It was a last minute decision to go to this gig, at the end of what had been a rather rough week. A strong bill with three acts I was keen to see made it worth travelling to another country involving rail replacement buses and a stay in a cheap B&B. Sometimes it’s gigs like this where I’m reminded of the line in Mötorhead’s “We Are The Road Crew” ‘Another hotel I can’t find‘. But in this case I did manage to find the hotel, but got hopelessly lost in the decidedly non-Euclidian geography between the hotel and the venue. I was in a maze of small twisty streets, all alike. Fortunately I did eventually manage to find The Globe in time for the start.
Opener was the solo acoustic guitar virtuoso Matt Stevens. Matt plays acoustic guitar through a series of looping pedals and effects enabling him to turn a single guitar into a multilayered tapestry of sound. At times he uses his pedal board as an instrument as much as the guitar itself, and at one point was on his knees pressing buttons and making Hawkwind-like electronic effects. For the second half of his set, he was joined by virtuoso bassist and former Panic Room member Alun Vaughan, who played some imaginative bass parts to Matt’s solo compositions and added an interesting extra layer to the music.
I first saw Sankara at the 2012 Cambridge Rock Festival when they were still a four-piece, and the recently-formed band showed a lot of promise. Almost immediately after the release of their début album “Guided by Degrees” they changed personnel, with a new bassist and the addition of a second guitarist.
They now sound like a completely different band. Having two guitars fills out the sound significantly, with Jay and new addition Paul having contrasting and complementary styles. While their music still lies somewhere on the hard rock/AOR spectrum, they’ve now got a bigger, tougher and heavier sound than they had either as a four-piece or on record.
Their lengthy set including the majority of both the album and their earlier EP “Enigma”. Gareth Jones again impressed as a frontman, switching between the front of the stage and the occasional number sung from behind the keys. High spots included a very emotive “Lullaby for a Lost Boy”, which Gareth introduced as inspired by his day job in housing; ‘A song about homelessness’. Sankara have come on a lot in a very short time, and it will be interesting to see where they go from here.
Also Eden are another band in the throes of lineup changes. They’ve got a new bassist since I saw them last, and their current run of gigs marks the farewell appearances of founder member, keyboardist Ian Hodson. And although he’s established himself as the voice of the band over the last couple of years, Rich Harding wasn’t their original singer.
His politically-charged lyrics recall Geoff Mann-era Twelfth night, some of his theatrical vocal delivery reminds me a lot of very early Marillion, and his dedication of “1949″ to everyone who works in the NHS was a nice touch. Musically, despite sometimes lengthy songs and rich arrangements they avoid most of the obvious clichés of 80s neo-prog.
Their set drew heavily from their third album “Think of the Children”. For the older “Skipping Stones” they were joined on stage by their original singer Huw Lloyd Jones. They also played a substantial amount of brand-new material from the forthcoming “[Redacted]“. On first listen the new songs came over strongly, darker and heavier than their older songs, with “Chronologic” a particular standout.
From this performance Also Eden came over as a band who have significantly raised their game, and provided they manage to negotiate the speedbump of finding a replacement keyboard player they look about to move up to the next level. Certainly “[Redacted]” is now one of the most eagerly anticipated albums of the year.
In these cash-strapped times shows like this are exactly the sort of thing more bands ought to be doing, putting together a bill of two or three contrasting but complementary acts that give audiences their money’s worth regardless of who is the nominal headliner. It works for audiences, and I think it works for the bands as well.
All photos by Paul Johnson