Ezra Furman and The Boyfriends, Roundhouse, 31 October 2016

Ezra and his band embraced the fact that their biggest show to date co-incided with Halloween. A lone keyboardist strode onto the stage in a dracula cape and struck up some Hammer horror chords. A pink coffin was ceremoniously carried to the front of the stage.


Then out came Ezra in a tight black dress and with grey streaks in his hair, giving a Bride of Frankenstein effect.


Later in the night he said he had a difficult relationship with Halloween as it was the one night when he couldn't be freaky and different, and himself, as that was what everyone was doing. The band were really tight and created enormous space in the arrangements, which managed to completely fill the room. When they tore apart and rebuilt songs, as they did with Maybe God is a Train, the result was really intriguing. When they stuck closer to the arrangements on the recorded versions, they really took off and brought the audience along with them.


The size of the venue and the crowd was obviously quite affecting for Ezra, and was certainly a contrast to the sweaty bar show we saw 30 months ago. It was a really great show that revitalised our love of rock and roll and made us want to form a band and play until the small hours.

Courtney Barnett, The Haunt, Brighton, 6 December 2014

A mix of Jenny Lewis, The Breeders, The Stone Poneys on a rocking bluesy bed.

Courtney and the rest of her powerful band looked like they were having a blast on stage. The rang into and over each other in top-notch style. A really enjoyable set.

Plank, Audio, Brighton, 6 December 2014

Truly a "greatest riffs" set from a band we'd heard exciting things about. 

Combining some driving guitar rhythms with powerful drumming, an opening bass solo on "Luna" and unexpected use of keyboards, this may sound like a classic rock set. In fact this is like nothing we've seen before. Why? No singer. And absolutely no need.

Monsters Build Mean Robots, Sticky Mike's Frog Bar, Brighton, 6th Dec 2014

A band worth catching live to really "get" what they sound like.

An engaging set with interesting melodies and rhythms and friendly crowd interaction.

Fujiya & Miyagi, Haunt, Brighton, 6 December 2014

Dancing on a Saturday afternoon is an oddly pleasurable experience. Fujiya & Miyagi treated a mellow and enthusiastic audience to some up-tempo funk infused beats. With hints of early Depeche Mode, disco beats and synthy art pop their set was accomplished and, most importantly, good fun. The full crowd jigged along to their Collarbone track ("the knee bone's connected to...") and went out into the late afternoon Brighton sunshine in buoyant spirits.

Broadbay, Sticky Mike's Frog Bar, Brighton, Sat 6th Dec 2014

Only caught the last two songs but liked what we saw. A rocking trio with a heaviness quotient similar to Biffy Clyro or the Foo Fighters. Songs brought to mind Dinosaur Jr. or Idlewild. 

Played tight, accomplished grungy rock that deserved a bigger crowd than the dozen or so in the bar. But that elite crowd loved it. 

Can't think of many better ways to spend 2pm on a chilly Saturday.

Blood Red Shoes, Fri 5 Dec, Bleach, Brighton

Punchy, scringy rock that a sweaty, enthusiastic young crowd lapped up. 

Sounded like the White Stripes would if they were fronted by Meg rather than Jack.

British Sea Power, All Saints Church, Hove, Fri 5 Dec 2014

A beguiling performance. Felt as if we were watching the band rehearse rather than that we were being performed to.

The Bournemouth Symphony Orchestra added depth to the sound.

Closed on a real highlight with Carrion and an extended ending section.

It Hugs Back, All Saints Church, Hove, Fri 5 Dec 2014

Melodic guitar rock in the vein of Lemonheads, Ride, and Teenage Fanclub. 

Good sound complemented the harmonies and drumming, and a great Mascis guitar moment. Some excellent guitar and keyboard interplay on the closing song.

Drenge, British Music Embassy at Latitude 30, Austin, Saturday 15 March 2014, SXSW 2014

2014 was the year grunge came back to SXSW in its steel-capped Doc Martens. There is only so much sound checking a two-man guitar and drums band needs, so we enjoyed a very thorough sound check of every possible drum strike.

This rocket-fuelled, loud and scuzzy, final (for us) set of SXSW kept the energy going to the last. The band are clearly influenced by Nirvana in their style. Interestingly, the vocal style was much cleaner though.

The guitar sound was heavy and at one stage the vocals had a touch of Jack White which made for an interesting combination. The singer seemed to be using effects pedals to have bass doubling what he was playing on guitar. The duo made the sound of a more bigger band; which is a skill to appreciate.

Other SXSW 2014 reviews from Broken Biscuit Records:
Damon Albarn
Gruff Rhys
Woman’s Hour
Wolf Alice