Belfast beck­ons

Guetta, Duke, Noel, Noah and The An­swer go su­per-Bel­sonic

The Irish Times - Friday - The Ticket - - Front Page -


Thurs­day Au­gust 23 It’s a long way from Ban­gor to the Olympics, but it seems that Two Door Cinema Club – whose singer, Alex Trim­ble, en­joyed a good old war­ble at the open­ing cer­e­mony of the ath­let­ics event sev­eral weeks ago – have jumped the shark. It’s a cu­ri­ous po­si­tion to be in; less than three years ago, the trio (which also fea­tures Sam Hal­l­i­day, lead gui­tar, and Kevin Baird, bass) were just an­other as­pir­ing North­ern Ir­ish indie act on the edges of elec­tro-pop. Just over two years ago, they re­leased their de­but al­bum, Tourist His­tory; about 18 months ago they nabbed the Choice Mu­sic Prize for Ir­ish Al­bum of the Year 2010; and then, fol­low­ing a ver­i­ta­ble blitz of mu­sic place­ments in TV ad­ver­tise­ments and games – some­one clearly was work­ing very hard on the band’s be­half – they pro­ceeded to sell more than a mil­lion copies of it. At this show they’ll pre­view tracks from their forth­com­ing (leaked on­line!) al­bum, Bea­con.

Song of the Day: We love Some­thing Good Can Work, so ei­ther that or Un­der­cover Mar­tyn.


Fri­day Au­gust 17 It’s highly un­usual for a “her­itage” act to get a cre­ative edge on bands many, many years their ju­nior, but that’s ex­actly what Mad­ness did in 2009 when they re­leased what is ar­guably their best al­bum to date, The Lib­erty of

Nor­ton Fol­gate. Of course, the Cam­den Town ska-pop act are per­haps too well known for their string of more than 20 su­perla­tive hit sin­gles, re­leased be­tween 1979 and 1985; and there was the band-au­tho­rised Our House mu­si­cal, which ran in Lon­don’s West End from late-2002 to mid-2003. In short, the best of Mad­ness’s songs (and there quite a few of them) have be­come part of the pop-cul­ture land­scape, rightly viewed as clas­sics of their kind. And yet The Lib­erty of Nor­ton Fol­gate (a con­cept al­bum about Lon­don, de­scribed by the now de­funct Word mag­a­zine as “Peter Ack­royd writ­ing for The Kinks”) caught pretty much ev­ery­one by sur­prise. A new al­bum is due shortly; in the mean­time, pre­pare your­selves for a feast of the fa­mil­iar.

Song of the Day: Primrose Hill (from their 1982 al­bum, Rise & Fall), which out-Kinks The Kinks and al­most out-Bea­tles The Bea­tles.


Thurs­day Au­gust 16 Let’s for­give her the early as­so­ci­a­tion with Chip­munk, and let’s pass over that fact that – like, you know, for a sec­ond, like – Si­mon Cow­ell pro­fessed her to be his favourite song­writer (“at the minute”). Let us, in­stead, hail Scot­land’s Emile Sandé not just as a writer of strong ur­ban pop/soul ma­te­rial for the likes of Cher Lloyd, Ch­eryl Cole, Pro­fes­sor Green and Tinie Tem­pah (and, says us, re­ally look­ing for­ward to hear­ing them, the re­formed “notSu­garbabes” Mutya Keisha Siob­han), but also the proud cre­ator of this year’s de­but al­bum,

Our Ver­sion of Events. She’s come a long way in a short time, then, but the for­mer medicine stu­dent seems to have her wits about her – not only does she aban­don a song within a day if she can’t fin­ish writ­ing it, but she’s en­gaged to a sci­en­tist, not a pop star. Clever.

Song of the Day: My Kind of Love hits the

spot, thanks for ask­ing.


Fri­day Au­gust 24 It’s Not Un­usual. Thun­der­ball. Green Green

Grass of Home. Delilah. Evil. Go on, pick out the odd song ti­tle. No? Let’s see . . . How about Evil, which was recorded with Jack White? To say it’s been a long jour­ney from whiffy cheese to some form of cred­i­bil­ity for Sir Tom Jones is some­thing of an un­der­state­ment. As most of us know, Jones started off play­ing work­ing men’s clubs in Wales in the early 1960s, grad­u­ated to in­ter­na­tional pop star sta­tus from the mid-60s on­wards, and then drifted into a life­style that in­volved lit­tle artistry. By the late 1990s, how­ever, Jones has been cast in a com­pletely dif­fer­ent light: col­lab­o­ra­tions with The Cardi­gans and Por­tishead, records pro­duced by Wy­clef Jean, and, of late, two nu­anced al­bums that prove he has more to him than a long­ing for Las Ve­gas night­club res­i­den­cies: 2010’s Praise & Blame, and this year’s Spirit in the Room.

Song of the Day: “And he strikes! Like Thu­u­u­u­unnnd­der­rrrrballl!” Sun­day Au­gust 19 My, haven’t they grown up? Formed in 2004 by Hay­ley Wil­liams (then aged 15), and broth­ers Josh (then aged 16) and Zac (then aged 14) Farro, Paramore made a de­ci­sion quite early on not to go the teen pop star route (Wil­liams, in par­tic­u­lar, had been groomed by a ma­jor la­bel for just that role). In­stead, they stuck to their indie guns, honed their pop sen­si­bil­i­ties, and re­leased al­bum af­ter al­bum that to­gether cop­per­fas­tened their ap­peal to a teen de­mo­graphic.

It hasn’t all been plain sail­ing, how­ever; in 2010, orig­i­nal mem­bers Josh and Zac Farro left the band amid hissy fits, kiss-offs and back­chat (“We want Josh and Zac to do some­thing that makes them happy . . . we sup­port them find­ing hap­pi­ness else­where,” went the of­fi­cial band state­ment. “Paramore is aman­u­fac­tured prod­uct of a ma­jor la­bel,” blogged Josh). De­spite all of that, the good ship Paramore (self-pro­fessed Chris­tians all) sails on.

Song of the Day: Brick by Bor­ing Brick – un­usu­ally for Paramore, it blends a neat Smash­ing Pump­kins-style sound with a Twi­light

es­que sto­ry­line.


Emeli Sandé

Two Door Cinema Club


Tom Jones

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