From the category archives:
After interviewing MEN (see previous post) we stayed for their set. I kept thinking back to when I photographed Le Tigre in 2004.. Amazing set, great energy, lovely people. Here’s some live shots. I also took some videos but I’m not a video whiz just yet!
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Fronted by two thirds of Le Tigre, Brooklyn-based performance collective MEN aren’t like your usual indie/art band. The project of JD Samson and Johanna Fateman, they focus on the radical potential of dance and make booty-shaking tunes that speak of issues as diverse as wartime economies, sexual compromise, and demanding liberties.
I caught up with JD and bandmates Ginger and Michael in Brighton to hear more about their musical endeavours, their love for Dizzee Rascal and the pitfalls of political dance.
Can you explain how MEN came about after Le Tigre’s hiatus in 2006?
JD: Le Tigre finished and we each individually had our own projects. Johanna and I had been DJing a lot and we decided to turn our duo into a collective, bringing in Michael and Ginger. We’ve completed around seven or eight songs and we have a couple more to record, then hopefully we’ll have our record finished in about a month.
Le Tigre’s music was notoriously politically charged. How is it different writing as MEN and what issues are the new songs covering?
JD: We’re artists and activists and that’s who we are as people. All of us are separate from the band and all of us are queer – that’s a big part of our lives. We spend a lot of time paying attention to our politics so I think our music naturally ends up being politically charged. It’s less something that we feel forced to do, it’s just natural to us.
Do you think that as long as you’re making music and art that the subject matter is always going to be about your political stances?
JD: I think working with Kathleen and Jo [Le Tigre] has taught me about writing in this way. Most people’s songs are about love but I was schooled in this way that music is about life, not just about love, so it can be about anything.
Ginger: I don’t think it’s that the topics are that pre-determined. It’s not like we set out to write an album that’s a queer activist project – it’s just the way we live our lives, the way we think, the people around us, the things that we’re doing.
The production and sound of the new tracks is a lot slicker than the recognisably lo-fi sounds of Le Tigre. Was that a conscious decision?
JD: It’s come from all different things. One thing is that I’ve learnt a lot. Being with Le Tigre until ‘This Island’, we all became better musicians. DJing helped me to analyse music. Working with Ginger and Michael, both instrumentalists, has helped to understand the music better. Le Tigre was such an experiment – pushing buttons and making some amazing things happen but it really was so experimental.
Who are you listening to these days?
JD: We’re really into Dizzee Rascal’s new album. The production is incredible!
Do you not find the song ‘Freaky Freaky’ [in which Dizzee reels off a list of girls’ names and various sexual encounters with them in detail] degrading and offensive to women?
JD: It’s a bit like that other song..
Michael: [Sings] A little bit of Monica..!
JD: Yeah! The Mambo Number 5! In the states Dizzee is really underground. His music is innovative; it refers to so many different periods of music.
Ginger: I feel like you could listen to this and be offended from a really essentialist feminist standpoint.
You’ve recently been working with Christina Aguilera on her new album. What other female artists would you like to work with?
JD: I have so much respect for the artists that are at that popstar level. The amount of work that they put in is pretty crazy. I really respect Lady Gaga – she’s an incredible performance artist which is cool. I don’t know? Joan Armatrading?
What would your ultimate milestone be as MEN?
Ginger: If we could open for Joan Armatrading! [Cheers] Or record a song with her.
Michael: I think something interesting that’s happening is that not all of our audience is queer. I think it’s interesting because we’re obviously totally gay, yet we have really straight dudes feeling this. It’s nice to appeal to not just a queer audience.
Ginger: Another grand vision is to do a major touring act, like a festival model with a bunch of queer bands that would tour and there would be this following of people that would come and travel with us until we ended up with this ridiculously huge queer festival somewhere!
Their EP, ‘Physical’, featuring 3 of their finished tracks is available online via their MySpace.
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I am yours now
So now I don’t ever have to leave
I’ve been found out
So now I’ll never explore
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As the voice of Lamb for almost ten years, Lou Rhodes’ roots may have seemed planted in electronica but her break away from the band to begin a solo career in 2006 showed otherwise. The release of her début album, ‘Beloved One’, saw her turn the tables and reveal a softer, quieter and distinctly intimate style that resonated with acoustic and folk lovers and earned her a Mercury Prize nomination. Her second album, ‘Bloom’, was released in 2007 and is again a stark, honest record that deals in carefully crafted lyrical metaphors about love. After enjoying enormous success this past summer with a series of Lamb performances, Lou has also found the time to record her third solo album, ‘One Good Thing’, which will be released in March 2010.
As Lou walks confidently through the crowd I reach out and say hello, greeted by her warm smile and a hug. We’ve met before – some time in 2007, I think – at another solo event of hers in Bloomsbury. For me, it’s a recognisable face, after all I have probably been to around ten Lamb gigs and I’ve always enjoyed photographing Lou, capturing the fragility she seems to create whilst singing. Her image is casual and comfortable – boots and jeans, minimal make-up and hair tied back. Her face is youthful and soft. It’s her vibrant smile that melts away any possible superstar pretense – the archetypal smile of a close friend, a confidante, a mother. At a first take Bush Hall seems like a strange venue for someone so accomplished – perhaps a little small? Not that the venue isn’t fitting with its elegant high ceilings, glamorous chandeliers and cosy space. As I think about it more I understand that this venue is perfect for Lou, whose ability to lure you into the intimacy of her most personal thoughts translates best in a smaller environment. The crowd here are relaxed, friendly and a mixture of all ages. Some have been here before, front row, whilst others are intrigued to hear what the voice of Lamb has to offer, stripped down without the beats.
Lou speaks calmly as she takes to the stage. “I’ve been down to the valleys and through the other side. I guess these songs reflect that,” she notions, her voice a little husky, the tinge of her Manchester accent still present. As she begins to speak I can’t help but wonder if others are having sudden flash backs to memories of Lamb. Her first track, ‘There For The Taking’ is a song dedicated to a friend who once felt lost in the world. Its positive message is drenched in hope and optimism – something that seems present in many of her new tracks. This is further evident in the title track from the new album, singing out “all it takes is one good thing to happen”. The high chords of Rhodes’ guitar are sporadically complimented by the accompaniment of the cello and double bass. Older songs such as ‘The Rain’ have been reborn – their tempo feels faster, upbeat, and their darkness lifted.
A feeling of contentment swoops down over the crowd and as I look around many of them are standing still, eyes closed. It’s as stripped as it gets here – a woman, a guitar and her thoughts – and every now and again a smile will beam across someone’s face. Her track ‘Why Wait for Heaven’ magnifies this sense of unity, an alternative Christmas track that focuses on the notion of religion more often than not dividing people rather than uniting. Her voice is so distinct that it’s almost alien, so breathy, husky yet soothing that when she hits a long note it instantly transports you back to those inimitable tracks that made Lamb such a huge success. As we’re treated to a variety of both older and new material, the set rolls delicately but fluidly from one track to another.
There’s a sense of calm and serenity throughout the evening. Lou herself is collected in her appearance and presence whilst the crowd are both watching and listening intensely. With lyrics of such a personal nature there’s always been an element of self-discovery in her music. From ‘Beloved One’ to ‘Bloom’, and now with ‘One Good Thing’, it seems that Lou’s journey of self-exploration will continue to manifest itself musically – we just hope we’re invited along for the ride…
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My gosh. I feel like I’ve been on live music overload lately. Last week was The Puppini Sisters, Skunk Anansie followed by an amazing gig with Gossip at The Forum. I didn’t know much about Beth Ditto until I saw her a while ago on The Sunday Night Project as a guest host. Easily one of my favourites! Such a sweetheart. And so here, in the true style of late, is my review for Spoonfed with some lovely photos of the lady herself…
Despite their latest offering – ‘Music For Men’ – being their fourth studio album, the Gossip have only really flirted with commercial success following that song – ‘Standing In The Way Of Control’ – in 2006. Thanks to Beth Ditto’s striking, powerful voice that alternates from slick high notes to raucous screams, coupled with her unusual but overtly confident image, they have been propelled over the last 3 years not only into the music charts, but also into the popular consciousness.
After all, it’s not often that you see an overweight, creative lesbian sweating profusely, all dolled up in skin-tight clothing, wailing and rocking out like no one’s watching. So it’s no real surprise that Ditto has posed naked on the cover of Love Magazine in celebration of her larger size (hurrah!) and is an active supporter of LGBT and feminist causes (double hurrah!), as well as a rather cute cookie. How could you feel anything but love for this rock superstar?
Bounding on stage thirty minutes late at their gig at the Forum tonight, the huge smiles smattered on the faces of the collected masses show not a shred of animosity towards Ditto’ arrival. After an electric performance of the first track from their new album, ‘Dimestore Diamond’, she frankly explains, “I just started my period about four minutes ago”. Announced in her sweet southern belle accent, it’s clear that no one dare ask for more details. All decked out in a figure-hugging sparkly black dress, she demands that the crowd be on ‘period watch’, shouting “If you see period stains, let me know!” In the sea of faces there are youths laughing hysterically ,whilst those suited and booted professionals try to hide the creases of their stiff upper lips.
It’s surprising that the band are here at all given the unfortunate cancellation of recent gigs due to Ditto’s bout of illness, causing her to call out (again with that cute southern accent), “I got the bronchitis!” before taking a sip of something orange. She’s pretty sure that this is going to fix it all, at least for the next half hour.
Mostly promoting their new album, we’re pleasantly treated to a variety of tracks both old and new, all performed with high energy despite Ditto’s illness sparking the odd her coughing fit, which ses the singer clutching her throat before belting out another number. Tracks such as ‘Love Long Distance. (a personal favourite), start with Ditto’s flawless words of disdain before rolling into an upbeat wailing that has become the trademark Gossip’s sound, the crowd jumping up and down, mouths wide open, screams oozing out.
‘Men In Love’ suddenly sees the smiles of gays in the crowd widen, arms spread around each other, lips touching in this frenzy of emancipation. It’s a touching moment, one that Ditto should, and no doubt would, be proud of. There’s also a number of covers thrown in with ‘U Don’t Have To Call’ by Usher and most notably the Tina Turner classic ‘What’s Love Got To Do With It’ which sees the crowd swaying and wailing whilst Ditto holds the mic out in her wobbly arm. Ditto’s voice is intriguing and relentlessly powerful: she may be just five feet tall, but when she opens that mouth the windows begin to wobble. Her words flow with perfect understandable enunciation before morphing into insane howling.
Of course we expect and are given the finale we came for – a raucous, loud and chaotic performance of ‘Standing In The Way Of Control’ – which has the entire audience jumping and dancing, hands flailing in the air. With drummer Hannah Billie on her back they lead us into their final endeavour, Ditto starts the crowd off with a rendition of Queen’s ‘We Are The Champions’ before heading down to the barriers, throwing herself into the crowd.
It’s perhaps her inspirational speech at the very end, alone on stage, that stays with me the most. Looking almost in tears, she tells the audience to “demand respect, not in a nasty way. You demand the respect you deserve, in the cutest way, and get what you deserve.” The crowd are a mixture of cheers and silence, taking in her words. “My mother always said that no one can kill and eat you. So, understand, that no one can kill you and eat you.” There’s a wave of pride and confidence that floats over the crowd of indie kids, gays and lesbians, fats and freaks, all sporting smiles, as Ditto, a woman that breaks barriers and demands respect, exits stage right and disappears into the darkness.
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Skunk Anansie are a band that take me back ten years or so, when I was still desperate to see them but never found the chance. With an 8 year hiatus, it was a pleasure to see and photograph the final date of their reunion tour in Brixton. Whilst I did see (and photograph) Skin performing solo back in 2005, I’ve been dying to see the band in full. And my oh my, it was no disappointment. My friend Lowri wrote a review for Spoonfed:
Skunk Anansie have been one of those bands for me. Important and personal. They emerged back in 1994 when I was in high school, still pre-formed and impressionable. I don’t remember first hearing them – but I’ve always loved them intensely.
To a generation of teenage girls (they have plenty of male fans too but their angry, beautiful songs speak particularly to females) Skin represented independence, pride, an unapologetically different kind of sex appeal and a screw you attitude which we all idolised. Angry and hurt and twisted and scared and horny, her lyrics, when shouted at the tops of our voices (which they usually were) were a rallying cry. They were the anthems to our adolescence.
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Had a good ol’ knees up with The Puppini Sisters at The Pigalle. I do love those girls! Here’s another review for Spoonfed:
The Puppini Sisters do Christmas? Now I’m not a fan of Christmas – at all – but what better cure for my Scrooge-like tendencies than an evening of swinging singing to my favourite time machine sisters? With two excellent albums under their belt, The Puppini Sisters are well known on the burlesque scene, reviving classics all over the shop with their own upbeat take on tracks such as The Andrews Sisters ‘Boogie Woogie Bugle Boy’.
All wrapped up like Christmas crackers in golden dresses the Puppini Sisters are as much about image as they are their singing. The trio come in a variety of colours – blonde, brunette and redhead – as well a variety of sizes and attitudes. There’s flame-haired siren Stephanie, a violin player with legs that seem to go on forever. Her huge smile, delicately coated in red lipstick, spills seduction as she croons into the mic. Blonde Kate is curvacious and obviously reminiscent of Monroe with her carefully coiffed blonde curls, oozing sex appeal much like the original blonde bombshell. And let us not forget brunette Marcella Puppini, the group’s founder and accordion player, whose cheeky grin and petite size make her a delight.
The Pigalle, with its decadent layout and tables piled high with delicious food and champagne, is the perfect place for this camp trio’s performance. It’s a bit like being at an expensive office party as we plonk ourselves down with our bucket of wine beside us (much like everyone else), ready to be dazzled. I’m surprised (but not upset) that there are not that many renditions of Christmas songs. I am, however, seduced by the group’s ability to mix up songs both old and new, delivered with an almost tongue-in-cheek comedic value, all the while hitting the right notes. Their covers of tracks such as Blondie’s ‘Heart of Glass’ and Kate Bush’s ‘Wuthering Heights’ are transformed into retro soaked musical delights with hips swinging and swaying, all smiles and white teeth.
One thing that’s confusing is where the The Puppini Sisters see themselves going. In one respect their voices lend themselves brilliantly to the tracks that they cover, yet their image and playful performances may well label them as a novelty. But honestly, who really cares? These upbeat twenty-somethings are doing something fun and different. The fact that they come as a trio instead of a one woman pin-up show knocks other acts out of the water. This is reflected with their second album, ‘The Rise And Fall Of Ruby Woo’, that not only features the expected array of covers, but also original material that showcases their talent as writers and composers. The Puppini Sisters may appear a frivolous act on the surface, decked out in matching kitsch style, yet their behind-the-scenes involvement in every aspect of their performance is perfectly calculated and maintained. They ooze charisma together on stage as they playfully try to outdo each other on each track, clutching their trademark instruments.
Its the Puppini Sister’s cover of Beyoncé’s ‘Crazy In Love’ that the crowd, of all ages, know and love the best. The signature introduction is enough to provoke a loud cheer from us all followed by some frantic dancing and swinging. I’m pretty sure I even see a few bottoms wiggling in seats round the tables. The Puppini Sisters won’t be your thing if you’re expecting something serious and sultry, but if you’re an appreciator of sassy, soulful and just plain silly, then they are one act to watch.
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