2018

2018: Best Tracks

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First published December 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Bang Bang Romeo – ‘Shame On You’

‘Shame On You’ kickstarts phase two of Bang Bang Romeo’s rise to the top. Tension building and at times incredibly immersive, the track comes as the Doncaster band prepare to go on a European Stadium tour with PINK next summer. They’re onto something massive, don’t say we didn’t warn ya!

SPINN – ‘Who You Are’

SPINN lead the 21st centuries Liverpudlian revolution. If their effect is anything like that of previous city-folk then quite frankly, they are set to take the world by storm! ‘Who You Are’ is cute sounding yet lyrically mature. Marr-esque guitar riffs clash with dreamy vocals to deliver a pleasurable listening experience.

False Heads – ‘Yellow’

Menacing, “in your face” rock and roll. False Heads show no desire to stay in the slow lane. 2018s ‘Yellow’ is a powerful example of their intense sound. It is in their live shows where False Heads come into a league of their own, we urge you to catch them in 2019!

Brown Lion Zoo – ‘Lifeline’

Brown Lion Zoo are quickly becoming one of Nottingham’s finest exports. Recent single ‘Lifeline’ is both hearty and strong, a track which is composed in impressive manner. Lyrically they are as strong as ever, though echoey guitar riffs make this best suited to summer festival crowds and the live venue alike. As ever, we urge you to catch Brown Lion Zoo live as soon as possible!

Hoofa – ‘As You Do’

Upbeat, rhythmic, indie pop – Hoofa present a sound which is both upbeat and melodic. ‘As You Do’ is perhaps THE perfect example of this. Vocally strong and lyrically deep, the track is an exploration of youthful emotion. 

The London based band have gone from strength to strength in 2018, we’re very much excited to see what the next 12 months have in store for Hoofa!

Calva Louise – ‘I Heard A Cry’

‘I Heard A Cry’ takes Calva Louise’s sound away from its post punk routes. Hinting far more at pop influences, it confirms the talent of the London trio. Upbeat, guitar heavy and entirely positive, the track is one of the most listenable of 2018. With a UK tour in the pipeline, 2019 is set to be quite incredible for the newly signed Modern Sky band.

Lighthouse – ‘Creep On My Mind’

Lighthouse’s musical credentials are ever growing, already they are amassing a reputation worth looking for across the capital. February’s release of ‘Creep On My Mind’ was perhaps their best yet, incredibly well produced and entirely listenable.

Having recently supported The Rifles at Kentish Town’s Forum, there is no limit to what 2019 can bring for the London based band.

Arctic Monkeys – ‘Four Out Of Five’

The famous Sheffield band returned quickly and mysteriously, with no credible single coming to form before the release of Tranquility Base Hotel & Casino. The album itself must be viewed as a collection of works rather than a mixture of singles. 

Despite this, ‘Four Out Of Five’ stands out, it is quirky and reminiscent of current times.

RedFaces – ‘Messed Up Feeling’

RedFaces’ ‘Messed Up Feeling’ is surprisingly upbeat. Mixing a whole range of influences and instruments, the track makes best use of guitar and synths combined with fine vocal exploits. The Sheffield band have had a great year, we can only assume that 2019 will be their best yet!

BlackWaters – ‘People Street’

BlackWaters’ 2018 EP People Street was both mature an impressive. Its title track is reflective and catchy. Lyrically expressive, guitars both clash and change pace in a manner which is sometimes strange but entirely atmospheric. ‘People Street’ is storytelling at its finest!

The Surrenders – ‘Shouldn’t Have To Dig’

The Surrenders capture a sound which is nostalgic and relevant, an entirely exciting mixture of influences. Vocally, the Birmingham formed band are in a league of their own, in the live setting their presence is almost ‘godly.’ ‘Shouldn’t Have To Dig’ is, in our opinion, their best piece of work in a year which has seen them go from strength to strength.

The Rooves – ‘Henstocks’

The Rooves are impressive, their sound is the perfect mix of youthful energy, impressive guitar riffs and effortless lyricism. ‘Henstocks’ has a reflective, mature feel to it’s sound. With an ever growing reputation, we can’t wait to see what 2019 has in store for the Chesterfield formed band!

First published December 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.


2018: Best Albums

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First published December 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

The Blinders – Columbia

When thinking of The Blinders, words such as relevant, intense, raw and unique come to mind. ‘Columbia,’ the Doncaster band’s debut outing, is a mish-mash of imagery, political commentary and dystopian guitar riffs. The album is sublime and as a result sees itself sitting top of our ‘Album Of The Year’ list.

2018 has been quite something for the trio. On and off the stage they have gone from strength to strength. With a fan base which grows by the hour and a whole list of industry supported, The Blinders are well placed to go far. ‘Columbia’ is a sign of intent, like a light beam which shines out across the night sky. 

‘Columbia’ sits atop our list as it is a unique body of works. In times of political turmoil, the band’s mix of sound is otherworldly. Their guitar riffs and catchy drum beats mix with outspoken lyrics to create messages of uprising, revolution, solidarity and non conformity. The Blinders want a better world, ‘Columbia’ is just the beginning.

Best Tracks: ‘Gotta Get Through,’ ‘Brave New World,’ ‘I Can’t Breathe Blues’

Our 2018 Favourites:

Goat Girl – Goat Girl

The South London music scene has grown in stature over recent years, Goat Girl lead a charge of strong minded, vocal and relevant bands formed in the region. Following a string of impressive single releases, their self titled, debut release in 2018 was met with much critical acclaim. Gritty and hard working, Goat Girl’s sound holds daunting, meaningful elements of the country’s political and social issues. It is a relevant commentary, they may as well be flag bearers for an entire generation of artistic youths.

Best Tracks: ‘Viper Fish,’ ‘The Man,’ ‘Country Sleaze’

Arctic Monkeys – Tranquility Base Hotel & Casino

Yet another change in musical direction, 2018s ‘Tranquility Base Hotel & Casino’ almost tore fans of the Sheffield formed band into two. Those with an eagle ear heralded it as one of their greatest albums to date, for good reason. With dystopian riffs and elegant, concerning lyricism, Turner and  co have created a commentary of modern life and all of its downfalls.

Best Tracks: ‘One Point Perspective,’ ‘Tranquility Base Hotel & Casino,’ ‘Four Out Of Five’

The Orielles – Silver Dollar Moment

Some might say that guitar music is now devoid of creativity, that everything has been done. To those people, I urge them to listen to The Orielles’ ‘Silver Dollar Moment.’ It is as innovative and impressive as any debut album is going to get! In a list dominated by debut albums, it is clear that new waves of guitar music will always come and go, the Halifax band are the epitome of such a statement. 

Best Tracks: ‘Old Stuff New Glass,’ ‘Sunflower Seeds,’ ‘Snaps’

Starcrawler – Starcrawler

In your face LA rock and roll at its best. What Starcrawler lack in age and experience they make up for in raw talent. Arrow De Wilde are impressive, their self titled album is one of the best debuts of the decade. A collection of energetic tracks ridden with heavy guitar riffs best listened to in the life setting. They’re destined for the top!

Best Tracks: ‘I Love LA,’ ‘Pussy Tower,’ ‘Different Angles’

Shame – Songs of Praise

‘Songs of Praise’ is not just raw and impressive, but it boasts a level of wit and relevant lyricism destined to take them to the top. The London based band have constantly stretched opinion whether it be through track or social media presence, for all the right reasons no less. In a year where Brexit, the Conservative Party and neoliberal policies dominate the news sphere, Shame act as true spokespeople for a generation of youths.

Best Tracks: ‘Concrete,’ ‘One Rizla,’ ‘Gold Hole’

First published December 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: The Rooves – Henstock’s EP

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First published October 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

The Rooves are impressive, their sound is the perfect mix of youthful energy, impressive guitar riffs and effortless lyricism. Their latest EP Henstock’s is a sign of intent, an impressive body of works.

The indie/alt Chesterfield formed band have quietly formed an ever-growing following in the region  following the early 2018 release of debut EP Ground Control. Taking inspiration from the likes of Arctic Monkeys, Declan McKenna, The Strokes and more, The Rooves’ sound is ironically upbeat and cleverly manufactured. 

Opening track ‘Henstock’s’ manipulates elements of sound and lyricism with ease. Inquisitive and at times thought provoking, it is very much anthemic. A laidback, soft guitar riff (Mac Demarco-esque in form) manages to dominate much of the song in impressive manner. 

‘Games Without The Fun’ is, despite their relative you, an example of mature songwriting. In fact, The Rooves sound like a fully fledged touring outfit. The track wouldn’t sound out of place on large festival stages, film soundtracks and television advertising campaigns alike. With guitar use none too different to the likes of Peace and Foals, it is clear that The Rooves will grow a huge following in the years to come.

‘Blue, 1903’ is far more soft and delicate, perhaps their slowest work to date. However, it displays the versatilities of their sound, proving they have an ability to mix fast and slow with ease in a way which the likes of Wolf Alice are able to do with such composure. Henstock’s is a message, the perfect starting point for a career which will no doubt be fruitful.

The Rooves are just as strong live as they are on record. Hits from previous EP Ground Control are already doing the rounds on the airwaves, with Dean Jackson of BBC Introducing East Midlands already a fan. Both ‘Nausea’ and ‘Jaws II’ already have the potential to become classics, whilst their live cover of Declan McKenna’s ‘Brazil’ is both reworked and just as impressive as its original. The band have already performed in lively haunts such as Nottingham’s Chameleon Arts Cafe and Chesterfield’s Country Music Bar. 

We LOVE Henstock’s. For a band in their relative youth, it is very much impressive. The Rooves are onto something quite special, be sur eto check them out as soon as possible!

First published October 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Live Review: The Libertines

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First published September 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Sharabang, part of Joss Bay’s Wheels and Fins Festival, was always billed to be a special day. A famous debut Kent festival for The Libertines who now call Margate their home. With album four on the way, it seemed a logical end to a wold spanning four year reunion tour. An announcement followed, suddenly the small Joss Bay cove became home to a nation of devoted Libertines fans desperate to catch the band before they catch some well earned months off. 

A famous but short lived reunion back in 2010 paved the way for 2014’s historic Hyde Park gig. A 65,000 sell out cementing The Libertines’ position as rock ’n’ roll royalty. Headline festival slots, arena tours and a third album followed. Through it all, the London formed band have stayed true to themselves, their songs and their devoted fan base. As this historic period comes to a close, The Libertines are just as relevant now as they ever have been. 

Joss Bay was the setting for this unique, historic celebration. A historical seaside cove just three miles or so from Margate, usually known to be a surfers paradise. Now, it was home to a new breed of seaborne exiles, both fans and bands alike flocked to the newly formed festival. Highlights included Tim Burgess’ newly signed Average Sex, Mic Righteous, Lock and BlackWaters. They all brought a unique blend of wholesome energy and relevant lyricism to the festival stages.

It was Cabbage who truly provoked minds during their early Sharabang set. The Mossley formed band released Nihilistic Glamour Shots in March to a fine set of reviews. A summer of festival appearances has not tired them, tracks such as ‘Arms of Pleonexia’ and ‘Gibraltar Ape’ still stand out. Having recently created an impressive DIY recording space, the band have another album in the pipeline. Cabbage are always relevant, their Sharabang outing only proved this further!

Reverend & The Makers brought their unique brand of pragmatic indie rock to South Kent, hits such as ‘Heavyweight Champion Of The World’ and ‘Shine The Light’ are anthemic. The small seaside festival was the perfect setting for a blend of guitar music only triggering further excitement. Echo & The Bunnymen to provided a summer-defining backdrop. The famous Liverpool band are legendary in all senses, hits such as ‘The Killing Moon’ and ‘Lips Like Sugar’ brought not only aa sense of nostalgia, but the perfect musical closure to a long, hot summer. 

And so it was onto The Libertines. In colloquial British English, Sharabang defines a type of horse-drawn vehicle or early motor coach. Their classic mix of fast paced guitar and crashing drumbeat was thus very much in antithesis to the true meaning of the word. They began as they did at Reading 2015, a historic headline set, with the anthemic ‘Horrorshow.’ Merging well into ‘The Delaney’ and ‘Barbarian,’ it was clear that the band were on fine form. 

With Margate their new home, Sharabang was a well thought out day of oddities, rarities and red-coat fuelled celebration. Free tattoos, union jack wrist scarves, a puppet show and more all contributed to the creation of a unique atmosphere. It was almost as unique as The Libertines’ set closure, with dancers, fire breathing and pyros providing chaotic company to hits such as ‘I Get Along’ and ‘Don’t Look Back Into The Sun.’

2004 marked the last break in touring for The Libertines, albeit under an uncertain guise. This time, they press the pause button in much more amicable fashion as they prepare to not only release a fourth album, but open a hotel and recording complex too. Sharabang was a celebration of all that had come before it, proving that The Libertines are just as relevant now as they ever have been.

First published September 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: The Slumdogs – Cut The Conversation Short

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First published September 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Recently signed to Gary Powell’s (The Libertines) 25 Hour Convenience Store, The Slumdogs are clearly shrouded in a tonne of excitement and potential. ‘Cut The Conversation Short’ is the perfect example of this.

Produced by Emily Lazar and Chris Allgood (Foo Fighters, The Killers, Haim), it is a painting of modern British life. Intense guitar riffs mixed with poetical lyricism picture the darker tendencies of life. Its verses are almost autobiographical, an energetic diary entry if you like. Gritty and punk heavy, it is entirely listenable… perfect for both the live and studio setting. 

With inspiration ranging from Cabbage and Idles to The Doors and John Lennon, it is no wonder that the song is impressive and well thought over. Its title can even be assumed to be a stab at the toxic culture of modern Britain, times where powerful conversation amongst the elite is intolerable. 

Formed in Blackpool, The Slumdogs seem to have made the local scene their own. Venues such as the Bootleg Social have often played home to raucous, energetic live sets in which the band are rapidly gaining a ferocious reputation for. With trips to London’s Nambucca, Liverpool’s Cavern Club and Leeds’ Lending Room already in the bag, it is no wonder that the band are already gaining a fierce support across the country. 

2017’s ‘Nightmare’ is the perfect example of The Slumdogs’ sound, both heavy and energetic. Lyrically astute, it will no doubt make an appearance at the bands’ return to Blackpool’s Bootleg Social as part of their own event, ‘FEVER.’ They’re even bringing Proletariat and The Brookes to support in what will be a sensational night of live music. 

‘Cut The Conversation Short’ is released through 25 Hour Convenience Store on August 19th 2018. You can watch the video below:

First published September 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: Bang Bang Romeo – Shame On You EP

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First published August 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

So, it’s here… Bang Bang Romeo’s Shame On You EP has been one of the most sought after debut EP’s of recent times. Quite frankly, it is nothing short of impressive, the perfect kickstart to a year which sees them release their debut album!

Kicking off with lead single ‘Shame On You,’ a track which has been doing the rounds for a while now, it is instantly clear that the Doncaster band mean business. Opening with catchy drum beats and strong lyricism, what is first-most obvious is the heightened production value of the song. No doubt coming as a result of years of experience and newfound recording opportunities. 

Having recently signed a worldwide contract with Eleven Seven Music Label Group, Bang Bang Romeo are going from strength to strength. Their ‘Shame On You’ EP release came with its own release party at London’s The Social just last Thursday, before a trip along Holloway Road then took them to the capital’s famous Nambucca in support of Electric Six. With recent festival outings including Sheffield’s Tramlines Festival, Kendall Calling and a main-stage slot at Isle of Wight, the band are clearly festival favourites.

Given its name, ‘Cemetery’ is surprisingly upbeat. Lyrically explorative and vocally powerful, for some reason it is the music of The Smiths which comes to mind as a comparison. Its chorus is one of their best, a true tale of love and togetherness. ‘Adore Me’ continues to develop themes of love and togetherness, think a collaboration between Lady Gaga and The Killers. Keep a close eye on the final thirty-seconds of the track, Walker’s vocals are sensation. The only word which comes to mind is ‘mindblowing.’

What is most impressive is their desire to please an ever growing fan base commonly referred to as the BBRMY. Portsmouth’s Victorious Festival saw fans flock from far and wide to see the band though an onslaught of bad weather left the stage flooded. Always keen to please, Bang Bang Romeo rapidly looked to secure a local venue so they could perform after all, with some even suggesting that the newfound intimacy made it a true “I was there” moment.

Formed of Anastasia Walker, Ross Cameron and Richard Gartland, the trio seem to evoke the definition of togetherness and friendship with ease. Hard work and natural talent have combined to get them to where they are now. The EP closes on a reworked, updated version of ‘Chemical,’ a delight for old and new fans alike. The track has gone from pub backrooms to festival stages in a short space of time, one can only assume it’ll fill arenas and stadiums alike in no time!

2018 is the biggest year of the Doncaster band’s career to date, their Shame On You EP is near faultless and keeps us all in high anticipation as we await November’s debut album release. 

First published August 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: TRNSMT 2018

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First published August 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

It is no surprise that TRNSMT has already announced it will return to Glasgow Green in 2019. This year’s event has been second to none with The Killers bringing their huge, LA mimicking set to the main stage. Following in the footsteps of Queen + Adam Lambert, Arctic Monkeys, Liam Gallagher and Stereophonics, they headline in phenomenal style. 

With Hudson Taylor and Lewis Capaldi opening the main stage, it is clear that the legacy of the festival is already in full force. Capaldi last year performed upon the King Tut’s Powered by Utilita stage, this year graduating to the main one. His set was momentous, the young Glasgow singer said: “This is the biggest stage I have ever played; feels amazing to be in my hometown!”

Friendly Fires made their TRNSMT debut as part of their 2018 live comeback. Their tropical, dance based fusion of indie rock was impressive in the Glasgow Green setting. Whilst new music is expected, their set basked on the classics including ‘Jump In The Pool’ and ‘Paris.’ With colourful pyro and confetti lighting up the main stage, its clear that Friendly Fires are back with a point to prove.

The day was somewhat of a homecoming, with heroes being welcomed back to great response. Franz Ferdinand were the first, their set described only as a hotbox of indie anthems. ‘Take Me Out’ and ‘Do You Want To’ were both glorious and nostalgic. Glasgow Green is famous for its atmosphere, though it will do a lot to top such an impressive hour or so of singalong. CHVRCHES too found themselves returning home for the first time in a while. Their world tour was massive, seeing them high up on festival bills all over. Three critically acclaimed albums later, CHVRCHES now find themselves rightfully amongst mass hometown crowds.

Tracks such as ‘Get Out’ and ‘Bury It’ were huge, a synth soundtrack to a sunny setting. In fact, the weather at this year’s TRNSMT was nothing short of perfect, a long stretch from 2016’s calamitous T in the Park. TRNSMT seems to be here for the long run and rightfully so! Closing with hit ‘The Mother We Share,’ CHVRCHES were basking in the glory of such a long anticipated return with frontwoman Lauren Mayberry saying: “It’s been a really long time since we have played to our hometown, so thank you guys very much for coming out to see us!”

The end of the two weekend festival was somewhat emotional, organisation wise it has been one of the best. Musically memorable, TRNSMT is rapidly becoming not just a centripetal celebration for Glasgow, but for the entirety of Scotland. The stage was now set of the Scottish return of The Killers.

The Brandon Flowers fronted band has been traversing the world over, their festival commitments nothing short of relentless. With arenas and stadiums already in the bag, they brought their UK tour to a close with a successful TRNSMT headline slot. Their setlist is both huge and riddle with hits, ‘Somebody Told Me’, ‘Mr Brightside’, ‘All These Things That I’ve Done’ were all hallmarks of an intense blend of anthemic indie rock. With a secret set at King Tut’s penned in for later that evening, it is clear that The Killers see Glasgow with high regard. They themselves may even be regarded as honorary Scots. 

This year’s TRNSMT has been a celebration of music, not just in Scotland but the world over. A true classic!

First published August 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: Isle of Wight 2018

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First published July 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

The Isle of Wight Festival celebrated its 50th year in June, here’s out 5 favourite artists from across the weekend:

Bang Bang Romeo

Bang Bang Romeo have gone from strength to strength over the years, though the main-stage performance at the Isle of Wight Festival becomes a pivotal moment in their existence. Having traversed a whole manner of stages at the festival over the years, 2018 marks the beginning of an entirely new phase for the band, one which will no doubt propel them to the TOP!

With festival promoter John Giddings confirming that the Doncaster formed band’s crowd was the largest an opening artist had ever seen in the festivals rich 50 year history, it is no wonder that Bang Bang Romeo left the Isle on a high. The power of lead singer Anastasia Walker’s voice is seen in tracks such as ‘Invitation’ and ‘Natural Born Astronaut.’ With an improved back line and stage design to compliment their performance, it is undoubtable that the four piece will one day headline festivals in their own right.

Despite all this, the day twinned with the release of new single ‘Shame On You.’ It is spell bounding in the live setting and put many of the artists who followed on the main-stage to shame. High in production in studio and powerful in the festival field, the new single will no doubt form the soundtrack to Bang Bang Romeo’s rise to the top. 

Liam Gallagher

Liam Gallagher was once vocally unreliable in Beady Eye, or at times totally unpredictable in Oasis however, his consistency as a solo artist has been second to none. With a set formed of Oasis classics and hit tracks from debut solo release As You Were, it was clear that Gallagher was on top form in his most comfortable setting – the top of a festival billing. 

Opening with ‘Rock ’n’ Roll Star’ and ‘Morning Glory’ as expected, the inclusion of ‘Bold’ and ‘For What It’s Worth’ quite rightly proved the credibility of the Manchester born singer’s recent releases. However, the set was Oasis heavy leading to lustful sing-alongs from the excited Isle of Wight crowd. ‘Bring It On Down’ and ‘Listen Up’ can now both be classed as rarities in the live settings, though it was ‘Live Forever’ and ‘Wonderwall,’ a double encore, which brought the set to a meaningful closure. 

Tom Grennan

Tom Grennan is the next British megastar, his debut album drops this July and is already doing the promotional rounds. With his image splattered across the London Underground, it was Grennan’s turn to brace the Friday evening slot at the Big Top, the festival’s second stage. 

Hits such as ‘Sober’ and ‘Praying’ are already anthemic classics. Grennan is a natural frontman none too dissimilar to those from the early 00s albeit with a far superior voice. It is this which makes his musical reach unique, as seen through the diversity of the gathered crowd. Closing with ‘Found What I’ve Been Looking For’ and ‘Something in the Water,’ it was clear we were witnessing the start of a MASSIVE 2018 for Tom Grennan.

James Bay

James Bay may be one of the nicest guys in popular music however, his new songs incorporate aspects of lustful love affairs and lascivious encounters. All of this is done with good effect, opener ‘Pink Lemonade’ is lyrically telling in the most basic of manners. Its catchy guitar chords and effective chorus makes it an opening track worth dying for. ‘Wild Love’ and ‘Just For Tonight’ both featured from latest album Electric Light, already a clear favourite in the eyes of his adoring fans.

However, classics such as ‘Let It Go’ were met with huge cheers and Bay, who just days before supported the Rolling Stones at the Twickenham leg of their No Filter tour, was clearly enjoying an aura of confidence and natural comfort on the massive Isle of Wight main-stage. Closing with ‘Hold Back The River’

Depeche Mode

Given that Depeche Mode were the metaphorical curtain closers to a day featuring Liam Gallagher and Blossoms, it was quite right to be somewhat apprehensive about the kind of crowd who gathered to watch them end a day which celebrated the 50th anniversary of the Isle of Wight Festival. However, their journey through the ages of moody 80s synth pop was spectacular. 

A slow start, only rescued by ‘It’s No Good’ was dramatically forgotten with an impressive live version of ‘Personal Jesus.’ Rarities such ‘Somebody’ and ‘Just Can’t Get Enough’ (tour debut) were impressive.‘Enjoy The Silence’ was, however, the most powerful of all. Lyrically beautiful, rhythmically intense, it is an era defining song of world defining proportions. 

They may be beyond the years of peak popularity, or perhaps even drifting out of mainstream relevance, but Depeche Mode certainly managed to keep old fans happy whilst at the same time gaining new admirers.

First published July 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: Tramlines 2018

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First published July 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Initially, the decision to bring all of Tramlines’ stages together as one at Hillsborough Park was a risk. However, with a decade of experience under its belt, 2018 more than ever felt like the Sheffield festival’s rise to the higher echelons of the UK’s festival circuit. With the likes of Noel Gallagher’s High Flying Birds and The Stereophonics topping the bill, this year’s edition of Tramlines had it all.

With a fringe event also occurring simultaneously in the city centre, the now Hillsborough based festival saw record crowds pass through its gates in a celebration of musical and social diversity. Occurring in the middle of a summer which has already seen footballing success and divine weather,  it was time for Tramlines to take centre stage!

Friday:

Friday kicked off with a mixture of talent old and new. The Big Moon opened proceedings on the main-stage, a band who’s debut album Love in the 4th Dimension was shortlisted for 2017s Mercury Prize. Hits such as ‘Pull The Other One’ and ‘Cupid’ helped an already growing main stage crowd to get into the festival spirit. The Big Moon are exciting and talented, we already can’t wait to see what their second album offering will have in-store. 

It was the Leadmill stage which saw a number of breaking bands over the course of the weekend. It brought a taste of the fringe into the festival grounds themselves, the former being the one of THE best events for musical discovery in the country. Friday saw Oddity Road head to yet another festival main-stage. Taking inspiration from indie heavyweights, the Sheffield band cleverly manage to mix this with their own unique blend of guitar based sound. ‘Don’t Hold Me Down’ stands out for these guys, it won’t be long before they hit even bigger festival stages in Sheffield and beyond. 

The Orielles too made the Leadmill stage their own. Their near perfect summer sound was terribly incongruous to the blistering downpour, though with crowds flocking to the tent, the Halifax formed band’s set became a festival highlight in itself. Tracks such as “Sunflower Seeds” and ‘Sugar Tastes Like Salt’ stood out. 

The Magic Gang and Mystery Jets too took to the Leadmill stage to close off an impressive opening night of music. Milburn too brought their resurgent live sound to the Tramlines main-stage. However, Friday night belonged to the Stereophonics. With a set which spanned 20 years worth of hits, the Welsh rockers were clearly on fine form. 

A whole summer of headline festival appearances led the band to Tramlines in spectacular fashion. A mixture of full band and acoustic tracks brought mass singalongs which the band are so accustomed to. Highlights included ‘Have A Nice Day’ and ‘Handbags And Gladrags.’ As the rain began to fall once more, it was ‘Dakota’ which left the near capacity crowd in a euphoric daze. Kelly Jones and co are still a headline worthy band, the depth in their setlist is almost never ending. 

Saturday:

With a denser line up and more stages, Saturday at Tramlines showed a tonne of promise. Rightfully, it was one of our favourite festival days ever! Kicking off main-stage proceedings was Bang Bang Romeo, the Doncaster band who are embarked upon a summer of festival performances. Their sound is infectious and powerful, tracks such as ‘Natural Born Astronaut’ and ‘Invitation’ WOWED the ever-growing crowd. Vocally, lead singer Anastasia Walker is second to none! With more releases planned and a debut album in the pipeline, it is clear that Bang Bang Romeo are onto something special.

RedFaces too made their hometown festival main-stage debut. The indie band have been doing the round for a while however, 2018 appears to be somewhat of a breakthrough year for the Sheffield band. ‘Wise Up’ and ‘Kerosene’ were anthemic, already fan favourites. ‘Way Down’ drops in August and if its live outing is anything to go by, the single could be one of our favourite RedFaces tacks yet!

Every festival has a standout performance. In the case of Tramlines 2018, it was Reverend & The Makers who stole the show for all the right reasons! Their Saturday evening slot was rammed as John McClure and co returned to their hometown. The hits were rapid and career spanning, ‘Heavyweight Champion of the World’ and ‘Bassline’ were note-able, the crowd was bouncing. Flares galore brought a colourful echo to Hillsborough Park as ‘Silence Is Talking’ meant a euphoric end to what may well been their greatest hometown gig of all time. However, it was the band’s tribute to former festival director Sarah Nulty which was most moving, her legacy is second to none and will no doubt live on!

Blossoms may not have taken the non-stop train through the Peak District from Stockport to Sheffield to the Tramlines main-stage, though it was clear that Tom Ogden and co felt somewhat at home. Following the release of second album Cool Like You, the indie hearthrobs were in fine form. A mixture of tracks new and old created mass singalong and a spectacular summer atmosphere as evening dawned. ‘Charlemagne’ was a highlight, of course.

And so it was onto Noel Gallagher’s High Flying Birds to close out the night, a sign that the Sheffield festival can attract some of the biggest names in the game. The rock icon is still on blistering form following the release of third solo album Who Built The Moon? With a mixture of classics old and new, the Oasis man’s return to Sheffield was something quite special. New tracks including ‘She Taught Me How To Fly’ and ‘Holy Mountain’ highlighted the relative experimental nature of Gallagher’s latest body of work. However, it was the outing of Oasis classics which brought mass singalong to a crowd gathered in front of the iconic stands of Sheffield Wednesday’s Hillsborough Stadium. ‘Whatever’ and ‘Don’t Look Back In Anger’ still mean so much to so many people. Closing on The Beatles’ ‘All You Need Is Love,’ Gallagher was able to latch onto the positive vibes which natural overshadowed the entire weekend. 

Sunday:

With a varied, more pop based day of music, it was the smaller stages which played home to the more alternative acts. No band epitomises Sheffield’s upcoming music scene more than The Seamonsters. Their early Sunday morning set was one of the most impressive of the whole weekend. With an infectious sound and stage presence, it is no wonder that The Seamonsters are set to embark on a UK wide tour this Autumn. At Tramlines, songs such as ‘Lost (And Found)’ and ‘Max and Archie’ proved to be fan favourites. They are set to make the festival setting their own over the next few years.

Sheafs too are a local band with a tonne of hype. Hot on the lips of any new music fan, their Tramlines set was raucous, no doubt reminiscent of some of the greater stadium bands of our time. ‘Mind Pollution’ and latest singe ‘Shock Machine’ prove their credentials, though it was ‘This Is Not A Protest’ which truly had the potential to set the world alight and soundtrack a future revolution. 

Sophie and the Giants too have made Sheffield their home. Their Tramlines debut comes as part of a breakthrough year for the band. Lead single ‘Monsters’ sounded impressive, vocally they are second to none. Having worked alongside Reverend & The Makers’ John McClure, We cannot wait to see what these guys have planned next!

Pale Waves, who played the early evening Leadmill set, are on the verge of greatness. Signed to Dirty Hit Records, their growth over the last twelve months has been astounding. Already, the likes of ‘Television Romance’ and ‘There’s a Honey’ are festival anthems. Anticipation is high as their debut album draws closer. Black Honey too have an album in the works, due for release later this year. Their festival outings prove that attention is rife, the band are hotly talked about in industry circles and for good reason. ‘All My Pride’ is of course already a highlight. Black Honey look set to take the country by storm!

Tom Grennan’s Tramlines return was spectacular and in good timing, just weeks after the release of Lighting Matches. His voice is rough but impressive, no doubt in the realms of unique solo stars such as Amy Winehouse and Richard Ashcroft. It was the more upbeat corners of his chart raiding debut album which suited the festival tent best. ‘Barbed Wire,’ ‘Something in the Water’ and ‘Found What I’ve Been Looking For’ all provoked mass singalong. 

Talking of singalongs, no solo artist is as credible and talented as the Nottingham born Jake Bugg is. He closed out the festival’s other stage in spectacular fashion. The likes of ‘Broken,’ ‘Seen It All’ and ‘Lightning Bolt’ have stood the test of time and still remain as meaningful and relevant as ever. If Tramlines 11 has anything like this in-store then, quite frankly, we’re in for a treat.

First published July 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.