“Hello! Erm…Welcome!” says Johnny Flynn as he takes to the stage for this homecoming show, and the Sussex Wit’s biggest ever headline gig. This is definitely the politest gig I’ve ever been to. The air of restraint is only reinforced by the fact that, due to the Shepherd’s Bush Empire’s cloakroom having reached it’s maximum capacity of bags, I am forced to carry a Marks & Spencer carrier bag for the entire gig.
However Amelia’s Magazine favourite Mr Flynn is nothing if not a captivating performer, and the whole crowd is mesmerised as he starts the gig with the low-key Lost and Found, a highlight from second album Been Listening. One thing that’s immediately obvious is how good his band are. They’ve been on the road pretty much non-stop since the summer festivals and it shows. During a blistering Been Listening, they chug away like vintage-era The Band, adding a real live punch to the powerful honesty of Johnny’s voice and guitar.
So much so, that when they play the afro-beatish single Kentucky Pill sans its main trumpet riff, it’s hardly noticeable. And this is the order of the day – although the live renditions often differ considerably from the recorded versions, Johnny and the Wit always do justice to the songs, in true troubadour style. On the magnificent Hong Kong Cemetery, Johnny switches between a trumpet in the choruses and a guitar in the verses. Later the horn section parts of Cold Bread are approximated with a flute. Throughout the night Johnny will also play the mandolin, banjo and the fiddle.
“This is my sister Lily, she just got here”, he says, signalling the first of two guest appearances, as his younger sibling takes the stage to sing backing vocals. “Now we have ginger symmetry”, he jokes, standing flanked by Lily, and the equally raven-haired keyboard player James Mathe, who later admits “We need to work on our banter”.
Then Johnny whips out, like, an electric guitar! Is this going to be his Bob Dylan “Judas” moment? Not quite, but he does inform us “You can bop to this one if you like”, before breaking out into an almost calypso-tinged version of the lovelorn Churlish May, which does indeed get the crowd moving.
The more traditionally folky songs from debut album A Larum generally receive the biggest responses, with stomping singles Leftovers and The Box provoking medium-scale hoedowns. But the most enduring moment comes from an unexpected guest appearance from old friend Laura Marling. The crowd, which up to this point has been pretty reserved, goes bananas. Delicate and pale, the almost ghostly spectre of Marling adds to a haunting rendition of The Water, Johnny’s paean to H2O.
I’m actually surprised at how many people are here, but as I look around the sold-out Empire, it’s clear that Flynn has a strong and adoring fanbase. During a rare quiet moment a girl behind me shouts “I love you Johnny!” – a couple of seconds of silence pass and then the man next to her shouts “I love you as well, Johnny!”
Flynn, playing in front of a patchwork backdrop based on the trees from the cover of Been Listening, ends the set with a breathless version of the banjo-led Eyeless in Holloway. After only a couple of minutes he returns to the stage with Lily, saying “Did we do that right – the going off and coming back on bit?” It’s this kind of bafflement with the rituals and clichés of rock and roll that makes his approach so endearing.
After a tender and stripped down duet with Lily on Amazon, the rest of the band come back on. “We’re gonna play one more, and then everything else happens…like life and stuff”, he says, before ending with rapturous fan favourite Tickle Me Pink. I leave the venue, Marks & Spencer bag in hand, feeling like I’ve witnessed something truthful and blessedly untainted by cynicism.
When the folk resurgence started a few years ago, Johnny Flynn seemed like the boy most likely to. However in terms of sales, he has since been outstripped by the world-beating sound of Marling and the ubiquitous Mumford and Sons. But while Marling and Mumford may have the arena tours and Mercury nominations, it’s clear from tonight that Johnny still has the heart and soul, and vitally, the sense of humour.
Written by Rob Harris on Monday December 13th, 2010 3:25 pm
tube
Vrooosh and we’re in. After a National Express journey from Bristol at 4.10pm we arrived immersed in the mighty traffic of London. From twit updates, viagra 60mg I was aware that the Amelia’s Magazine London team had spent the morning working hard whilst we’d been at work.
The lovely Matt Bramford, this site Amelia’s Fashion Editor working hard with a smile. Illustration by Gareth A Hopkins
Getting off the beloved bus, buy information pills we tubed to Bethnal Green Road, missing our bikes with all our hearts after we discovered we had got off at the wrong tube stop and had to walk the length of the road. When we got to 110 -ish I put on my heels and immediately inflicted a new set speed of slow on us. Then after apparently vacantly walking past the venue, we about turned and eventually arrived at 123 Bethnal Green Road at 8pm. And there we are- in.
It’s buzzing and I can see the feathered headdress and hear the sound of glorious music coming from the stage. 6 Day Riot are on stage and everyone is loving it. “Drink!” Vodka O flowing, blue bottled Adnams beers in hand – mutter to Charlie, he can’t hear me, the walls are bright and the buzz is loud. But we are smirking at each other, as the swirl of this internal world is clearly alleviating our hours of bus lethargy. There are beautiful outfits from where I want to find out, and make up perfection. I’m loving the wedges, flowing skirts, vintage fabrics and beautiful piled up and flowing hair. Breathing art of their own kind, everyone I want to know and only until midnight to do it. Um, let’s CHAT. Ze atmosphere is perfect for le chat… Bonjoir…
Charlie and I by Abby Wright – This illustration was a present for our families (I know) – but now you can see Charlie us both. In art form!
I meet Jess Furseth because we are looking at each other like we know each other, but don’t. It’s like online friend dating. How could this all go minus the screen? It’s fine of course. We natter about the world then pop downstairs with my curly haired man. There we meet Hannah Bullivant and her husband. Chat, chat, banter, banter – her husband is from Jersey too. Cue lots of Jersey yabbering then Jess,Hannah and I discuss the power of the WORD etc. There are tea cups about the place from earlier’s tea, cake and illustration session, and a comfy Chesterfield sofa for a second of sitting. This is when I briefly meet Amelia’s Dad. It’s all in the eyes! Lovely man.
Boosh and we’re chatting outside. Banter, banter. Then downstairs and the Lily Vanilli cake is being cut. I have a bite of Charlie’s and the white chocolate and sweet cake melts like pink heaven in my mouth. He swipes it away from my chops. Chat, chat. “Hello Amelia!” She’s wearing an amazing cape and gorgeous shoes. So nice to see her. “Fabulous PARTYY!”
Illustration of Amelia, lady of the night by Abby Wright
Chat to a couple of bloggers and see some of the splendid illustrators I speak to everyday. Everywhere I turn is enthusiasm and love for ART! Whilst Charlie is talking about his hair (apparently) to a table of chaps, I corner an illustrator with a goodie bag. I didn’t get one, but those who did had a Tatty Devine necklace, Dr Hauschka products, Pukka tea, a Moleskin notebook and other goodies in their possession. Jealous.
Contributor Sally Mumby- Croft snapping away. Illustration by Gareth A Hopkins
Squeal at Matt Bramford before spending the rest of the evening throwing shapes with Chazaroo, Hannah, her husband and the lovely Jess. C.L.A.S.S.I.C. tunes are spun out from The Pipettes and the Mystery Jets DJ. We take breaks outside and before long it all becomes a spinny blur of joy.
It would have been super to have chatted to EVERYONE, but to be honest I adored spending the evening with three fantastic new (now real-life – that’s right writers and Jersey 2) friends. That’s what it was about for me, relaxed fun and an appreciation for the creative and beautiful. I’m proud to be a part of Amelia’s Magazine and all who sail in her.
Vrooosh and we’re in. After a National Express journey from Bristol at 4.10pm we arrived immersed in the mighty traffic of London. From twit updates, approved I was aware that the Amelia’s Magazine London team had spent the morning working hard whilst we’d been at work.
The lovely Matt Bramford, Amelia’s Fashion Editor working hard with a smile. Illustration by Gareth A Hopkins
Getting off the beloved bus, we tubed to Bethnal Green Road, missing our bikes with all our hearts after we discovered we had got off at the wrong tube stop and had to walk the length of the road. When we got to 110 -ish I put on my heels and immediately inflicted a new set speed of slow on us. Then after apparently vacantly walking past the venue, we about turned and eventually arrived at 123 Bethnal Green Road at 8pm. And there we are- in.
It’s buzzing and I can see the feathered headdress and hear the sound of glorious music coming from the stage. 6 Day Riot are on stage and everyone is loving it. “Drink!” Vodka O flowing, blue bottled Adnams beers in hand – mutter to Charlie, he can’t hear me, the walls are bright and the buzz is loud. But we are smirking at each other, as the swirl of this internal world is clearly alleviating our hours of bus lethargy. There are beautiful outfits from where I want to find out, and make up perfection. I’m loving the wedges, flowing skirts, vintage fabrics and beautiful piled up and flowing hair. Breathing art of their own kind, everyone I want to know and only until midnight to do it. Um, let’s CHAT. Ze atmosphere is perfect for le chat… Bonjoir…
Charlie and I by Abby Wright – This illustration was a present for our families (I know) – but now you can see Charlie us both. In art form!
I meet Jess Furseth because we are looking at each other like we know each other, but don’t. It’s like online friend dating. How could this all go minus the screen? It’s fine of course. We natter about the world then pop downstairs with my curly haired man. There we meet Hannah Bullivant and her husband. Chat, chat, banter, banter – her husband is from Jersey too. Cue lots of Jersey yabbering then Jess,Hannah and I discuss the power of the WORD etc. There are tea cups about the place from earlier’s tea, cake and illustration session, and a comfy Chesterfield sofa for a second of sitting. This is when I briefly meet Amelia’s Dad. It’s all in the eyes! Lovely man.
Boosh and we’re chatting outside. Banter, banter. Then downstairs and the Lily Vanilli cake is being cut. I have a bite of Charlie’s and the white chocolate and sweet cake melts like pink heaven in my mouth. He swipes it away from my chops. Chat, chat. “Hello Amelia!” She’s wearing an amazing cape and gorgeous shoes. So nice to see her. “Fabulous PARTYY!”
Illustration of Amelia, lady of the night by Abby Wright
Chat to a couple of bloggers and see some of the splendid illustrators I speak to everyday. Everywhere I turn is enthusiasm and love for ART! Whilst Charlie is talking about his hair (apparently) to a table of chaps, I corner an illustrator with a goodie bag. I didn’t get one, but those who did had a Tatty Devine necklace, Dr Hauschka products, Pukka tea, a Moleskin notebook and other goodies in their possession. Jealous.
Contributor Sally Mumby- Croft snapping away. Illustration by Gareth A Hopkins
Squeal at Matt Bramford before spending the rest of the evening throwing shapes with Chazaroo, Hannah, her husband and the lovely Jess. C.L.A.S.S.I.C. tunes are spun out from The Pipettes and the Mystery Jets DJ. We take breaks outside and before long it all becomes a spinny blur of joy.
It would have been super to have chatted to EVERYONE, but to be honest I adored spending the evening with three fantastic new (now real-life – that’s right writers and Jersey 2) friends. That’s what it was about for me, relaxed fun and an appreciation for the creative and beautiful. I’m proud to be a part of Amelia’s Magazine and all who sail in her.
Photo by Annie Mole, flickr
Excitable, energised, excellent, ends.
Vrooosh and we’re in. After a National Express journey from Bristol at 4.10pm we arrived immersed in the mighty traffic of London. From twit updates, medical I was aware that the Amelia’s Magazine London team had spent the morning working hard whilst we’d been at work.
The lovely Matt Bramford, nurse Amelia’s Fashion Editor working hard with a smile. Illustration by Gareth A Hopkins
Getting off the beloved bus, we tubed to Bethnal Green Road, missing our bikes with all our hearts after we discovered we had got off at the wrong tube stop and had to walk the length of the road. When we got to 110 -ish I put on my heels and immediately inflicted a new set speed of slow on us. Then after apparently vacantly walking past the venue, we about turned and eventually arrived at 123 Bethnal Green Road at 8pm. And there we are- in.
It’s buzzing and I can see the feathered headdress and hear the sound of glorious music coming from the stage. 6 Day Riot are on stage and everyone is loving it. “Drink!” Vodka O flowing, blue bottled Adnams beers in hand – mutter to Charlie, he can’t hear me, the walls are bright and the buzz is loud. But we are smirking at each other, as the swirl of this internal world is clearly alleviating our hours of bus lethargy. There are beautiful outfits from where I want to find out, and make up perfection. I’m loving the wedges, flowing skirts, vintage fabrics and beautiful piled up and flowing hair. Breathing art of their own kind, everyone I want to know and only until midnight to do it. Um, let’s CHAT. Ze atmosphere is perfect for le chat… Bonjoir…
Charlie and I by Abby Wright – This illustration was a present for our families (I know) – but now you can see Charlie us both. In art form!
I meet Jess Furseth because we are looking at each other like we know each other, but don’t. It’s like online friend dating. How could this all go minus the screen? It’s fine of course. We natter about the world then pop downstairs with my curly haired man. There we meet Hannah Bullivant and her husband. Chat, chat, banter, banter – her husband is from Jersey too. Cue lots of Jersey yabbering then Jess,Hannah and I discuss the power of the WORD etc. There are tea cups about the place from earlier’s tea, cake and illustration session, and a comfy Chesterfield sofa for a second of sitting. This is when I briefly meet Amelia’s Dad. It’s all in the eyes! Lovely man.
Boosh and we’re chatting outside. Banter, banter. Then downstairs and the Lily Vanilli cake is being cut. I have a bite of Charlie’s and the white chocolate and sweet cake melts like pink heaven in my mouth. He swipes it away from my chops. Chat, chat. “Hello Amelia!” She’s wearing an amazing cape and gorgeous shoes. So nice to see her. “Fabulous PARTYY!”
Illustration of Amelia, lady of the night by Abby Wright
Chat to a couple of bloggers and see some of the splendid illustrators I speak to everyday. Everywhere I turn is enthusiasm and love for ART! Whilst Charlie is talking about his hair (apparently) to a table of chaps, I corner an illustrator with a goodie bag. I didn’t get one, but those who did had a Tatty Devine necklace, Dr Hauschka products, Pukka tea, a Moleskin notebook and other goodies in their possession. Jealous.
Contributor Sally Mumby- Croft snapping away. Illustration by Gareth A Hopkins
Squeal at Matt Bramford before spending the rest of the evening throwing shapes with Chazaroo, Hannah, her husband and the lovely Jess. C.L.A.S.S.I.C. tunes are spun out from The Pipettes and the Mystery Jets DJ. We take breaks outside and before long it all becomes a spinny blur of joy.
It would have been super to have chatted to EVERYONE, but to be honest I adored spending the evening with three fantastic new (now real-life – that’s right writers and Jersey 2) friends. That’s what it was about for me, relaxed fun and an appreciation for the creative and beautiful. I’m proud to be a part of Amelia’s Magazine and all who sail in her.
Vrooosh and we’re in. After a National Express journey from Bristol at 4.10pm we arrived immersed in the mighty traffic of London. From twit updates, more about I was aware that the Amelia’s Magazine London team had spent the morning working hard whilst we’d been at work.
The lovely Matt Bramford, stomach Amelia’s Fashion Editor working hard with a smile. Illustration by Gareth A Hopkins
Getting off the beloved bus, we tubed to Bethnal Green Road, missing our bikes with all our hearts after we discovered we had got off at the wrong tube stop and had to walk the length of the road. When we got to 110 -ish I put on my heels and immediately inflicted a new set speed of slow on us. Then after apparently vacantly walking past the venue, we about turned and eventually arrived at 123 Bethnal Green Road at 8pm. And there we are- in.
It’s buzzing and I can see the feathered headdress and hear the sound of glorious music coming from the stage. 6 Day Riot are on stage and everyone is loving it. “Drink!” Vodka O flowing, blue bottled Adnams beers in hand – mutter to Charlie, he can’t hear me, the walls are bright and the buzz is loud. But we are smirking at each other, as the swirl of this internal world is clearly alleviating our hours of bus lethargy. There are beautiful outfits from where I want to find out, and make up perfection. I’m loving the wedges, flowing skirts, vintage fabrics and beautiful piled up and flowing hair. Breathing art of their own kind, everyone I want to know and only until midnight to do it. Um, let’s CHAT. Ze atmosphere is perfect for le chat… Bonjoir…
Charlie and I by Abby Wright – This illustration was a present for our families (I know) – but now you can see Charlie us both. In art form!
I meet Jess Furseth because we are looking at each other like we know each other, but don’t. It’s like online friend dating. How could this all go minus the screen? It’s fine of course. We natter about the world then pop downstairs with my curly haired man. There we meet Hannah Bullivant and her husband. Chat, chat, banter, banter – her husband is from Jersey too. Cue lots of Jersey yabbering then Jess,Hannah and I discuss the power of the WORD etc. There are tea cups about the place from earlier’s tea, cake and illustration session, and a comfy Chesterfield sofa for a second of sitting. This is when I briefly meet Amelia’s Dad. It’s all in the eyes! Lovely man.
Boosh and we’re chatting outside. Banter, banter. Then downstairs and the Lily Vanilli cake is being cut. I have a bite of Charlie’s and the white chocolate and sweet cake melts like pink heaven in my mouth. He swipes it away from my chops. Chat, chat. “Hello Amelia!” She’s wearing an amazing cape and gorgeous shoes. So nice to see her. “Fabulous PARTYY!”
Illustration of Amelia, lady of the night by Abby Wright
Chat to a couple of bloggers and see some of the splendid illustrators I speak to everyday. Everywhere I turn is enthusiasm and love for ART! Whilst Charlie is talking about his hair (apparently) to a table of chaps, I corner an illustrator with a goodie bag. I didn’t get one, but those who did had a Tatty Devine necklace, Dr Hauschka products, Pukka tea, a Moleskin notebook and other goodies in their possession. Jealous.
Contributor Sally Mumby- Croft snapping away. Illustration by Gareth A Hopkins
Squeal at Matt Bramford before spending the rest of the evening throwing shapes with Chazaroo, Hannah, her husband and the lovely Jess. C.L.A.S.S.I.C. tunes are spun out from The Pipettes and the Mystery Jets DJ. We take breaks outside and before long it all becomes a spinny blur of joy.
It would have been super to have chatted to EVERYONE, but to be honest I adored spending the evening with three fantastic new (now real-life – that’s right writers and Jersey 2) friends. That’s what it was about for me, relaxed fun and an appreciation for the creative and beautiful. I’m proud to be a part of Amelia’s Magazine and all who sail in her.
Vrooosh and we’re in. After a National Express journey from Bristol at 4.10pm we arrived immersed in the mighty traffic of London. From twit updates, information pills I was aware that the Amelia’s Magazine London team had spent the morning working hard whilst we’d been at work.
The lovely Matt Bramford, Amelia’s Fashion Editor working hard with a smile. Illustration by Gareth A Hopkins
Getting off the beloved bus, we tubed to Bethnal Green Road, missing our bikes with all our hearts after we discovered we had got off at the wrong tube stop and had to walk the length of the road. When we got to 110 -ish I put on my heels and immediately inflicted a new set speed of slow on us. Then after apparently vacantly walking past the venue, we about turned and eventually arrived at 123 Bethnal Green Road at 8pm. And there we are- in.
It’s buzzing and I can see the feathered headdress and hear the sound of glorious music coming from the stage. 6 Day Riot are on stage and everyone is loving it. “Drink!” Vodka O flowing, blue bottled Adnams beers in hand – mutter to Charlie, he can’t hear me, the walls are bright and the buzz is loud. But we are smirking at each other, as the swirl of this internal world is clearly alleviating our hours of bus lethargy. There are beautiful outfits from where I want to find out, and make up perfection. I’m loving the wedges, flowing skirts, vintage fabrics and beautiful piled up and flowing hair. Breathing art of their own kind, everyone I want to know and only until midnight to do it. Um, let’s CHAT. Ze atmosphere is perfect for le chat… Bonjoir…
Charlie and I by Abby Wright – This illustration was a present for our families (I know) – but now you can see Charlie us both. In art form!
I meet Jess Furseth because we are looking at each other like we know each other, but don’t. It’s like online friend dating. How could this all go minus the screen? It’s fine of course. We natter about the world then pop downstairs with my curly haired man. There we meet Hannah Bullivant and her husband. Chat, chat, banter, banter – her husband is from Jersey too. Cue lots of Jersey yabbering then Jess,Hannah and I discuss the power of the word etc. There are tea cups about the place from earlier’s tea, cake and illustration session, and a comfy Chesterfield sofa for a second of sitting. This is when I briefly meet Amelia’s Dad. It’s all in the eyes! Lovely man.
Boosh and we’re chatting outside. Banter, banter. Then downstairs and the Lily Vanilli cake is being cut. I have a bite of Charlie’s and the white chocolate and sweet cake melts like pink heaven in my mouth. He swipes it away from my chops. Chat, chat. “Hello Amelia!” She’s wearing an amazing cape and gorgeous shoes. So nice to see her. “Fabulous PARTYY!”
Illustration of Amelia, lady of the night by Abby Wright
Chat to a couple of bloggers and see some of the splendid illustrators I speak to everyday. Everywhere I turn is enthusiasm and love for ART! Whilst Charlie is talking about his hair (apparently) to a table of chaps, I corner an illustrator with a goodie bag. I didn’t get one, but those who did had a Tatty Devine necklace, Dr Hauschka products, Pukka tea, a Moleskin notebook and other goodies in their possession. Jealous.
Contributor Sally Mumby- Croft snapping away. Illustration by Gareth A Hopkins
Squeal at Matt Bramford before spending the rest of the evening throwing shapes with Chazaroo, Hannah, her husband and the lovely Jess. C.L.A.S.S.I.C. tunes are spun out from The Pipettes and the Mystery Jets DJ. We take breaks outside and before long it all becomes a spinny blur of joy.
It would have been super to have chatted to EVERYONE, but to be honest I adored spending the evening with three fantastic new (now real-life – that’s right writers and Jersey 2) friends. That’s what it was about for me, relaxed fun and an appreciation for the creative and beautiful. I’m proud to be a part of Amelia’s Magazine and all who sail in her.
Vrooosh and we’re in. After a National Express journey from Bristol at 4.10pm we arrived immersed in the mighty traffic of London. From twit updates, sale I was aware that the Amelia’s Magazine London team had spent the morning working hard whilst i’d been sat at my rectangular Apple.
The lovely Matt Bramford, ed Amelia’s Fashion Editor working hard with a smile. Illustration by Gareth A Hopkins
Getting off the beloved bus, we tubed to Bethnal Green Road, missing our bikes with all our hearts after we discovered we had got off at the wrong tube stop and had to walk the length of the road. When we got to 110 -ish I put on my heels and immediately inflicted a new set speed of slow on us. Then after apparently vacantly walking past the venue, we about turned and eventually arrived at 123 Bethnal Green Road at 8pm. And there we are- in.
It’s buzzing and I can see the feathered headdress and hear the sound of glorious music coming from the stage. 6 Day Riot are on stage and everyone is loving it. “Drink!” Vodka O flowing, blue bottled Adnams beers in hand – mutter to Charlie, he can’t hear me, the walls are bright and the buzz is loud. But we are smirking at each other, as the swirl of this internal world is clearly alleviating our hours of bus lethargy. There are beautiful outfits from where I want to find out, and make up perfection. I’m loving the wedges, flowing skirts, vintage fabrics and beautiful piled up and flowing hair. Breathing art of their own kind, everyone I want to know and only until midnight to do it. Um, let’s CHAT. Ze atmosphere is perfect for le chat… Bonjoir…
Charlie and I by Abby Wright – This illustration was a present for our families (I know) – but now you can see Charlie us both. In art form!
I meet Jess Furseth because we are looking at each other like we know each other, but don’t. It’s like online friend dating. How could this all go minus the screen? It’s fine of course. We natter about the world then pop downstairs with my curly haired man. There we meet Hannah Bullivant and her husband. Chat, chat, banter, banter – her husband is from Jersey too. Cue lots of Jersey yabbering then Jess,Hannah and I discuss the power of the word etc. There are tea cups about the place from earlier’s tea, cake and illustration session, and a comfy Chesterfield sofa for a second of sitting. This is when I briefly meet Amelia’s Dad. It’s all in the eyes! Lovely man.
Boosh and we’re chatting outside. Banter, banter. Then downstairs and the Lily Vanilli cake is being cut. I have a bite of Charlie’s and the white chocolate and sweet cake melts like pink heaven in my mouth. He swipes it away from my chops. Chat, chat. “Hello Amelia!” She’s wearing an amazing cape and gorgeous shoes. So nice to see her. “Fabulous PARTYY!”
Illustration of Amelia, lady of the night by Abby Wright
Chat to a couple of bloggers and see some of the splendid illustrators I speak to everyday. Everywhere I turn is enthusiasm and love for ART! Whilst Charlie is talking about his hair (apparently) to a table of chaps, I corner an illustrator with a goodie bag. I didn’t get one, but those who did had a Tatty Devine necklace, Dr Hauschka products, Pukka tea, a Moleskin notebook and other goodies in their possession. Jealous.
Contributor Sally Mumby- Croft snapping away. Illustration by Gareth A Hopkins
Squeal at Matt Bramford before spending the rest of the evening throwing shapes with Chazaroo, Hannah, her husband and the lovely Jess. C.L.A.S.S.I.C. tunes are spun out from The Pipettes and the Mystery Jets DJ. We take breaks outside and before long it all becomes a spinny blur of joy.
It would have been super to have chatted to EVERYONE, but to be honest I adored spending the evening with three fantastic new (now real-life – that’s right writers and Jersey 2) friends. That’s what it was about for me, relaxed fun and an appreciation for the creative and beautiful. I’m proud to be a part of Amelia’s Magazine and all who sail in her.
Iron and Wine. Two great sources of, generic well, iron. And so it was I settled down with a glass of rouge to better test the mettle of this, Sam Beam’s fourth studio album. Would his steely sense of reinvention produce a varied bouquet to top 2007’s The Shepherd Dog? Ok, that’s enough Iron and Wine jokes. Or is it? Because as this full-bodied release unfolds, it becomes clear that Beam has incorporated a host of currently unfashionable influences into his music without a hint of iron-y.
The ever-inventive Beam has taken inspiration for this album by “mingling memories of his parents’ record collection and hits heard between the static of scanning the car radio on family drives”. Whether or not the album conjures up similar memories for you mainly depends on whether your parents were into the radio friendly 70s MOR of Fleetwood Mac, Elton John, Stevie Wonder et al. As it happens, mine were into Paul Simon, Bob Dylan and the Stones – however there’s definitely a touch of Still Crazy-era Paul Simon in the melodic cadences and caustic lyrics of this record.
It’s all good news for fans of the humble saxophone. Starting off with a low key slap bass and shakers, Me and Lazarus is maybe the biggest departure on the album for Beam, building as it does into 70’s Earth Wind and Fire-style funk, with spiraling sax solos.
Brass instruments are further put to good use in Big Burned Hand and Your Fake Name is Good Enough For Me, the latter’s almost Motown horn section contributing to an epic gospel track that ends with the refrain “We will become the glory and the guilt, the blossom and the wilt”. It’s a gorgeous sounding record, with probably Beam’s most accessible melodies to date backed by cinematic layers of sound and African and Caribbean rhythms.
The album’s centrepiece is the delicately textured Rabbit Will Run, with it’s combination of African thumb pianos, discordant electric guitar and flutes reminiscent of The Stones’ Ruby Tuesday. It’s a complex yet strikingly subtle sound, backing Beam’s warning that “a rabbit will run, if the lion has nothing to fear”.
Beam’s gentle poeticism has been compared to Cormac McCarthy, and it shines on this album, with his customary biblical undertones. In the more straightforward folk couplets of opener Walking Far From Home, he sings “I’ve seen sinners making music, and I’ve dreamt of that sound”.
It’s all come a long way from 2002’s lo-fi debut The Creek Drank the Cradle, when Beam was introduced to us as a folk singer in the mould of Bonny Prince Billy. His work is now more reminiscent of such willfully inventive multi-instumentalists as Sufjan Stevens, and, if he continues to be so open to inspiration, he has the scope to be regarded in the same class as, whisper it, the aforementioned Paul Simon.
To celebrate The 3rd Fashion in Film Festival, healthpatient a series of silent movies have been presented at screens around London. After a frolic of veiled dancing at Dreams of Darkness and Colour at the Barbican on Saturday, Tuesday night it was the turn of the BFI with a screening of the original Moulin Rouge, in its black & white silent glory.
First presented in 1928, Moulin Rouge transports the viewer into the glamour of life on the Parisian stage and the often more stark reality off-stage that accompanies it. After meandering around Parisian night life, voyeuristically bringing the viewer vignettes of after-dark liaisons (including Toulouse Lautrec busy doodling music hall performances) the movie settles on the story of Moulin Rouge star Parysian. Her top billing and star rating at the Paris music hall does not save Parysian from her undoing, quite to the contrary, it is her profession that comes between her daughter, daughter’s fiancé and father-in-law to be. The film contrasts the harsh reality of Parysian’s life with the glitz of the showbiz world of which she is a part and cannot escape. ‘Madame, it’s time to go to the theatre’; the show must go on.
The film reflects the sociology of the times – classism, elitism, personal relations, and of course the racy sub-culture of the music hall and Parisian bars are all brought to life. Some scenes were sure to be shocking for the 1920’s, not only the salacious stage performances, but the behviour of the music hall’s more well-to-do patrons, including an impromptu food fight at the show’s after party.
We went to see the fashion, and fashion there was. On stage, there was all the glamour to be found in Vegas, with revealing outfits bejewelled to the max. Off stage, Parysian continued the glamour, even when changing into something less revealing to play good mother-in-law. While lacking the full on sensory assault of its contemporary, given the allure of an old black & white silent, backed with a one-man musical accompaniment, the original Moulin Rouge can still arouse the senses.
To celebrate The 3rd Fashion in Film Festival, sale a series of silent movies have been presented at screens around London. After a frolic of veiled dancing at Dreams of Darkness and Colour at the Barbican on Saturday, purchase Tuesday night it was the turn of the BFI with a screening of the original Moulin Rouge, more about in its black & white silent glory.
First presented in 1928, Moulin Rouge transports the viewer into the glamour of life on the Parisian stage and the often more stark reality off-stage that accompanies it. After meandering around Parisian night life, voyeuristically bringing the viewer vignettes of after-dark liaisons (including Toulouse Lautrec busy doodling music hall performances) the movie settles on the story of Moulin Rouge star Parysian. Her top billing and star rating at the Paris music hall does not save Parysian from her undoing, quite to the contrary, it is her profession that comes between her daughter, daughter’s fiancé and father-in-law to be. The film contrasts the harsh reality of Parysian’s life with the glitz of the showbiz world of which she is a part and cannot escape. ‘Madame, it’s time to go to the theatre’; the show must go on.
The film reflects the sociology of the times – classism, elitism, personal relations, and of course the racy sub-culture of the music hall and Parisian bars are all brought to life. Some scenes were sure to be shocking for the 1920’s, not only the salacious stage performances, but the behviour of the music hall’s more well-to-do patrons, including an impromptu food fight at the show’s after party.
We went to see the fashion, and fashion there was. On stage, there was all the glamour to be found in Vegas, with revealing outfits bejewelled to the max. Off stage, Parysian continued the glamour, even when changing into something less revealing to play good mother-in-law. While lacking the full on sensory assault of its contemporary, given the allure of an old black & white silent, backed with a one-man musical accompaniment, the original Moulin Rouge can still arouse the senses.
How did it feel to be selected for New Contemporaries?
Very exciting, and it really boosted my confidence in the studio. It has been great to meet other artists through the show.
What attracts you to the medium of paint?
I think, I’ve always found that paint was the medium which allowed me, the most experimentation. It involves more collaboration than mastering.
Production Still, 2010
What were you first experiences of art or if you had to, which artist(s) have had the greatest effect on your work to date?
Early experiences of art included the Greek and Roman pottery and sculpture in the Ashmolean and treasure trove of oddities at the Pitt Rivers in Oxford. I was introduced to painting through trips to the National Gallery. I was very influenced by an exhibition of Max Beckmann’s work which I saw in New York when I was at school. Artists who have had the greatest effect on my work include Francis Bacon, Pieter Claesz, Philip Guston and Prunella Clough.
Club, 2009
What are the financial implications after the decision has been made to start out as a painter?
It’s a constant weighing up of time, really. I need a studio – so that increases costs, so I need to work more to pay for it, but have less time to spend in there! Eventually I hope it will pay for itself.
Do you work in a gallery or maintain a part time job?
The paintings submitted to Bloomberg New Contemporaries will almost be a year old, by the time the exhibition opens, what are your thoughts and these paintings now and what are their relation to the works you are producing today?
Some of the paintings in the show were made at the end of my degree and represent the focus of a very intense studio-time, so they are quite important and I think about them often. Pink Black Pink is one of the most confident paintings I’ve made. I’m very much still exploring the grounds in which they operate, though I understand it better now.
Pink Black Pink, 2009
What’s an average day in your studio?
I try to keep lots of paintings on the go (10-20 or more) so that I don’t get bogged down in the appearance of any particular painting. I expect a fair few to fail- which usually comes from overworking. I tend to go from one to the next, putting things away after I’ve worked on them. The less confident I feel, the longer I spend on each so on a really good day I could work on up to 10 paintings.
What type of paint (oil, acrylic) do you use and why?
I mostly use oil as it is so flexible and sometimes un-predictable. I use a lot of transparent colours which oil is very suited for. I do also use acrylic but usually for the more predictable priming and under-painting. If I’m not painting, my favourite medium is colouring pencils and paper.
Hellion II, 2009
Your statement discusses your paintings relation to “historical notions of depth relating to the flat painting surface and depth that we relate to visual experience” was there a particular painting or text which sparked your playful exploration?
My exploration was really fuelled by an interest in the range of ways that painters have represented visual space across history; from Masaccio to the trompe l’oeil of Gijsbrechts and still life painters such as Claesz, Cotan and Morandi, to de Hooch and Vermeer to Francis Bacon, Mary Heilmann and Phoebe Unwin.
I’m also interested in the way that photography and moving image represents visual space and how it changes our first hand experience of looking.
Day In, 2010
What was your relation to painting objects during your time at Wimbledon?
At Wimbledon I made quite a few paintings and photographs which described still life objects. Eventually I found that the objects got in the way; they were always charged with associations. I wanted to explore the space of the canvas or photograph rather than create an image.
How do you name your paintings?
I start with a sort of word association game and go from there.
Obstacle No. 2 2010
What does the sub-title of the exhibition “painting between representation and abstraction” mean to you?
For a while I’ve felt uncomfortable with using these terms – I don’t find it so useful to be defined as ‘representational’ or ‘abstract’, so being somewhere in-between sounds about right.
Had you met any artists before deciding to be one?
A family friend is a photographer who works in Hong Kong, taking pictures of the landscape. I always thought it was amazing that anyone could do something so beautiful for a job.
What was it like to study at Wimbledon?
Very supportive with a real sense of community. I loved being in a green and quite residential part of London.
How did it feel to be selected for New Contemporaries?
Very exciting, and it really boosted my confidence in the studio. It has been great to meet other artists through the show.
What attracts you to the medium of paint?
I think, I’ve always found that paint was the medium which allowed me, the most experimentation. It involves more collaboration than mastering.
Production Still, 2010
What were you first experiences of art or if you had to, which artist(s) have had the greatest effect on your work to date?
Early experiences of art included the Greek and Roman pottery and sculpture in the Ashmolean and treasure trove of oddities at the Pitt Rivers in Oxford. I was introduced to painting through trips to the National Gallery. I was very influenced by an exhibition of Max Beckmann’s work which I saw in New York when I was at school. Artists who have had the greatest effect on my work include Francis Bacon, Pieter Claesz, Philip Guston and Prunella Clough.
Club, 2009
What are the financial implications after the decision has been made to start out as a painter?
It’s a constant weighing up of time, really. I need a studio – so that increases costs, so I need to work more to pay for it, but have less time to spend in there! Eventually I hope it will pay for itself.
Do you work in a gallery or maintain a part time job?
The paintings submitted to Bloomberg New Contemporaries will almost be a year old, by the time the exhibition opens, what are your thoughts and these paintings now and what are their relation to the works you are producing today?
Some of the paintings in the show were made at the end of my degree and represent the focus of a very intense studio-time, so they are quite important and I think about them often. Pink Black Pink is one of the most confident paintings I’ve made. I’m very much still exploring the grounds in which they operate, though I understand it better now.
Pink Black Pink, 2009
What’s an average day in your studio?
I try to keep lots of paintings on the go (10-20 or more) so that I don’t get bogged down in the appearance of any particular painting. I expect a fair few to fail- which usually comes from overworking. I tend to go from one to the next, putting things away after I’ve worked on them. The less confident I feel, the longer I spend on each so on a really good day I could work on up to 10 paintings.
What type of paint (oil, acrylic) do you use and why?
I mostly use oil as it is so flexible and sometimes un-predictable. I use a lot of transparent colours which oil is very suited for. I do also use acrylic but usually for the more predictable priming and under-painting. If I’m not painting, my favourite medium is colouring pencils and paper.
Hellion II, 2009
Your statement discusses your paintings relation to “historical notions of depth relating to the flat painting surface and depth that we relate to visual experience” was there a particular painting or text which sparked your playful exploration?
My exploration was really fuelled by an interest in the range of ways that painters have represented visual space across history; from Masaccio to the trompe l’oeil of Gijsbrechts and still life painters such as Claesz, Cotan and Morandi, to de Hooch and Vermeer to Francis Bacon, Mary Heilmann and Phoebe Unwin.
I’m also interested in the way that photography and moving image represents visual space and how it changes our first hand experience of looking.
Day In, 2010
What was your relation to painting objects during your time at Wimbledon?
At Wimbledon I made quite a few paintings and photographs which described still life objects. Eventually I found that the objects got in the way; they were always charged with associations. I wanted to explore the space of the canvas or photograph rather than create an image.
How do you name your paintings?
I start with a sort of word association game and go from there.
Obstacle No. 2 2010
What does the sub-title of the exhibition “painting between representation and abstraction” mean to you?
For a while I’ve felt uncomfortable with using these terms – I don’t find it so useful to be defined as ‘representational’ or ‘abstract’, so being somewhere in-between sounds about right.
Had you met any artists before deciding to be one?
A family friend is a photographer who works in Hong Kong, taking pictures of the landscape. I always thought it was amazing that anyone could do something so beautiful for a job.
What was it like to study at Wimbledon?
Very supportive with a real sense of community. I loved being in a green and quite residential part of London.
“Hello! Erm…Welcome!” says Johnny Flynn as he takes to the stage for this homecoming show, and and the Sussex Wit’s biggest ever headline gig. This is definitely the politest gig I’ve ever been to. The air of restraint is only reinforced by the fact that, unhealthy due to the Shepherd’s Bush Empire’s cloakroom having reached it’s maximum capacity of bags, I am forced to carry a Marks & Spencer carrier bag for the entire gig.
However Amelia’s Magazine favourite Mr Flynn is nothing if not a captivating performer, and the whole crowd is mesmerised as he starts the gig with the low-key Lost and Found, a highlight from second album Been Listening. One thing that’s immediately obvious is how good his band are. They’ve been on the road pretty much non-stop since the summer festivals and it shows. During a blistering Been Listening, they chug away like vintage-era The Band, adding a real live punch to the powerful honesty of Johnny’s voice and guitar.
So much so, that when they play the afro-beatish single Kentucky Pill sans its main trumpet riff, it’s hardly noticeable. And this is the order of the day – although the live renditions often differ considerably from the recorded versions, Johnny and the Wit always do justice to the songs, in true troubadour style. On the magnificent Hong Kong Cemetery, Johnny switches between a trumpet in the choruses and a guitar in the verses. Later the horn section parts of Cold Bread are approximated with a flute. Throughout the night Johnny will also play the mandolin, banjo and the fiddle.
“This is my sister Lily, she just got here”, he says, signalling the first of two guest appearances, as his younger sibling takes the stage to sing backing vocals. “Now we have ginger symmetry”, he jokes, standing flanked by Lily, and the equally raven-haired keyboard player James Mathe, who later admits “We need to work on our banter”.
Then Johnny whips out, like, an electric guitar! Is this going to be his Bob Dylan “Judas” moment? Not quite, but he does inform us “You can bop to this one if you like”, before breaking out into an almost calypso-tinged version of the lovelorn Churlish May, which does indeed get the crowd moving.
The more traditionally folky songs from debut album A Larum generally receive the biggest responses, with stomping singles Leftovers and The Box provoking medium-scale hoedowns. But the most enduring moment comes from an unexpected guest appearance from old friend Laura Marling. The crowd, which up to this point has been pretty reserved, goes bananas. Delicate and pale, the almost ghostly spectre of Marling adds to a haunting rendition of The Water, Johnny’s paean to H2O.
I’m actually surprised at how many people are here, but as I look around the sold-out Empire, it’s clear that Flynn has a strong and adoring fanbase. During a rare quiet moment a girl behind me shouts “I love you Johnny!” – a couple of seconds of silence pass and then the man next to her shouts “I love you as well, Johnny!”
Flynn, playing in front of a patchwork backdrop based on the trees from the cover of Been Listening, ends the set with a breathless version of the banjo-led Eyeless in Holloway. After only a couple of minutes he returns to the stage with Lily, saying “Did we do that right – the going off and coming back on bit?” It’s this kind of bafflement with the rituals and clichés of rock and roll that makes his approach so endearing.
After a tender and stripped down duet with Lily on Amazon, the rest of the band come back on. “We’re gonna play one more, and then everything else happens…like life and stuff”, he says, before ending with rapturous fan favourite Tickle Me Pink. I leave the venue, Marks & Spencer bag in hand, feeling like I’ve witnessed something truthful and blessedly untainted by cynicism.
When the folk resurgence started a few years ago, Johnny Flynn seemed like the boy most likely to. However in terms of sales, he has since been outstripped by the world-beating sound of Marling and the ubiquitous Mumford and Sons. But while Marling and Mumford may have the arena tours and Mercury nominations, it’s clear from tonight that Johnny still has the heart and soul, and vitally, the sense of humour.
Written by Rob Harris on Monday December 13th, 2010 3:25 pm
