Philly punks Nothing are back from the brink with a new record that draws on some really, really bad times.
…and the best non-NME Awards show at Porchester Hall, London (February 12)
Garvey is, quite simply, one of the greatest, most consistent songwriters this fair isle’s ever produced – and tonight’s set is one deceptively dark indie-pop starburst after another. In among the immaculate classics – ‘Switching Off’, ‘Red’, ‘Newborn’ – it’s the new songs from forthcoming fourth LP ‘The Seldom Seen Kid’ that impress the most. ‘Grounds For Divorce’ is a hulking, gargantuan rock departure, while the shimmering, swooping orchestral-tinged ‘One Day Like This’ sees Garvey lead the crowd through a gospel-style singalong that belies the fact it’s the first time it’s been played live. It’s the chuggingly euphoric ‘The Loneliness Of
A Tower Crane Driver’ that truly makes the case for ‘…Kid’ being Elbow’s career best, however – sounding like the monster in Cloverfield having a moment of clarity and bursting into tears after realising how much devastation it’s caused.
In truth, tonight there’s nothing new or classier about Elbow – they still look like portly, drunken binmen. No, there’s just a set of spellbinding songs that keep them stratospheres above the majority of modern British rock groups.
The Strokes dabble with sounds from throughout their career on a satisfying return
Once the thrill of the cast and visuals wears off, this follow-up to Tim Burton’s Alice In Wonderland is a drag
George Clooney and Julia Roberts bounce off each other like pros in this amusing take on fat cat greed
The hooks are plentiful and the energy’s palpable, but the Bottlemen still don’t have a ‘Wonderwall’