it could have got any better even if they adjusted the sound. Don’t get me wrong Wez can sing but probably not when he is that out of.

I wish any venue and crowd good luck for his upcoming gigs, but please try to refrain from throwing things at him or the stage. I mean not only is it quite inhuman to do to someone in such a state but your f**king up a lot of expensive instruments and sound equipment. Just because someone else is being disrespectful doesn’t mean you have to lower yourself, just learn from the lesson, don’t go see the band again and play it on your cd  or mp3 player instead.

This hasn’t put me off visiting the venue again. I don’t expect my money back because I paid to see Puddle Of Mudd and that’s what I saw. It’s a top venue and I wouldn’t blame them for a band’s actions.

And for those who wanted to hear Blurry and didn’t get to, this will have to do.

 

 

 

 

 

 

Something For Music Lovers and Musicians

A while ago, back when I first started writing for Scunthorpe Nights and I didn’t know what to do, The Boss said to me “Just write about whatever you like”. So I did. I decided to email a musician I had just heard of and asked him for an interview. Anyway I never wrote it up, I got stuck, I didn’t have time, I forgot about it, and then we got bigger, busier and well it just wasn’t local which is what our site is about, so I never finished it. Anyhow I just happened to be going through stuff and I re-read the interview. And having spent the last year attempting to be a songwriter myself what I read didn’t just come over as someone talking honestly about music-making but also as something really useful and quite inspiring. So I thought I would share it with the music-lovers and musicians who follow Scunny Nights. I think you will, at the very least find it interesting, and you may get something good from it too.

The guy I interviewed is an american performer called Chris Mills and he has a band called The Distant Stars, one of whom he found in the lonely wild places of Norway. He had just played in Sheffield when I first messaged him. People would describe his sound as alt-country maybe, no frills rock, folky I don’t know, as he says himself its just his sound. Its a very nice sound in my humble opinion. Here’s a quote.

[Mills’] hidden elegance lies in the twist of lovesick metaphor, the wistful chord, the revisionist take on the slamming door. – NME

And he’s a nice guy. I hope he comes back to this country for a tour this year. The interview transcript follows and a little acoustic video from his current album (which you can purchase here if you want to) and another older upbeat tune.

Scunthorpe Nights: Do you write with an audience in mind? Do you want people to know what you mean or make there own mind up about a songs meaning?

Chris Mills: I don’t generally write with an audience in mind. I hope that if the songs are honest enough in the way they tell their stories then they’ll reach people. And people are always going to filter what they hear through there own experiences. What you’re trying to do as a songwriter is to elicit a reaction. So it doesn’t really matter if they can figure out exactly what the song is about for me as long as people react to it emotionally and connect it to their own lives. In fact it’s probably a better song if people can take something personal away for themselves, rather than if they can just pick up directly on what the song’s about for me.

SN: Do you prefer or find yourself writing more upbeat songs rather than slower ones and do you have a preference for guitar driven songs or keys?

CM: I really don’t have a preference. Again, the main goal is to get the song across in a way that provides the strongest connection. So if I have something that I think is going to translate better as ballad, then that’s how I’ll frame it. Although, if it’s a great song, hopefully it lends itself to a variety of interpretations and then I can just pick the production style that’s most interesting to me at the time. Sometimes it’s fun to take something that would work great in a more low key mode, something dark or depressing, and re-frame it as an upbeat rocker.

SN: The story of how you met up with Christer Knutsen In a bar in the middle of nowhere in Norway and went on to create the album is brilliant. Was there an instant connection could you even speak the same language?

CM: I immediately picked up on how great a player he was just from watching him. But after talking for awhile it was obvious that he was a great guy and would be excellent to work with. And there was no language barrier. Most of the Norwegians I’ve met speak better English than I do.

SN: What inspires you to write?

CM: I’ve always wanted to connect with people. When I was younger we moved around a lot and I felt pretty isolated, but music always made me feel like there were other people in the world that felt the same way I did. So I’ve always hoped that I could do that for other people.

SN: What is your favourite thing to see in the crowd at a gig?

CM: Someone singing along.

SN: How does Alexandria differ from your earlier albums? And what makes you proud about it?

CM: It’s been a while since I’ve had out a record of new material, and I feel like I’ve matured a lot as a writer and performer in the last few years. And I think that really comes across on this record. I’ve also been able to move away from a lot of the orchestral and production related bells and whistles that I used to indulge in. Working with Christer really gave me a lot of confidence in the whole process and helped me trust the songs and the writing a lot more than I have in the past, so I’m pretty proud of that whole aspect of things.

SN: I don’t like putting thinks in a genre (I think it’s a spectrum) but for writing about music its hard not to. I’ve seen you classed as folk, alt country; no frills rock… the list goes on how would you describe your sound?

CM: I really don’t get into all that. I just try and write the best songs I can and record them in ways that i think are interesting. I just think that debating issues of genre is something that journalists feel they need to do, but isn’t really relevant to the quality of the music. What kind of music does Bowie make? Or Dylan? Good music. What kind of music does some crappy band make? Crap. I just hope I fall into the former more than the latter.

SN: Besides, “work hard”, “never give up” etc what piece of golden advice would you give to musicians just starting out? (yes I’ve gone and asked this one for myself sorry )

CM: Care about what you do, and enjoy it. It’s very easy to get caught up in what other people think about your music, or where you fall on the arc of ‘success’. And while you should always try and make good business decisions, your main job as an artist is to do good work. And in order to do that you have to care about what you’re doing. You have to be willing to put yourself into it as much as you can and approach things with sincerity.

Annd try, as much as you can, to not worry about other people’s success. That’s a tricky one, but it’s absolutely key. Other people’s success is not a detriment to your own ability to achieve. Don’t talk trash. Making music is not a competition. Making music is about creating shared experience and connecting with people in a deeply personal way. Just try and consistently perform at the highest level you can and people will notice.

Oh, and when I say don’t talk trash, I also mean about your own work. The goal is to get people to listen to you, and nobody’s going to do that if you’re constantly putting down what you do. There is a difference between confidence and arrogance, figure out what it is and then go forth with confidence. If you put time and work into something that you care about, there’s no reason not to be proud of it.

SN: What are your aspirations for the coming year and most importantly have you any plans to come and play in the UK again soon?

CM: I’ve already done around forty shows this year so I’m going to take a little time to hang out with my wife and daughter, and to get back into writing the next project. But I’m hopefully going to do a series of house concerts here in the US later this year and maybe another short tour of the UK before year’s end.

SN: Do you have anything you’d like to add, a message, or anything that I’ve missed out in my amateurishness that I really shouldn’t have haha?

CM: Nah, you did great!