We The Kings @ London Camden Electric Ballroom (15/02/2011)

     We The Kings, a pop-punk band born in 2003 of four Floridian High School friends have just experienced their most successful and influential year with the UK and embarked on their biggest UK tour ever, stretching across ten dates throughout February, concluded with the world renowned Electric Ballroom in Camden. Headlining their largest UK venues ever, the pressure on the band to perform better than ever was incredible. Supported by I See Stars, All Forgotten and friends of the band Versa Emerge.

 

     We The Kings materialised, seemingly unnoticed in 2007, with very experimental EPs and with a self-titled debut studio album, but after being showcased on CBS’ the Early Show in New York in May 2008 and they were also featured in Alternative Press magazine, making their once minute fan base outstretch worldwide. After releasing their second studio album Smile Kid in December of 2009, they were hurled into the UK pop-punk scene and now perch comfortably, sharing fans with the likes of You Me At Six and All Time Low. We The Kings’ alluring pop beats and lyrics combined with softer love songs and heavier riffs, they are a welcomed ‘safer’ band for pop-punk fans.

 

      Michigan post-hardcore rockers I See Stars are first to grace the stage, propelling their stylistic mixture of screamo, electronic and rock genres, were a good introduction to the evening, but there was something about their method that didn’t quite click with the audience, perhaps the extensive blend of so many genres or the manner of performance. Having said that, they did manage to keep the audience on their feet and seemingly entertained. All Forgotten, were next to grace the stage, armed with upbeat punk melodies, screamo and hardcore elements and spectacular vocals from frontman Dan Lawrence driving the band firmly into the audience’s good books. With influences from bands such as We Are The Ocean and Lostprophets, it is a wonder All Forgotten are not already signed with a major punk label and playing festivals around the country, but the future is certainly bright for these Surrey bred boys.

 

     Third and final support, Versa Emerge pretty much blue the crowd away with their natural musical elegance and flair. The Floridian threesome opened with the title track from their debut studio album Fixed At Zero, which was released during the summer last year. When asked who had hear of the band before the show, the majority of the crowd gleefully cheered and sung along deafeningly with Fixed At Zero and the tracks that followed. The fact that the band write their own music completely is obvious due to the sincere emotion exposed to the crowd and Versa’s experimental edge give them a leg up on other bands that are not every well known in the UK who attempt to retain a predetermined approach and genre.

 

     However, any pop-punk based band fronted by a woman is bound to draw immense comparisons to the world renowned Paramore, but Versa Emerge’s frontwoman Sierra Kusterbeck has awesome stage presence and unique finesse as a vocalist, and the band’s overall dark style is very attractive in the rock world. Having previously released EPs prior to their debut album, in a similar format to We The Kings, Versa already have something which many bands and artists severely lack; originality and the natural ability for audience curiosity. It is often easy to deduce that support acts may not be particularly good, and usually that presumption would be correct, but in the case of tonight’s show, all three support acts were varied, energetic and gave great performances.

 

     With a simple stage set up of several lights and amps and each band members stood in their regular spot, We The Kings were geared up, in tandem with the throng of fans below them. Beginning with ‘Skyway Avenue’ from their first album, I personally, was happy to realise the set would be a merge of old and new tracks to please all audience members. We The Kings, particularly frontman Travis Clark are senselessly passionate about what they do which rubs off on audiences, making each show they play electrifying. They’re one of those bands that you could easily forget about and throw to the unimportant playlist on your iPod, but you would be wrong to do so! Each time I experience their passion in the flesh, I am astounded by their natural abilities and energy.

 

     ‘Skyway Avenue’ illustrates all that We The Kings are about; being young, and being in love, whether for good or bad, which is why they are so appealing to younger music fans who are personally familiar with the ins and outs of teenage relationships. ‘She Takes Me High’ is next to be incorporated into the setlist and truly brings the house down. The production on the original recording is infectiously pop-esque and full of optimism, much like the rest of Smile Kid, which is a welcomed variation from other gloomier bands; the right mix of the two is necessary for any music collection. The song’s repetitive chorus is straightforward enough for the crowd to sing along to, which makes for a cheery and triumphant opening to the show from any perspective.

 

     Surprisingly, ‘What You Do To Me’, also from Smile Kid is next to be played, which is an unexpected incorporation to the set, but makes for fantastic crowd participation with its jaunty, pop-driven chorus and optimism, which is the best constituent of what constructs We The Kings. Travis Clark’s unusually mellow yet motivating stage presence keeps all band members in check throughout the set and keeps the audience interested as the band blare out crowd pleasers such as ‘Stay Young’, ‘All Again For You’, and their most famous track ‘We’ll Be A Dream’, which was a collaboration with Disney star Demi Lovato. This song is beautiful in its simplicity and integrity, especially when performed live without all the excessive production elements.

 

     ‘Rain Falls Down’ followed, and considering this was the very first time We The Kings played this track live in London, the reception was remarkable. This song conveys that it is possible to refer to both the good and bad aspects of young relationships, not just skin deep emotion, and still be a successful band. We The Kings are a meek and warm band who constantly refer to other bands and artists who have boosted their careers thus far, including inspirations such as Jimmy Eat World. Their cover of ‘The Middle’ exhibited how the characteristics of each band member shine seamlessly through one another to generate what is We The Kings. This performance, in particular, marked the best We The Kings show I have ever experienced, as it was obvious how comfortable they were on stage.

 

     ‘Heaven Can Wait’ and ‘Secret Valentine’ flaunt the bravado and vulnerability that the band portray through their music, and when played live, a moving level of emotion unites with the lively atmosphere from other brisker songs. Travis Clark’s flawless and much improved vocal abilities are now hauntingly supreme, forming a soulful connection with the crowd, ‘I will always be your friend.’ Despite a short set, With ‘Check Yes Juliet’ to wrap up the set, I was left feeling something very rare; content.

Main support and friends of the band, Versa Emerge

We The Kings' latest album Smile Kid

We The Kings

Here are some videos I took on the night: 

Stay Young:  http://www.youtube.com/watch?v=0Z4IBOa2m1M

All Again For You (Acoustic): http://www.youtube.com/watch?v=6ofpc6vXQmw&feature=related

We'll Be A Dream (Acoustic): http://www.youtube.com/watch?v=2YBElUFrXfo&feature=related

                                       

                                                      

Maroon 5 @ London Brixton Academy (18/02/2011)

     Maroon 5, from Los Angeles, California, were formed in 1992. Under the name Kara’s Flowers, they released an album in 1996, named ‘The Fourth World’, but as it only sold 5,000 copies, the band parted in 1998. Their first album under the name Maroon 5, ‘Songs About Jane’, was released in June of 2002, and peaked at number one in both the UK and the US. Their fan base spread across the world, triggering a sold-out show at London’s Wembley Arena in 2007, and although their most recent show was held in a smaller venue, Maroon 5 still played to a full house of passionate fans.

 

     Extensively touring on ‘Songs About Jane’ from 2003-2005 allowed the band to release two live albums, and win two Grammy Awards for their efforts. Despite the departure of original drummer Ryan Dusick due to tour-sustained injuries, Maroon 5 soldiered on with the help of Matt Flynn in tow. Second album ‘It Won’t Be Soon Before Long’ was released in 2007 with a ‘sexier and stronger’ sound with groundbreaking influences from the likes of Prince and Michael Jackson. Third album ‘Hands All Over’, on sale from September 2010 sold 500,000 copies worldwide and marked Maroon 5’s individual stamp on the music industry. With a perfect blend of sex, love and heartbreak, with both upbeat and ballad-based tracks, Maroon 5 are infectious in their profoundness.

     Support act Sara Bareilles, often referred to as the one-hit-wonder credited for ‘Love Song’, played almost an hour set, allowing listeners to get to grips with her music. She proved her strength as an artist and a performer. With Maroon 5’s fans being somewhat diverse, it was unchallenging to attain a decent spot in the crowd, which also made the atmosphere chilled and blissful. The acoustics of Brixton Academy are indescribable. Every note can be heeded as if every member of the crowd is on the front row. Bareilles’ captivating vocals rapidly acquired the attention of the multitude. It was specifically the belting of ‘Love Song’, a dazzling cover of Coldplay’s ‘Yellow’, and a cover of Cee-Loo Green’s monster hit ‘Forget You’ that really brought the house down. She is a polished and well-produced artist, who cannot be technically criticised.

     Following positive reviews of their latest album, and humbling successes of those before, fans waited with baited breath for an incredible set, and it is safe to say, they certainly got what they wanted. There was an ideal combination of performance and encouragement from the boys as they played one of the best sets I have ever been lucky enough to experience. Maroon 5’s stage arrangements were rather simplistic, but their music abilities being propelled on stage more than made up for that! The crowd’s energy was immeasurable, as was the crave for a glimpse of frontman Adam Levine. Opening with latest single ‘Misery’ it was clear this show would be unlike any other. Each band member was note perfect, but the sound was poles apart from the record in an overwhelming way.

     ‘If I Never See Your Face Again’, ‘Harder To Breathe’ and ‘Hands All Over’ followed without interruption, illustrating the awesome blend of old and new tracks, and a portrayal of the incredible performances that were still to come. Although each track is so varied, by the time Levine introduced himself and the rest of Maroon 5 to the 4921 people in front of him, I was already charmed and transfixed. Title track from the band’s latest album ‘Hands All Over’ is a lose, punchy, rock-driven wrapped up by the unique and breath-taking tones of Levine.  

     Two songs from the quintet’s debut complication ‘Songs About Jane’ exposing how the band have remained incredibly distinctive, but also varied their style and retained masses of fans all over the world. ‘The Sun’ and ‘Secret’ were astounding and exhibited how hybrid yet original the band are, as well as how they have developed  independently as musicians, to produce music that is nothing short of fantastic. The set list had clearly been carefully decided in order to keep old and new fans alike in high spirits, and although each show a band execute is for promotional purposes, arguably, Maroon 5 did not play enough tracks from their new album. However, as each track on each album is charming in its own way, a perfect set list for Maroon 5 is impossible to muster.

      The band’s cultivated musical skill were exquisitely projected through ‘I Won’t Go Home Without You’ and Adam Levine’s instrument diversity was obvious during an astounding cover of Alicia Keys’ ‘If I Ain’t Got You’. Additionally, the group’s passion and talent are remarkable, and their humility is something that can only be praised as well. ‘She Will Be Loved’ is Maroon 5’s token tear-jerker, and it did nothing but that when the crowd joined together with the band to screech every syllable of the song, enough to shatter the wall of the Academy. Tenth track ‘Wake Up Call’ seemed to utilise every scrap of adroitness from the band, and actually appeared to present how energetic they are. ‘Shiver’ and ‘Stutter’ portrayed the band’s positive progression and development from their first to third album, and it is only a good thing that the audience consumed both with glee.

     After sowing the ‘She Will Be Loved’ seed, it was only right ‘This Love’ was performed soon after, and it’s safe to say if the walls were not shattered in their entirety before by the power of band and audience connection, they certainly were. ‘This Love’ is Maroon 5’s biggest hit to date, peaking at number three in both the UK and US in various charts. Adam Levine, in between proving just how flirtatious one man can be with over four thousand crowd members, lead a full blown sing-a-long, attempting to get audience participation to perfection by splitting the multitude to sing the final line of ‘This Love’ in tandem. Although the harmony was not flawless, the band’s efforts and presentation certainly were.

     ‘Makes Me Wonder’ and the melodic and mellow ‘Sunday Morning’ made up the epic encore and by the audience’s noise, they were more than happy with this conclusion. Maroon 5 proved how old and new tracks interlink and connect in ways the listener cannot comprehend unless they experience them live. They depict vulnerability, robustness and delight in unison, and their rock edge is absolutely irrespirable and can only be criticised for not playing enough songs or enough from their album that brought them on tour. Yet Maroon 5’s incredible finesse bursts through every note of every song, exposing why Maroon 5 have such an assortment of fans.

Maroon 5's album artwork for their latest album 'Hands All Over'

Maroon 5

Here are some terrible quality videos I took on the night:

Forget You (Cover)/Gonna Get Over You: http://www.youtube.com/watch?v=oy4k21ecSrw

She Will Be Loved: http://www.youtube.com/watch?v=e-jYuDHW-No

This Love: http://www.youtube.com/watch?v=6B5VTbpCueI

Paramore @ Birmingham NEC/LG Arena (16/11/2010)

    Paramore, a pop-punk rock band from Franklin, Tennessee, formed in 2004 and burst onto the music scene back in 2005. Their debut album ‘All We Know is Falling’, 2005, was inspired by the likes of Fall Out Boy and Blink-182. Their fan base has been expanding worldwide ever since, propelling them comfortably within the mainstream scale, and with infectious lyrics, immense riffs and profound love songs, they are unavoidable.

    

     ‘Brand New Eyes’, Paramore’s third studio album was released in 2009, this year won Kerrang’s best album award. This week, it reached platinum status in the U.K, making it the band’s biggest seller to date. Lead vocalist, keyboardist and front woman, twenty-one year old Hayley Williams, collaborated with rapper B.O.B earlier this year on the track ‘Airplanes’ which reached number one in the U.K and the U.S, forming a greater fan base for Paramore. Consequently, B.O.B along with quirky pop rock band Fun, complete support for the U.K tour.

     Following their phenomenal success over the past year with singles such as ‘Ignorance’ and ‘Brick By Boring Brick’, as well as a sold-out tour last December; this was set to be Paramore’s eminent U.K visit. Regardless of the sub-zero temperature, fourteen thousand keen and diverse fans, piled into the arena at 6pm. Immeasurable anticipation was in the air as the room filled, and it became clear that every seat and space has been sold.

     New Yorkers Fun graced the stage first, armed with ironically fun tracks such as ‘At Least I’m Not As Sad (As I Used To Be)’ plus a dreadful cover of Queen’s ‘Radio GaGa’, which diabolically failed to entice the crowd. B.O.B, however, blew the audience away, with the perfect combination of performance and encouragement. His stage presence and set-up, including a DJ and dancers, were alluring and his set list was impressive, including his debut single ‘Nothin’ On You’, new track ‘Magic’, which features guest vocals from Weezer’s front man Rivers Cuomo, and of course, number one single ‘Airplanes.’ Predictably, Hayley Williams erupts onto the stage sporting her spanking new pink hair and a dreadful long puff jacket, and the single’s success is apparent when the two can scarcely be heard over fourteen thousand rowdy voices. The crowd’s energy built up in the wait for Paramore, with the entire arena participating in a Mexican wave and chanting for the show to begin.

     Eventually, Paramore took to the bedsit inspired stage; complete with a sofa, amplifiers, five screens, and swinging light bulbs, to the welcome of senselessly passionate fans. Opening with ‘Ignorance’, the set excelled as it continued incorporating tracks, ‘Feeling Sorry’, ‘That’s What You Get’ and ‘For A Pessimist, I’m Pretty Optimistic.’ The set list had clearly been cautiously structured to appeal to fans new and old, with tracks included from all three albums. The band’s passion and talent are incredible. Zac Farro’s remarkable drumming kept all members in check for the entire ninety minutes, and constantly drove the crowd’s energy.

     ‘Emergency’ and ‘Playing God’ particularly conveyed Taylor York’s and Jeremy Davis’ rhythm and bass guitaring skill, as well as how perfectly old and new tracks link, despite variations in sound and line up over the years. Jon Howard is currently touring with Paramore to assist with keyboards, rhythm guitar and backing vocals. Another aspect that aided the band’s stardom was having two songs featured on the soundtrack of the tremendously successful 2007 film ‘Twilight’; ‘I Caught Myself’ and ‘Decode’, which was performed next, displaying Williams’ haunting and stunning vocal abilities. She has the rare ability to portray bravado and vulnerability in tandem, especially through lyrics, which is simply irresistible.

     These uncommon characteristics shine through when the band begins a four-track acoustic set to illustrate their awesome capabilities as musicians seamlessly. Williams’ and lead guitarist and backing vocalist Josh Farro have an indescribable contagious chemistry, which is evident when the two execute ‘Never Let This Go’ faultlessly. Clearly, the acoustic section was included to exhibit Paramore’s soulful connection as a band and with fans, as Williams welcomes them ‘...to the family.’

     ‘When It Rains’ was flawless, along with ‘Where The Lines Overlap’ and ‘Misguided Ghosts’, after which, the audience was repeatedly thanked for their ‘...support on the journey’ and informed that 'music will never not be there (for you.')', which revealed how warm and humble the band remain, despite their capability to sell out arenas. The energy level surged, and this, Paramore’s fourth U.K show out of a full six, was unmistakably lively, but also, with the acoustic tracks, very moving. Anthems ‘CrushCrushCrush’ and ‘Pressure’ allowed firecracker Williams to reform back to head banging and surging across the stage whilst immaculately singing, as to not be overshadowed by other band members. ‘Looking Up’ utilised five screens behind the stage to show pre-recorded footage of the band specifically for this track.

     Each band member was individually introduced to the audience by Williams, but when she herself was introduced by Josh Farro, the reaction was thunderous, and did not quieten when she yelled ‘Tonight you belong to us!’ ‘The Only Exception’ depicted the band’s supreme abilities and formed a picturesque sight when every member of the crowd held up a light. The encore, ‘Brick By Boring Brick’ and ‘Misery Business’ flaunted why Paramore won Best Rock Band at this year’s MTV EMA awards, and with selected audience members being lucky enough to perform 'Misery Business' with the band, the gig came to an end.

     With infectious vigour and remarkable flair, the show ends with confetti and fireworks bursting from the stage, reflecting how Paramore have developed into an arena-filling band in just six years.  


5/5