Gig Review: Within Temptation @ Wembley Arena.

This weekend I had the delight of seeing the wonderful Within Temptation this weekend. I've loved this band for about ten years. It wasn't my first time seeing them live, but it was a brilliant gig. I almost felt 16 again, like I was young and newly in love with a band all over again.

I bought tickets for this gig about a year and three months ago. I bought them when I was a student, finishing my university dissertation. I bought these gig tickets with my student loans. That's how long ago it was that I bought tickets for this gig. Of course they scheduled the gig way ahead in the future but then the gig was rescheduled due to recording conflicts. I can confirm that it was well worth the wait.

Wembley Arena was filled and surrounded by corset clad women and band shirt bearing boys. There was a general buzz of excitement even though it was such a large venue. Within Temptation were supported by Delain, a band I'd heard much of from several friends but had never actually listened to. Delain gave a good, energetic performance. I'll definitely give them a further listen. They may even be some upcoming song of the day choices.

Sharon and the gang took to the stage with a brilliant set up, featuring two giant hydra heads, and impressive pyrotechnics.

The band played many songs from their latest album, utilising a large screen and recordings from those they've done duets with, and threw in some old favourites like Mother Earth, Ice Queen, Angels and See Who I Am. 

Sharon managed to pull off swift costume changes from leather corsets to sparkly party dresses all done in record time. Her vocals were crystal clear and from where I was standing the band looked like they were all having fun and really just enjoying what they were doing. Everything was smooth, well rehearsed and reminded us that these guys are true pros at what they do. This gig was a brilliant return to the UK and proved that the Temptation gang are strong as ever, each like a different head of the same Hydra.

Gig Review+ Eric Whitacre, The Eric Whitacre Singes, Marius Beck, Laura Mvula...

So last night I went to an excellent gig at the Union Chapel in London. My mother had bought tickets and, until the day of the gig, I knew very little about the event or what to expect. I simply knew that Eric Whitacre was going to be conducting. I didn't know who or what he'd be conducting but conducting is what I expected. My mother is a huge fan of Eric Whitacre and his work after doing a workshop with him. Having sung in a choir I understood her interest and decided to tag along. The event, held in the beautiful Union Chapel, was stunning. Just up the road from Highbury and Islington station is this beautiful venue in a red brick church. In fact before the gig started I just marvelled at the scenery and architecture for a while.

Earlier in the day I received my first clue about the event when my mother said "There's going to be this singer there.... the surname starts with an M and a V... Mvu-something..."
"LAURA MVULA?" I exclaimed with excitement. I'd only needed the two letters. I was aware of Mvula's work. In fact my partner and I have played Mvula's "Sing To The Moon" album many times.

The gig boasted many guest performers and was titled "Re-Imagine" and was filled with things that Whitacre had, in some way, re-imagined.

Well Eric Whitacre and his talented troupe of singers came onto stage. Eric himself was filled with charisma and excellent stage presence. He makes a perfect host, joking with the audience and finding cool and quirky ways to introduce each piece. He starts with his own version of Lux Arumque with which I am familiar having sung it in a choir myself. It's a perfect starting piece. It's a piece that has a fragile quality that automatically makes the audience settle down. The night hosted such a wonderful blend of songs. My favourite had to be Whitacre's haunting arrangement of "Hurt" by Nina Inch Nails/Johnny Cash which created an unsettling dissonance in places and created the most agonising and beautiful performances of the song I've ever heard. I'm still not sure if if touched me on an emotional level more than Johnny Cash's version which is one of my favourite songs of all time. Another highlight was the choir taking on 'Radioactivity' by Kraftwerk whilst Joby Burgess, a talented percussionist and multi-instrumentalist, played a whole range of instruments. The coolest of these was probably the aluminium harp. I'm not the best with instruments but sign me up for that one, I want a go.

Laura Mvula was absolutely radiant as she came out to sing a few songs from her début album with the choir backing her. Later Mvula reappeared to conduct the choir in her own composition of 'Sing To The Moon' and, as Whitacre informed us, has studied musical composition at university. Mvula showed herself to be a talented and deeply passionate performer and, based on the roar of applause she received, will soon be a performer to really look out for in the contemporary music scene. She has a power to her voice that demands to be heard.

The entire night was paced so brilliantly from the range or performers to the repertoire: there was never a dull moment. Ksenija Sidorova came out to accompany the choir and perform a solo piece and managed to give a performance that was entertaining and also sensual. Never before has accordion playing been so rapturous and passionate and, well, cool. Marius Beck, a singer who flew in all the way from Norway, also provided his talents although the real highlight was his cover of 'Wrecking Ball' by Miley Cyrus. As Eric Whitacre said, Marius definitely 'saved' this song. The night ended with all the performers and the audience joining in song to sing a spiritual which left everyone involved humming their way back to the train station. It was a perfect night. Never before have I seen so many talented performers on one stage. It was a brilliant show and I'd gladly go see each and every performer again.

Spellbound: A Night With Siouxsie Sioux (Meltdown Festival, UK)

It still doesn't feel quite real.
On Monday 17th, the start of this week, I had the pleasure of seeing one of my idols: Siouxsie Sioux. Known for her solo work and performance with Siouxsie and the Banshees and The Creatures I've long been a fan. Siouxsie had previously been on a five year hiatus from the music industry and fans had long wondered if we'd see Miss Sioux again.

Then, out of nowhere, came the announcement that Siouxsie would play at Yoko Ono's Meltdown Festival in London. The first show sold out on the day and another date was added with Viv Albertine providing support for both nights.


Viv Albertine of The Slits and her band provided support for Siouxsie. Albertine was very funny, charming and candid about her experiences since Slits fame. At one point she discussed her song "Needles" which, although often mistaken for being a song about heroin, is about IVF. Viv Albertine joked that having previously written songs about heroin and now about IVF her next 'needle' themed song would probably be about knitting: a tale of life quite literally through the eye of a needle. Their set was entertaining and proof that Viv Albertine is as charming as ever.

In Britain we are known for our almost rabid approach to gig-going. As an audience we stand at shows and dance as if to show our appreciation, utterly spellbound. We absorb as much from the experience as we can. The Southbank Centre is, of course, a seated venue known for calmer events that may call for a seated performance however this changed very quickly. The entire room moved as Siouxsie and her band took to the stage going from a seated gig to a standing one in a matter of seconds. People quickly rushed towards the stage, leapt up and made sure to have a good view for all things to come and seeking as close a position with the rocker as possible in an attempt to be face to face with a star.

Known for her painted eyes and wild hair, Siouxsie came out looking every bit as glamorous as one would expect. The Goth Goddess took to the stage in an elegantly cut dress of white PVC with black detailing thus making for a bold performance outfit. The skirt section was later stripped away to reveal a bold one-piece body suit. Siouxsie played a lot of her Kaleidoscope hits mixed with her solo pieces like "Into A Swan" and "Here Comes That Day" whilst throwing in fan favourites like "Dear Prudence", "Happy House", "Israel" etc. Siouxsie performed with not just her voice, but her whole body.  From the moment she walked out onto stage until the moment she left she left she was moving, dancing, pacing with vigour and strength.





Siouxsie has a feline grace from the wildness in her eyes to the way she paces about the stage, tossing her jet black mane, moving around in circles like a caged jungle cat. She was in full command of everything on the stage. Even whilst dreamily singing a slower number and being hassled by a rather intoxicated fan. The veteran punk rocker had been dealing with flower throwers, balloons being tossed towards her and the band and now a rather annoying fan who, by the looks of it, was grabbing at the lengths of her skirt and causing distractions. At one point Siouxsie, noticeably aggravated by the woman, yelled "F*** OFF!"
She then apologised and commented that people often seem to cause trouble during her slower numbers and how she wished they'd do so during a more angst-filled piece so her yelling seemed more commonplace. Though not as young as she was when she started in music, Siouxsie still provides an energetic and entertaining performance with more skill and agility than most performers could even dream of. Her voice is now a little lower, more sultry, but she can still rock every single song in her repertoire.

It was a good night for the fabulous and fierce women in the music industry that keep performing. There have long been rumours of another potential Siouxsie album. I truly hope that the wonderful Siouxsie Sioux continues performing until the last beat of her heart.