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PREVIEW: RuPaul’s Drag Race’s Naomi Smalls has just teased 2018’s answer to Vogue (featuring Kim Chi). 

Move over Vogue because RuPaul’s Drag Race’s fashion forward runner up Naomi Smalls is making us strike a Pose, with her soon to be released debut single (featuring bestie Kim Chi).

Image edited by Ray A-J

THE FABULOUSLY leggy drag Queen of fashion Naomi Smalls teases us with a video for her upcoming single Pose, on December 16.

The season eight runner up, who is currently battling it out for the crown on RuPaul’s Drag Race All stars four, originally debuted 2018’s answer to Vogue on the show last Friday. But fans will have to wait a while before they can download the dance worthy bop – the single won’t be available on iTunes until December 27.

But what is the song about? Naomi gives us all the tea, explaining: “Pose is a celebration of runway, models, glamour and confidence. It highlights the one thing Naomi Smalls does better than any fashion queen out there: Pose.

Naomi Smalls is a fashion model and ‘Pose’ is her dream world. I think it will give viewers an enjoyable glimpse into my chaotic mind,” she decrees.

Alongside the legendary (all legs no dairy) queen, the video also features a cameo from fellow season eight runner up, and bestie, Kim Chi.

The modelesque queen, otherwise known as Davis Heppenstall, first began her life-long fascination with hip-hop and house back in 2016, when she made the move to Chicago. “Windy City DJ’s like Derrick Carter and Michael Serafini got my lanky ass on the dance floor in a way that never happened in the past. Spinning around and posing my heart out was the greatest fun and the most me I have ever felt,” she recalls.

LIVE REVIEW: Don’t let Razorlight leave the stage @Concorde 2

You might as well just glue indie rock legends Razorlight to the stage here at Concorde 2, because we are not ready to let them go!

JOHNNY you’re a legend, I f*cking love you man,” bellows a rather expressive individual, clearly empowered by wonder and liquid bravery, to the unabashed man on stage.

“Encore, encore, encore,” coos the crowd at the very back of Concorde 2 for the first obligatory round, their feet rippling like waves on the floor as if they had been transformed back into their bright-eyed teenage years, intoxicated by a placebo sort of effect. “Encore, encore, encore.” And from this call, rather expectantly, a roar from the rest of us follows.

This isn’t the first time these words have been howled tonight, and it certainly won’t be the last either. In fact, two more encores follow soon after, with the band leaving the stage only to return again, ever the more wonderful, each time. And I’m sure in their arduous 8 year-long career (removing those 10 spent in hiatus) having being inundated with various renditions of these words, Razorlight were nonetheless still just as exhilarated to hear them said again – even if it was three encores in a row.

Of course, we’re making the most of seeing the indiefied four-piece, from back in the early 2000s, in their current state; it has been a whole decade since they so generously bestowed onto us their last album, and we’re desperate for more of their music. Thankfully for us, with their latest tour, the London natives didn’t disappoint.

From shinier new gem, Olympus Sleeping, to the more iconic well-worn America, and Before I fall to pieces, the group so known for their guitar based musical beauties stun with precision and poise. Each electrifying riff from guitarist Dave, each trembling resonance from bassist Harry, that takes to the floor and consumes our chests, leaves us electrified.

With every masterpiece of sound racing from the performers’ hands and setting up camp in our ears, one after another, there isn’t much time for talking. The music is switched on constantly. The only time singer Johnny stops the ongoing parade of songs is to allow us starry-eyed audience hopefuls to chant a chorus or two for him – we want to be part of the band too. To be frank, we practically sing the whole last chorus of Golden Touch, and for all of 10 seconds live out our teenage dreams of being rockstars. Having spent most of the show sweating something crazy, and hopping about like a rabbit whom had found themselves some coffee, Johnny is just as enthused as we are at that – it gives him some time to breathe.

A few songs later, we find ourselves lapping up the last drip from the glistening stream of electronic piano chords across favourite Wire to Wire. Hearing the final note echoing across the room and seeing every pain stricken facial contortion from Johnny fade out with it, we just can’t bring ourselves to say goodbye. Luckily for us, neither can the band, as they gladly return after initially calling it a day for the expected encore, keeping us content for a while longer. But like anything, the wonderful parade of music, both new and old, has to meet the finishing line somewhere. And with the climactic sounds of America still ringing in our ears, we can’t quite let our indie rock heroes leave Brighton. We try again for another encore, but the lights on stage are getting dimmer, and in the next breath we find the well-loved group are nowhere to be seen.

I suppose we’ll all have to wait for next year to see them again. But until then, here’s a shot of Johnny’s hilarious facial contortions …

 

PREVIEW: BABYTEETH come out of their Cocoon with tour alongside Adam Ant, and new track. 

Ahead of an upcoming show alongside eighties legend Adam Ant, the alternate five piece BABYTEETH release their third dark and twisting single.

AHEAD of their spot supporting eighties legend Adam Ant, on December 19, London’s own five piece BABYTEETH are set to drop their third single on December 14.

Dubbed Cacoon, the self released track and its accompanying video are described as a commentary on death and rebirth – with the two members of the group accidentally setting themselves on fire during filming.

About the track, the band said: “Cocoon is about how we’re sometimes addicted to making bad choices because they’re the more exciting. It’s also about how powerful it can be to decide to feel gratitude for all the experiences, as they’ve turned you into a stronger version of yourself. It’s about personal rebirth, and remaking.

Dark and twisting, the track follows previous single Shame, which saw success with airplay on Radio 1, and Kerrang.

Along with Adam Ant, the band have previously supported electronic indie group The Naked and Famous, and indie two-piece The Pearl Harts.

LIVE REVIEW: Tis the season to be Mary @ Brighton Dome

The girls from RuPaul’s Drag Race welcome us into a winter wonderland, with a performance that’s “Gayer then a but plug snowglobe,” at the Brighton Dome.

 

THIS is gonna be Gayer then a but plug snowglobe,” laughs the cheeky Bob the drag queen, as the campest Christmas show around transforms the Brighton Dome into a winter wonderland.

Just before the clan of O’Haras, season 4 sisters and silent but deadly Kameron Michaels, take to the stage for an on key kiki, the comedy queen’s sharp wit and wonderfully terrible rendition of a Brightonian accent warms us up like kick of cinnamon in a hot chocolate, making us as excited as kids on Christmas eve for the show that is about to take place.

Bob’s new to this hosting game, replacing the tour’s usual conductor Miss Michelle Visage (she’s away performing in the West end musical Everybody’s taking about Jamie at the moment), but she proves she was most certainly born for this gig, with jokes flying here there everywhere and she introduces us to the gay Christmas of our dreams. Don’t worry, they’re all landing well too.

Speaking of here there and everywhere, season 4’s favourite showgirl Phiphi O’Hara just can’t seem to get any of the steps down throughout the group dance number that swiftly follows Bob’s cheeky introduction. Red in the face, but taking her blunder with good humour, the queen’s expressions are following suit of her legs, contorting themselves into all kinds of hilarious positions as she fails to hit each step in time with the other perfectly coordinated queens. Season 8’s Bob, season 4’s winner Sharon Needles, fellow season 4 sister Jiggly Caliente, and season 10’s first, second, and third alternates Eureka O’Hara, Asia O’Hara, and Kameron Michaels, may not be known for their dancing skills, but with this performance they should be. In all fairness, the queen wasn’t on the original bill for Brighton’s lineup – both her and miss Jiggly Caliente were called in as replacements for Manilla Luzon (she’s away due to prior commitments to the upcoming All Stars 4 series), and Blair St Claire (who was also missing in action from her scheduled appearance at Drag World UK back in August). But that little hiccup is soon thrown out of the window, never to be remembered again, when the spotlight hits and she opens her mouth to sing. And boy can she sing.

Out of this beautiful little queen bursts the voice of a true Mariah Carey level diva songstress, as she perfectly strings the sounds of the classic festive track The Christmas song (chestnuts roasting on an open fire), with a stripped back sort of soul feeling. Hitting all the right notes and more, the queen is shining like a golden star guiding us to the very peak of festivity’s joy.

And from one season 4 queen to another, the ooky spooky Sharon Needles takes Christmas and flips it on its head, as she begins to sing her own festive tune from way back in 2016. “We’re gonna pump it this party all night,” the campy queen belts to the concerto of white confetti that clouds the stage around her, tongue (firmly) in cheek for the festive club bop Snow machine. And who would have thought that the crazy queen from way back in season 4 would be singing LIVE at a Christmas show? But Sharon keeps things Sharon, with innuendo here and double entendre there, wrapping up snow and… other types of white powder into one light and delightful performance.

But the best performance, well Eureka I’ve found it. Sharon may be spooky, but there is another queen coming for that title, as season 9 and 10’s Eureka O’Hara brings an element of darkness to the stage for this merry yuletide. Dressed head to toe in the most beautiful potato sackesque oogie boogie cosplay – giving me flashbacks to Batman‘s Scarecrow, the queen who once destroyed her knee by jumping into split is not here to play (she’s here to slay), prancing the stage, and fighting Santa Clause, all the while lipsyncing perfectly to our favourite eerie yet festive class The Nightmare before Christmas. Mixing some spoken word and operatic lipsyncing, she is giving us Christmas with jingle bells on. And just when i thought the queen was at peak brilliance, she takes off her beautiful potato sack dress, dropping it to the ground to reveal a bedazzled body suit and crazy uptempo dancing with a dash of Demi Lovato. It’s safe to say this queen’s gig is the crowd’s favourite so far, as all at once we leap to our feet and stomp the house down, erupting into a giant roar once Eureka leaves the stage.

This roar swiftly turns into a standing ovation, soon after the whole lot of fabulous queens, that are giving us opulence with their dripping in blue jewels lewks, finish their final group number. But, like a wonderful gay angel, Bob returns to quench us of our thirst for more more more. “That was going to be our last song, but we’re going to give you a Brighton exclusive and do one more song,” she laughs, but we all know the queens were always going to come back for one more track.

Have yourself a merry little Christmas,” the backing track choruses, whilst the queens’ smiling faces warm us like hot chocolate on a snowy winter day. Circling the stage like a tornado of fabulocity ready to take us away to a gay wonderland, the beauties are giving us the best Christmas present ever, and we’re loving it.

 

Sitting in amongst an overflowing audience of sparkling sequence dresses and optimistic faces, painted lavishly from corner to corner, i can honestly say I’m now looking all the more forward to this Christmas. From the hilarious Bob, with her feeble attempt at a Brightonian accent, to Eureka’s kick ass spooky dance number, and Jiggly’s cheery rendition of her own track Ratchet Christmas, the queen’s had us practically bursting with excitement for this festive season. And, with their perfect, gag worthy performances, I now have a new found appreciation for Phiphi and Eureka O’Hara – they are truly something to behold live. The Queens have most definitely made the yuletide gay, and like Bob herself says at the very end of the show, with this show we will all “Have a happy draggy Christmas.

LIVE MUSIC REVIEW: The Wonder of MIMAH @The Prince Albert

Hip-Hop fused newbies MIMAH introduce us to a new genre of melodical wonder, at their debut show.

WHO wants to see me do a shoeie,” screams the tall singer, to a chorus gleeful roars from the audience.

Right, I’ll need a beer and a shoe then. Anyone got one?” Sure enough a shoe – contaminated with who knows what, and a warm beer, appear from the bellowing audience. And then, honestly the weirdest thing i think I’ve ever witnessed happens. Jumping down into the jungle of people, he proceeds to drink the whole can of sweltering beer from the shoe. Yes, from the shoe.

Come closer, I wanna touch ya. I am your saviour, I am your Jesus,” beckons the lad on stage, as the audience moves closer and closer. All around the sounds of light jazz and bright Valerie era Amy Winehouse guitars circle the room. I was already enthralled and the main act of the beautiful jazzy pop gig hadn’t even shown their faces yet.

Quickly the glistening sounds of relaxing funk pop merged with a Hip-Hopesque ideology, as the last support act left and the Too Many Zooz style seven piece MIMAH surfaced.

Subtle jazz enthused guitar chops and light drums unwind, reclining on the stage so that the fireball of a rapper can claim the limelight. Spitting bars faster than Road Runner sprinting the 100m at the Olympics, the young frontman walked us through the world of urbanised smooth jazz. But alas, this overflowing waterfall of words ran dry. Red in the face, the energetic rapper suddenly drew a blank. “I forget the words,” she melodically spills, refusing to let her lack of lyrical memory hold her back. “Just carry on.” Brandishing the heart of improvisational jazz, the band bravely continues on. But the battle for words was sorely lost, as the hopeful rapper’s flow came to a sudden halt of silence. Brief. Silence.

Picking up swiftly from the blunder the dark thunder of heavy bass licks and drums that run quick in a sweet R & B way change the humble room of hopeful onlookers into a wave of swaying bodies and relaxed faces, driving 8bit bass and keys play into a feeling of ease, with their minimalist reiteration, of songs known across the nation, with covers of a few and original songs, two, taking the band to a place of bliss, one which they almost missed, with the painful technology failure, that occurred. just. moments. ago.

They get into a rhythm – a more confident presence and a better performance, with the last three songs. Throwing in some offbeat ska guitar chords, unhinged tension building semintonal solos, and high-speed off the cuff lyrical magic, the group create this all round feel good sound that seems to resonate access the various ages that bare witness to their unique style – heck, we were all jigging along with the singer as she bounced eagerly about the stage. We couldn’t help it.

With gameboyesque 8bit bass lines, and delicate guitar chops, the jazz enthused group created wonderfully light and breezy summer day anthems. And, for a debut, their amazing melodic mix of playful funk guitar harmonies, rough and ready vocal spills, and sultry sax lines, offered us a refreshingly modern take on rap and instruments outside of the usual four piece lineup.

Don’t just take my word for it, check out a juicy snippet of their live show for yourself below….

MUSIC REVIEW: Global warming is taking over disco

Get ready to catch some rays of beauty from Sam Dickinson’s latest track Wild Sun. Be sure to wear some sun screen though – you don’t want to burn.

Image edited by Ray A-J

 

FOGGY. Everywhere is foggy. A thick smog suphocates the innocent land, steeling an essence of life from the air. Desperate rain drops plummet to the dreary ground below, with every splash offering small pockets of hope to the tired grass. But it’s not enough. Each humble tear of rain erupts into a fierce fire, as a burning heat starts to overtake the sky. Instantly the land is engulfed in amber, killing everything in its path. But nature fights back. Across the way, beams a delicate little house of glass. And From The Glass House shine rays of glittery synths and mechanical automated beats, taking the heat and reversing its power to breath pure life into the dying plane.

With his latest track Wild Sun, synth guru Sam Dickinson paints a glorious picture of bright modern disco, in amongst the often suphocating landscape of inauthentic pop. Throughout the follow up to 2014’s When you left me, ring gleefully light sounds of string choruses and bright synth chords, adding a comfortable familiarity to the bouncy club track.

Steering the somewhat distant melodies are the Pride radio DJ’s delicately sweet vocals, that are oddly reminiscent of our Brighton favourite Liam Doherty’s. Like sunlight suddenly bursting through a dull morning sky, Sam breaks into falsetto, opening the landscape to its dancing chorus with the words “Set me free.” The Gateshead native keeps to the pitter pattering beats of the electronic drums, fusing the rhythmic tap-dance with his own breezy vocals. Each line of bright vocal is lightly decorated in a spacious amount of reverb and delay, adding a slight sense of depth to the otherwise thinning sounds.

The story of self empowerment continues through a charging chorus into a calm, perhaps less enthused, verse until it meets its orchestral cadence.

Sam has created a wonderfully sweet club banger, with this light and playful start to his latest From the Glass House E.P. But, at times, the otherwise delightful blend of wistful vocals and tip tapping beats becomes rather stagnant of energy; the verses desperately need some occasional dynamic shade to contrast the wonderful beaming light that is the chorus, just to stop us from being burnt to a crisp by the repetitivity of it all.

LIVE REVIEW: Siren start a revolution @The Brunswick

“For all those abusers not yet named, we warn you, your days are numbered,” challenge the all female eighties punk feminist band Siren, as they stir us into a revolution with their catalogue of anarchistic anthems at The Brunswick.

AH, THE EIGHTIES. A wonderful time full of punk-ass rebellion; an eclectic jungle of musical genres and looks. And though that period of discourse and glorious violent freedom is long behind us, remnants of the era emerge every now and then in sudden pockets across the world. And hidden between the walls of The Brunswick for one wonderful night in Brighton, one of these pockets exploded.

On a lazy Sunday night, in the shallower end of Hove, a humble little room was sent way back in time to the very cusp of eighties punk.

Before us in this sardine can of a room, that was practically overflowing with starry-eyed onlookers, stood a powerfully stoic group. The all women Lesbian feminist 80s punk band Siren were glued to the stage, like statuesque trees, breathing out a gust of political discourse and sweet sweet anarchy with every sound their instruments sung.

From new anthems of revolution MeToo, and Love is allowed, they began bleeding the

Purely
Unfiltered, raw
Noisy
Kick-ass anarchism

that their older music was all about – only now packaged up in a beautifully refined style of classic rock, that harkens back to the days of Johnny B Goode with Jane‘s pretty little guitar twangs and new vocalist Emilia’s jazzy tremolo vocals.

The next one is a tribute to Tarana Burke – the black activist that started a movement in 2006 that really took off last year,” bassist Tash introduces, leaving us on a cliffhanger with “Hashtag…” before an almighty roar of “MeToo,” kicks off the combative explosion of driving bass.

Marching drums thudded heavily, calling us to join the war on misogyny, as the striking MeToo flowed in through our ears and burst in our brains. As the heavy, mind bending, floor shuddering drums and bass pair roused us into a march of our own, I couldn’t help but become inundated by the words the mistresses of rock n roll had told me during our interview months before.

“For all those abusers not yet named, we warn you, you days are numbered,”

We wrote a song called pinup, in the early eighties, around the sexual exploitation of women,” I remember Jude told me. “And its amazing to see that now, all the sort of ideas that we as feminists were talking about are being talked about by younger women, by older women, and by so many women.”

And men,” Tash added.

Jude continued: “Certainly that [#metoo movement] has influenced our song. But that’s nothing new for us. Most of our songs are always been about oppression in terms of lesbianism, of being gay, or being women.

Unfortunately, the lyrics of pinup are still relevant today. A lot of our songs from then [the eighties] are still relevant now,” drummer Debs added.

For all those abusers not yet named, we warn you, you days are numbered,” the velvet voices of Emilia and Jane cautioned, bringing me back to the revolution that was emerging on the stage.

A dark twang of guitar shoots out like lightning from the stage, calling in a crackling thunderstorm of drums and ebony sounds, as they transitioned to the next grand musical story.

In our red and green Republic of Brighton, we sometimes forget there are places in the world where you can’t be gay or Lesbian,” says Tash, giving way to the poetic depiction of drummer Debs’ escape from her original home of New Zealand to England in hopes of freedom. As the hard-hitting track known as Love is allowed creates a storm of beautiful rock n roll, i am once again reminded of what the band had told me not so long ago.

“There are lands where who you love could get you locked in jail. We can’t let things slip backwards; we mustn’t fail,”

There are around 75 countries where it’s illegal still, and some where you can be put to death, for being gay. We can never be complacent that gay rights won’t be taken away,” I remember the songstress’ telling me. And they cannot be more right, especially with the situation in America at the moment dominating many of our worries. We can never give up the fight, it would seem. But with each thudding note of clean bass, each wonderfully jazzy vocal trill, each carefully crafted profound word story the group bleed, Sirens give us hope that maybe this struggle for basic humanity will gradually become easier.

One of our new song is called love is allowed, and It’s about mine and Debs’ life, you know, being brought up in south Africa where at that time you could not be gay, you could not be a lesbian,” I remember Jude explaining to me, revealing the harsh reality of society’s handling of LGBTQIA+ rights across the globe. “And she chose to live here, because she could live where love is allowed. That’s why we say in our song, you know, ‘Daughters be aware of the freedoms that we have won. Children be alert when they say our work is done. There are lands where who you love could get you locked in jail. We can’t let things slip backwards; we mustn’t fail’.

The headfirst dive into such harrowing topics ironically was wrapped up in a neat bow of pristine guitar tones and neat playing; there was none of the hardcore sketchiness of punk rippling through the stage visually, none of the cut throat guitar shredding or wall of distortion that so easy becomes muddied and awkward, but rather a punk ecology oozing from every word. Even down to the little jig each soldier on the stage seemed to erupt into when the chorus hit, everything was refined and faultless. Yet, it was easy to see how the shadow of the rebellious four piece from the eighties still kept close by each of them as they brandished audible posters of social change and pointed rather directly at a decomposing mysogynistic ideal.

“At one gig we were at, Peter took his d*ck out and started w*nking on stage,”

Although the politics was practically bubbling in hot fury throughout the punk warrior’s performance that night, their wonderful sense of humour, and light tales of love, were injected into each song too, just to keep it all from spilling too far into darkness.

Anyone whos ever undergone treatment for cancer, will understand the terminology sounds like something out of a spy thriller. So you’ll probably recognise the theme for this one,” joked Tash, opening the stage to the dark rumbling theme from the James Bond movies. Swiftly this sultry guitar, and humming bass line, twist into bumbling up-strums and playful off beats, firmly adding ska into the bands’ cocktail of sounds. And the musical-esque jumping notes of Roller-coaster ride flowed through the air with a light beauty, drawing us into our own jigs of cheer, beautifully decorating the song’s poignant tale with funky flairs. Just as the ska quips and stop start drums became a mirror to the energy of the performers, refined guitar solos started to sprinkle that exta little kick of spice into the mix, throwing us into the powerful flavour overload of a chorus. This flow of energy painted the room from wall to floor in solidarity and overall joy, with each passing note.

Speaking of paint, Jude and Tash were actually quite the gangsters back in the day…

The next one is an old favourite with a difference. It harks back to when we were never without a spray paint can in our hands, ” Tash laughs, introducing us all to the bluesy (duh) 50s rock n roll sounds of Graffiti Blues. Every soft electrolysis of chords, every slide and trill, even the cheeky harmonica solo, brought up images of American diners and the days of John WatersHairspray. It was magical, toeing the line between cheesy and wonderfully sweet. As they neatly layed out in front of us the story of punk teenage rebellion, decorated with bluesy licks and subtle glows of country scales, it reminded me of the time guitarist Jane kicked off at an old gig once…

At one gig we were at, Peter took his d*ck out and started w*nking on stage,” I remember Jude revealed, leaving a canvas of befuddlement glued firmly to my face.

What Jane in the band did was crawl around to the back of the stage and just unplugged the main PA switches, and everything went ‘wuuurg‘, “she laughed. “We had to run down the road. We had quite a few spats with, you know, the anti-piranha league who said, you know, I don’t mind the feminists, but I f*cking hate the lesbians,

Spilled from the very heart of Debs, Tash, Jude, Jane, and Emilia, the powerful allurements stirred feelings of revolution in all of us gleeful listeners. With every refined note, every imporovised bend from the bass, the songs became ever more heartfelt and engaging. And, despite the short amount of time the band actually had on stage, they seemed to leave behind a glow of wonder and a feeling of a revolution amongst us. And why they are not selling out the o2 arena right now is beyond me, truly.

LIVE REVIEW: Seeing things as Queer as Day @Green Door Store

Celebrating all that’s gloriously queer, DJ Vicki Cook (or Rebel Girl as she’s sometimes known) and Effie Fowler’s fabulous Queer as Day festival kicked off for the first time ever at the Green Door Store.

CONTENT WARNING – CONTAINS UNEDITED BAD LANGUAGE AND PUNK-ASS VIBES

Have you ever walked into somewhere and just felt completely, inexplicably, safe? Ever entered a room and felt like you’ve just walked into the most heartwarming excepting place in all the world?

Well, as I awkwardly squeezed my way into first ever Queer as Day festival at the Green Door Store two days ago, I was practically swamped by that feeling.

All around me, smiling faces of acceptance and support were buzzing about, weaving eagerly between the various stalls of Zines and Queer art that were on sale. Very quickly, the venue began to be filled with the radiant glow of diversity, with more and more eager onlookers boarding this ark of positive safety, every passing second. Given the festival’s youth (as I said before, the festival’s debut was literally that night), there was an overwhelmingly wonderful turn out – a turn out that wasn’t at all expected, as one of the festival’s parents, Vicki Cook, told me later that night.

It’s been amazing. We weren’t expecting it, we were really, really hopeful that we would have this turn out, but we’ve just been completely blown away. It’s been fantastic and really uplifting for both me and Effie,” the mind behind the monthly female fronted live music night known as Femrock enthused.

Practically flooding the room, this sea of cheerful people spilled out from the stalls and into the courtyard, finally culminating in a pool of wonder and awe around the sparkling stage, as dreamy guitars and powerful performers started to play.

Swooping the stage with an almighty roar of gravely pixelated feedback, the band cleverly known as Byenary took us back to our days of brewing teen angst and anger. Screaming the words “We will not be silenced,” as if their heart was breaking away from their chest and instead becoming lodged in their throat, only to be spat out onto the floor, bleeding with the damage society had done to it, the singer gushed a story of injustice and prejudice.

This is a song for my dad. He’s a dickhead,” they laughed, a few minutes later with the screeching of feedback still burning in my ears, before drowning the river of muddy distortion that lead to the next song I’m not your fucking princess. For their first ever gig together, the anarchic threesome of punk rock soldiers had an immense power over the stage. Shredding manically, with an immovable angst, the warriors took us straight into the heart of injustice – it was an incredibly encouraging performance to watch; it seemed to inspire feeling of a revolution. But with topics like Terfs (meaning trans exclusionary radical feminists), and a parent’s inability to accept their child’s gender, the weight of such unfortunately common and horrifying issues surpassed the wonderful bubble of expectance at the comfort of the Green Door Store. It hit home this idea that there is very much a battle still to be had. We are not done fighting for our basic rights as humans, in the queer community. There is still an unruly amount of injustice.

It’s been really difficult for the queer community over the past twelve months, or even the last two years have been particularly difficult,” Vicki explained to me later on. “We’re so easily erased; the queer community are either a tick box, or a we’re an after thought. And it happens too often, especially over the last year. Over the last twelve months there has been a lot of aggression and hatred towards especially the trans community.

And this political unrest continued further on into the night, with the self-described queer glam punk army IRN Brunette bursting into sharp fireworks of passion, clasping at twangy guitars and hemorrhaging bass notes. “Are you straight or are you gay? Are you a boy or are you a girl?” the dark, yet refined, musical voice of a figure donning a DIY cut off jacket emblazoned with the words “Radical softness now” blurts, ironically echoing the questions of the ignorant. Songs of Bi and Asexual visibility quickly followed, drawing us to march along to the war cries.

But, with more events like Queer as Day, this discourse could find its end.

It just seems absolutely what the Queer community needs right now is just a collection of really amazing people who are doing really great things in a really difficult time,” Vicki explained. “So, I just kind of saw an opportunity to put on like a queer all dayer, and decided to just bring together loads of just really amazing and incredible artists that I would love to work with pop them on a lineup, and kind of came up with QueerAs. This is really about giving people a platform to almost have like an outlet, where they can be fucking angry and they can be creative and expressive. It’s a celebration of our queerness and it’s all about visibility and giving a platform to people and I guess giving power back to the community. Myself and Effie have organised this, it’s the first all dayer, it’s the first event we have ever done as QueerAs, and it seems to have had a really good response. So hopefully it’ll become a regular thing. It’s just been lovely to put a positive spin on everything that’s been happening.

In amongst this parth of dark revolution, wonderfully light and playful gems were scattered. Acts like IRN Brunette, Bee and Jackrabbit, and Psychofag, laced together the sharp politics of social injustice and the feeling of discrimination, but managed to sparkle some rhinestones of humour and fun on top.

Almost like Simon and Garfunkle, but with less animosity and more politics, Bee and JackRabbit, or as they are currently known on Spotify, Paul F Murray (they’re in the midst of a rebranding), took us to a place of peace and tranquillity. With their beautiful flow of almost country sounding cello and acoustic guitar, wrapped up by what I can only describe as divine vocal harmonising, the duo’s authentic and heartfelt songs put us all at ease before we were ready to be amped up once more.

Seeing as Halloween was only a few days ago, we’re gonna take you back there with a spooky song,” IRN Brunette’s lipsticked lead singer smiles before cackling something hysterical, as if they had just been snatched right out of the end of Michael Jackson’s thriller. And sure enough, the fabulously camp thuds of the Monster Mash began to fill the room, as the laughter faded and the singer put away their phone, jumping down into the audience for a jig.

The heavy all-consuming driving beats seemed to merge with a gravely robotic voice, as Psychofag took over the stage. Like cubic pixels, or the weird static you would see on an old TV when you lose the satellite signal, the sound popped and spat colourful pieces of spoken word and cantabile melodies. It was like I had just walked into a club kids fever dream, only with a tongue in cheek lyrical flair embedded into the thudding tones. Psycofag themself seemed to encompass a cheeky energy, as the toy doll figure bounded about the stage, contorting their face into various hilarious pictures of shock and befuddlement. A thought struck me, as the wild figure jumped out into the crowd, tinsel green hair sparkling in the gas like light: how isn’t this character on TV already? With creations like the impish Aunty Kim, and fabulous soon to be club banger Acid Tongue, this artist clearly had a wonderfully musical mind behind their unique aesthetic. So why they are not yet ubiquitous in the world of TV is an injustice of its own, honestly.

As the DJ known sometimes as Rebelgirl, Vicki Cook, told me later on that night, Queer as Day is actually all about supporting new artists in the scene.

We love being able to offer this kind of space to up-and-coming bands and performers,” she enthused. “In the DIY community, we don’t want to go to people who are, for good reason, already very well established. Like, they have fucking grafted, they have worked and they’ve gotten to where they are based on their own merit, and that’s fantastic – we obviously support people who are in that position. But it’s even better to give that platform to people who are up-and-coming, because you can’t be in that position without like fucking working your way and being given somewhere to perform and to grow along the way. Like Byenary for example, that was their first performance today as a band and they were fucking incredible,” she explained with a wonderful passion.

After such an energetic performance (that gave me li-i-ife), I needed a quick break. So I grabbed a quick bite of some gooey margherita pizza from the cheerful people at vegan food truck Gilli and Gordo’s, I was ready to dive back into the crazy world of Queer as Day.

Dressed head to toe in a long dark coat (that looked as though it had been stolen from a 1920s reporter) shades, and dolled up with a face paint mask of white powder and goatee beard, Jemma of Jemma And The Cosmic Somethings took over the stage. The singer songwriter’s solo project kicked off with gentle guitar’s and whirling deep vocals, emulating a mix of dreamy rock with lashings of psych styling. Thanks to an overhaul of mid frequencies, the vocals lost their clarity and lyrics became muddy. But with the artist’s song Black rain, this clouded sound transformed into a dark and angsty anthem, complete with twisting and twirling guitar shrieks. Whimsically twangy guitar notes sat themselves firmly onto seats of minor thirds, creating a wonderful feeling of unease. This shoegazey sound rung on, as the guitarists danced around the entourage of effects pedals that lay at their feet.

Each artist on stage was clearly skilled, utilising clever little licks, and screaming feedback with ease, yet I couldn’t help but think there was something missing from the mix.

Ghostly chorus and spaced-out reverb took over the dark sound, and suddenly a battle was afoot. Shredding with a wild ferocity, the bassist edged closer and closer to Jemma, taunting the artist into a faux fight of sounds. Eyes locked deep into one another, Jemma pished back with an almighty whirl of guitar chords. Back. and. forth. and. back. and. forth. They fought each other with a hilariously campy grin stuck to their faces, until finally the clangy guitar shreds could last no more and they both became swallowed by the hungry floor below.

Fabulous.

But the ground must have been too full, because not long after injesting Jemma And The Cosmic Somethings, it threw out another band for us to become awestruck by.

The glorious acoustic wonder of El Morgan and the Divers had us bowling over with serenity and pure joy, as the group began their soft lullaby of music.

A sweet string of electric guitar notes formed a plait of sweet serenity with the organic strums of the acoustic guitar, as the band’s heart-felt, solemn first song met our ears. And the castle of acoustic gold only grew richer, as they explained the wild complexity of their next song.

This one’s about when we were trapped in a pub, and had no way to get home aside from walking down a busy B road. But then we got a lift with a drunk person driving down the road, and it’s a miracle we’re alive because we really shouldn’t have gotten into that car,” laughed the lead singer, as their gentle tones filled the room.

Lovely sparkling piano notes lay in between sheets of calming guitar chords and powerful clean vocals, throughout their self described “love song for people who hate love songs,” and the singer’s Hayley Williams-esque vocals transformed the sweet sounds into a powerhouse of indie joy. The group seems to encapsulate a soft shoegaze sound, mixing the wonderful tranquility with the raw heartbreak of the singer-songwriter style vocals and lyricism, through the saddened song.

As the band played, it once again struck me: how are they not famous yet? Their sound was so refined, so polished and easy to drift along to that it seemed as though they could have been beamed up into stardom at any passing second that night. Surely they are the next up-and-coming indie success story from Brighton?

Showcasing all that was wonderfully Queer, the humble little Green Door Store transformed into bright rainbow of performers – all beaming with pride. From the eclectic craziness of Psycofag to the charming serenity of El Morgan and the Divers, each that touched the stage seemed to encompass their own sense of rebellion and advocacy. And overall the entire day that faded well into the night had me thinking: “I love being Queer.”

Update: after two whole days away from Queer as Day, I still can’t seem to extract Psychofag’s glitzy track Acid tongue from my brain, or IRN Brunette’s rendition of the Monster Mash.

PREVIEW: Queer As Day festival comes to the Green Door Store in Brighton today

Brighton’s own Queer As Day festival comes to the Green Door store, today, November 3, celebrating all thats good on the queer music scene.

BRIGHTON’S OWN Queer as Day festival is coming to the Green Door Store, tomorrow, Saturday, November 3.

Celebrating all that’s queer in the music scene, the event will go on from 2pm and will feature acts such as: Zand, itoldyouiwouldeatyou, Wolf Girl, Byenary, El Morgan and the Divers, Jemma Freeman and The Cosmic Something, IRN Brunette, Psychofag, and Bee and Jackrabbit.

And if that’s not enough to fill your queer hearts, the festival will also feature a Zine and illustration fair with art from local LGBTQIA+ artists.

For all the Vegans out there thinking “I wish I could go, but what vegan food is there?” they’ve got you covered. There will be vegan food stalls dotted about the event to cater to your grumbling stomaches.

The event comes to you from the fabulous minds of DJ Vicki Cook (or Rebel Girl as she’s sometimes known) and Effie Fowler.

Tickets for the 18+ event are available here.

Venue has wheelchair access and wheelchair accessible and gender neutral toilets


What: Queer as Day festival

Where: Green Door Store, 7 Trafalgar Arches,  Brighton BN1 4FQ

When: Saturday, November 3rd,

Time: 2pm – 10:30pm

Cost: Early bird £8/£10 on the door

To book tickets online, click here:

MUSIC REVIEW: Joan Armatrading – Not too far away

With her breathtaking performance at The Brighton dome just last week, we take a deeper look at the virtuoso’s fabulous new album Not too far away.

A WEEK AGO, something magnificent happened. Legendary MBE and Ivor Novello award winning musician Joan Armatrading bared her soul to the stages of Brighton. Clasping her guitar, the acclaimed singer songwriter bled the entirety of her latest album Not too far away to the awestruck audience in the Brighton Dome. And, with the wonderful solo renditions of her newest tracks still wriggling in our heads, we take a closer look at the songstress’ 21st album.

Straight away the hearty, uplifting, I like it when we’re together opens the gateway into an acoustic world of wonder. Delicate guitar melodies waltz around the Grammy nominee’s Contralto hum, leaving just enough room for subtle tinges of reverb to enter in, as her follow up to 2013’s jazz infused album Starlight kicks in. Luscious bass riffs interweave with the jangling guitar, bringing us a happier side to Joan’s usually melancholic material.

And these luscious guitars seem to find themselves into yet another brightly euphoric track, once the, now fan-Favourite, This Is Not That comes into play. Adopting breezy piano trills, and jumping guitar chords that bob around each on-beat, the lively song overflows with effervescence. Even Joan’s syncopated calls carry an undeniable sense of bliss. But it’s not too long before the smiling guitars and charming tambourine whispers fade into tears of sorrow.

Misery is my companion,” cries Joan, broken and weary, as the heavy piano chords that surround her become engulfed by their own puddles of reverb and sadness. Bawling almost, the haunting notes of third track No more pain greatly juxtoposes the warm lovestruck poetry of tracks like I like it when we’re together, opting to instead lend the stage to feelings of pain and heart-tearing misery. The solemn track is the only one of the collection that keeps strictly to a piano to tell its woeful tale, avoiding even a hint of the rhythmic glee present across the rest of the album. And it’s a nice palette cleanser of sorts, allowing us to recover from the somewhat repetitive onslaught of guitar jingles and tambourine shakes present across the rest of the album.

Soon after No more pain‘s perfect mirror of desolation, Joan introduces us to a different chapter of pain. With the thudding bass notes and excited clicking drums of second track Still Waters, Joan traces through bitter-sweet memories, masking any inclination of agony with a fast-paced toe tapping beat. And this is something Joan seems to master more than once, dressing up any affliction in fourth track Cover my eyes with sparkling twangs of acoustic guitar.

Produced, programmed, and composed by the singer herself, the album showcases what Joan does best – a combination of heartbreak and deep love sickness, all with an organic home-grown appeal of her solo tour. From the darker solemn halcyon of Always in my dreams, to the delightful passion and golden charm of This is not that, Joan crafts a wonderful juxtaposition of emotion, all the while keeping her infamously beautiful lyricsm. Unlike her 2013 trilogy of albums This Charming Life, Starlight, and Into The Blues, her latest isn’t at all genre based, but rather a story of love read from cover to cover with all of its glory and intense heart-break underlined. And it is a story that will indeed resonate, with its catchy hooks and earworm style melodies.

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