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londonmusicreview · 5 years ago

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Live Reviews November to December 2019 London, UK

Gig List:

Youth Sector/Earhart/BEACHTAPE|Nov. 7th, 20:00|The Victoria (Dalston)

BUGS/Flöat/Watch Paint Dry|Nov. 14th, 20:00|Off The Cuff (Herne Hill)

Team Picture/Blue Bendy/deathcrash|Nov. 18th, 20:00|The Shacklewell Arms (Hackney)

San Raquel/Clarence Oddbody/Big Wednesday|Dec. 17th, 20:00|The Victoria (Dalston)

Bleach Lab/Youth Sector/Birthday Card|Dec.19th, 20:30|Notting Hill Arts Club

Reviews:

Nov. 7th, 20:00 Show at The Victoria (Dalston)

Youth Sector went on first and they were phenomenal. Let me tell you that when you show up to a free show, you never know what you're gonna get, sometimes it's terrible and sometimes you're pleasantly surprised, but NEVER have I been so blown out of the water by a band. They are comprised of three guitarists, a synth/percussionist, and drummer. All of them sing backup except for the drummer who enthusiastically mouths along with all of the songs anyway, and the lead singer/guitarist reminded me of Timothee Chalamet and Robert Sheehan. They're all charming, enthusiastic, and thoroughly entertaining to watch, but the lead singer really gives it all when performing and acts unlike anyone I've seen. They sound like The Vaccines a bit, but are entirely original and themselves. I'd consider myself to be a new lifelong fan, if they keep it up for that long. (Insta:@youthsectorband)

Earhart were tall, almost too tall for the stage. The lead singer mainly, who reminded me a little of Bono for some reason, but with a little Adam Levine thrown in for kicks. At first, I didn't like them, despite the fact that the crowd seemed to love them. I thought they were melodramatic, and too into themselves; they seemed to take themselves a bit too seriously. They grew on me towards the end; they had one or two songs that were better than the others, and that set them apart. I understood why the crowd loved them, the intensity can be contagious, but I think I'm too chill of a person to really be into that sort of musical act. It's just not my cup of tea. RIYL: Twin Atlantic (Insta:@earhartband)

BEACHTAPE came on later than expected, but the crowd was still there waiting for them. Four guys: three guitarists and a drummer, and they play enthralling surf rock to which they refer on their Instagram (@beachtape) as "slop rock". Though I am not a fan of that term, I do see where their coming from, as their composition seems sloppy, but that is the truest form of slacker pop, soft indie rock, surf wave, whatever you want to call it. It is made to sound like that on purpose. Take Mac DeMarco for instance, his music does not always sound pristine, but it's not supposed to, and that is why it's so good. Though I don't agree with how they've categorized (they also call it "junk" on their Facebook page), I do consider myself in the fan category for this band; they're great and they put on a good solid indie rock show. RIYL: Phoebe Bridgers, Turnover, Day Wave, Real Estate.

Nov. 14th, 20:00 Show at Off The Cuff (Herne Hill)

Watch Paint Dry went on first, and she was incredibly endearing. With only a simple set-up (keyboard, peddle, guitar), she was able to create an ethereal experience through which her voice rang like a bell. Modest, nervous, and excited to share her work, I think she came out the other side for the better. Even when she forgot some of the words, it only ended in a charming report with the audience, in which we didn't care about the right words being sung and some wouldn't even call it a mistake, but instead a happy accident. It sounded seemless, regardless of her admission of forgetfulness, and everything else afterwards worked especially well with the character she shared. RIYL: Jade Bird, Snail Mail (Instagram: @watchpaint_dry)

Flöat was next, and they had four members, two guitarists, one of which was the lead singer, a trumpet player, and drummer. They played fantastically well together, and had decent variation in their songs. The only things that stuck out were the lead singer, who had a spectacularly pleasant singing voice, was absolutely inaudible past the first row of people when trying to say things in a normal speaking voice in between songs. It was utterly bizarre, I've never experienced it before in my life, but maybe they just had a soft voice? I don't know, but either way, have someone else make the announcements or commentary in between songs, if no one can understand you. There was also this awkward moment when the lead singer/guitarist wanted to do a "solo" (the only word I could pick out of what they said), and the rest of band sort of just stood idly by looking slightly dejected. Overall good set though in terms of the music itself. RIYL: Birdy (Instagram: @floatbandfloat)

BUGS is a punky garage girl band who aren't afraid to crush the men that have crossed them in some way with their brutal revenge ballads. They weren't all about men, there was one in particular that inspired that statement, but all of their music was inherently feminist, which I appreciate. The only problem I had with them was this one song that calls this bully out by name, and the singer even encourages people to go find him on social media and tell him off. I understand that bullying is a real problem, I've experienced it myself, and from that experience I know for a fact that telling someone off, or exacting revenge in some way, never actually makes you feel better. It seems like a pretty unhealthy message to be sending to any audience, especially young impressionable females who might look up to you as a feminist role model and get the wrong idea about what feminism is about. Overall they were badass and rocked my socks off. RIYL: Jawbreaker Reunion, Girlpool (Instagram: @bugs_band)

Nov. 18th, 20:00 Show at The Shacklewell Arms (Hackney)

deathcrash- five members: three guitarists, a drummer, and a percussionist. Style- skater boy chic. Genre: post-rock, very droning, reminded me of TWIABPAIANLATD, but with fewer lyrics. The first song was really more of recorded spoken word over their noises. Then they had the lead singer contribute live for the rest. Clearly have an attention to detail that contradicts their slacker appearance- peddles, percussion elements, blending only achievable through a great deal of trial and error in my opinion. RIYL: TWIABPAIANLATD (Instagram: @deathcrashdeathcrash)

Blue Bendy- six of them, which is the maximum amount of musicians possible to fit on this tiny ass stage in the back of The Shack, it is not built for a huge band. Keyboardist, guitarist/keyboardist, lead singer(who sounded a bit like Morrissey)/guitarist, acoustic guitar/tambourine(sunglasses), bass, drums. Misfits for sure, they did not seem to fit as a group, and I never would've picked them out of a crowd individually to be put into one cohesive band. But they played great together, especially the tambourinist, he really added a lot to the performance, and I'd love to go see them again. RIYL: The Smiths (Instagram: @blue.bendy)

Dec. 17th, 20:00 Show at The Victoria (Dalston)

Big Wednesday went on first, they had three guitarists, one of which was singing, and a drummer who sang as well. She was the strongest vocalist of the bunch, so when her and one of the guitarists switched so he was on drums as she sang lead, I was pleasantly surprised. They had a lot of repetition in their lyrics, but with the hearty dynamic voices it didn't seem to mattter. They finished with "The Chain" by Fleetwood Mac, and did it justice. These guys (and girl) have a lot of soul, and they spared no ounce of energy as they their mix of indie folk pop. RIYL: First Aid Kit (Instagram: @bigwednesdayband)

Clarence Oddbody were a mismatched bunch of misfits, but thoroughly talented musicians. The lead looked like your cool history teacher in his jeans, button down, wacky tie, and formal vest, but with Weird Al hair. He was shredding the guitar, and delivering a delightful mix of humor and individualistic sound. They had a bit of that feeling like they'd be the band at someone's bar-mitsva or wedding, may have been the crowd-centered humor, or the unprofessional appearance. Nonetheless they played wonderfully, delivering on a promise they didn't make, and radiating rock n' roll with a sense of humor; the drummer wore a t-shirt that said "Relax, the drummer is here". They had some 70s rock vibes mixed with the occasional jazz or new wave influence sprinkled in. RIYL: Weird Al Yankovic (Instagram: @clarenceoddbodyband)

San Raquel were my favorite of the night. I didn't realize it until the end, but I'd been standing near their lead singer the whole night. He'd been downing pint after pint, and I just thought he was a drunk audience member. Turn out he radiates talent, but seems tortured by it or maybe the lack of recognition for it? I don't think it's the latter, as he avoided all applause, and continually thrust the glory upon his band members and away from himself; at one point he called his bassist an "angel" and himself an "asshole". Despite being two sheets the wind at the start and three by the end, he put on one hell of a performance. I don't know if this is less impressive here in the UK, as there seems to be a different capacity for alcohol here, but to me it was down right inconceivable that this person was able to put on anything near to a coherent performance. He was completely at home on the stage, in a very literal sense; he wasn't wearing shoes, his shirt was half undone, and he treated the space as his own. At one point, he took the mic and loosely wrapped the cord around his shoulders so as not to trip on it as his balanced on the front lip of the stage, jumping down to bring the crowd closer, and coming down to dance with them multiple times as the show progressed. The juxtaposition of this band was stark, as the backup for this Austin Powers/Nick Cave mashup of a man were these three straight-laced guys playing with the upmost precision. You could tell that they loved him, even in his state, and I think that came down to the charisma and fawning he did over their solos. The drummer was from Clarence Oddbody, as he was wearing that same shirt, but he gelled flawlessly with this entirely different ensemble, so I think that is a true testament to his dexterity on the drums. Overall, the most entertaining performance, and the most accessible music; a funk rock extravaganza with one AND ONLY ONE cover from The Stooges. RIYL: The Stooges (Instagram: @san_raquel_)

Dec 19th, 20:30 Show at The Notting Hill Arts Club

Bleach Lab had two guitarists, a singer, and a drummer. When they started off, I immediately noticed how blended and professional the instrumentals were, maybe because the juxtaposition with the vocals was so stark. Later they announced it was their first ever live show, so that is most definitely the reason for this. The lead singer was understandably nervous and fidgeting, but her voice sounded like a mix of Lana Del Ray and a more lo-fi Dolores O'Riordan from The Cranberries. They sure have a lot of potential, and I can’t wait to see what they do next. RIYL: The Smiths, London Grammar, Youth Lagoon. (Instagram: @bleach.lab)

Youth Sector are a great band to see live. They have this energy that starts high and stays high throughout the performance. Nick Tompkins was a little more reserved at first than the last time I'd seen them, in November, but he brought out the charismatic moves later, after his guitar stopped working. They are just purely entertaining to watch. They played the same songs, just as well as before, and I'd go to see them a third and fourth time even if they don't put out any new music. These guys are in a league of their own. RIYL: Faux Ferocious, 1,2,3, and Astro Cowboy are the closest I can come to the feeling of this band, but still sound totally different in real life. (Instagram: @youthsectorband)

Birthday Card came on with the air of professionals or a new band on the cusp of greatness, and played a great show. There was humor and rapport between the band-mates on guitar, keyboard, and synth, as they were sort of the three in one corner. It was obvious they liked the music they were playing. The drummer was over in his own world, playing his heart out, but for once the drums took a back seat in these tunes; a backseat to the autotune and emotion coming from the lead singer. He came out with very 90s *NSYNC mixed with modern day E-Boy style, which immediately made me think this was going to be terrible. But it wasn't. Yes, there was little bit of EMO in the lyrics. And Yes there was a little bit of 'f*%kboi' poser energy coming off his movements and the way he held his mic, etc. BUT LISTEN, they weren't bad, they really weren't. The autotune wasn't too overpowering, the beats were contagious and modern, and the band as a whole meshed really well; they played it cool. RIYL: BØRNS(Instagram: @birthdaycardx )

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toldnews-blog · 6 years ago

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New Post has been published on https://toldnews.com/technology/entertainment/david-winters-energetic-dancer-turned-choreographer-dies-at-80/

David Winters, Energetic Dancer Turned Choreographer, Dies at 80

David Winters, who danced in the original Broadway production of “West Side Story” and then fashioned an influential if under-the-radar show business career, notably as a choreographer for Ann-Margret, Elvis Presley and others, died on April 23 in Fort Lauderdale, Fla. He was 80.

His brother, Marc, said the cause was congestive heart failure.

Mr. Winters had an energetic, visceral style as a dancer and later as a choreographer, evident in his work in “West Side Story” and then as the creator of dances for Ann-Margret and Presley in the movie “Viva Las Vegas” (1964) and for the 1960s musical variety TV shows “Shindig!” and “Hullabaloo.”

He developed a passion for performing as a child. Watching Gene Kelly and Fred Astaire on television, he would dance along with them. And after an NBC talent agent discovered him dancing in a show in a Manhattan restaurant, he was hired to appear on numerous TV shows and in three Broadway musicals, including “Shinbone Alley,” which starred Eartha Kitt and Eddie Bracken and had a book co-written by Mel Brooks.

Jerome Robbins, the celebrated ballet and Broadway choreographer, had seen “Shinbone Alley” during its brief run in the spring of 1957 and invited Mr. Winters to try out for “West Side Story,” the innovative musical about two warring New York gangs, the Jets and the Sharks. After one audition, Leonard Bernstein, who composed the music, wrote of Mr. Winters in his notes: “Fine dancer. Real cute.”

Mr. Winters was cast as a Jet, Baby John. He later recalled rehearsals under Robbins, who was also the show’s director as well as its choreographer.

“Jerry would bring in clippings from the NYC papers where the headlines were always about some gang members going to jail or a rumble between them, in which kids were killed,” Mr. Winters wrote in his autobiography, “Tough Guys Do Dance” (2018). “These pics and articles were put up on the board for everyone to see and to get us in the mood of the piece.”

After roles in two other Broadway musicals, “Gypsy” and “One More River,” Mr. Winters was cast by Robbins as another Jet, A-Rab, in the film version of “West Side Story” (1961). While rehearsing “Cool,” a jazzy production number in which he had a short solo that showcased his raw, emotional dancing, the dancers tossed their kneepads into trash cans and set them on fire, requiring firefighters to extinguish the blaze.

“Us guys from New York City, we were all wise guys,” Mr. Winters wrote, adding, “There was no controlling us.”

By 1964 he had moved to Los Angeles, where he acted in television series like “Perry Mason” and “77 Sunset Strip” and began teaching dance. One student was Ann-Margret, whose role in the film version of the musical “Bye Bye Birdie” (1963) had made her a star. By his account, she insisted that he choreograph “Viva Las Vegas,” in which she was to co-star with Presley. Her steamy dancing while Presley sang “C’mon Everybody” was a highlight of the movie.

He went on to choreograph several more of Ann-Margret’s films as well as her 1967 Las Vegas stage act and two television specials, and he choreographed three other Presley movies.

“David was one of the greatest dancers and choreographers that I have ever known,” Ann-Margret said in an email after his death. “He moved like a panther.”

He was hired to choreograph “Shindig!,” a new musical variety show on ABC featuring leading pop acts, in 1964. He moved to “Hullabaloo,” a rival show on NBC, the next year. His dance troupe there included Donna McKechnie, who would win the 1976 Tony Award for best actress in a musical for her role in “A Chorus Line,” and Michael Bennett, who won a Tony for choreographing the same show.

“David had his own style — which was an extension of Robbins’s,” Ms. McKechnie said in a telephone interview. “It was sexy, strong and very fluid, but he didn’t over-choreograph.” She added, “He helped us women step up and have that kind of strength as dancers.”

Mr. Winters was nominated for Emmy Awards for “Movin’ With Nancy” (1967), a TV special starring Nancy Sinatra, and “Ann-Margret: From Hollywood With Love” (1969). He was later the executive producer of “Timex All-Star Swing Festival,” which won a Peabody Award in 1972.

He was also credited by Gary Smith, the producer of “Hullabaloo,” with helping to create the goofy arm-and-leg flailing dance called “the Freddie” for the British band Freddie and the Dreamers.

Mr. Winters was born David Weizer on April 5, 1939, in London. He emigrated to the United States with his parents when he was 9. His father, Samuel, was a furrier in England; his mother, Sadie (Gittelmacher) Weizer, was a vaudeville performer. After settling in Brooklyn, they opened a candy store.

David loved dancing from an early age. He sang and danced for his shoeshine customers on the Coney Island boardwalk. He learned to tap and attended a theatrical school run by an old-time hoofer, Charlie Lowe.

After the NBC talent agent saw the 10-year-old David dance at Zimmerman’s Hungarian restaurant, he was cast in a 1949 episode of “The Big Story,” a series that dramatized newspaper articles. He was later seen on Milton Berle and Perry Como’s variety shows.

By the late 1960s, his career was moving in multiple directions. For television, he directed episodes of “The Monkees,” produced specials starring Raquel Welch, the 5th Dimension and others, and made a documentary about auto racing hosted by Paul Newman.

And in 1975, he co-produced, directed and choreographed “Welcome to My Nightmare,” a concert film version of the shock-rock singer Alice Cooper’s stage show.

“He saw the potential of merging hard-rock Alice Cooper with theater,” Mr. Cooper said on Twitter after Mr. Winters’s death. “We chose him as director/choreographer because he portrayed A-Rab in the classic film ‘West Side story.’ That film was a huge influence on us as a band.”

Mr. Winters was married and divorced at least three times. He also had a romantic relationship in the 1970s with Linda Boreman, who as Linda Lovelace had been the star of the pornographic film “Deep Throat” (1972).

He produced a stage play in which Ms. Boreman starred, “Pajama Tops,” and a campy satirical film, “Linda Lovelace for President” (1976).

“When I was with David, I had an awesome time,” she told the writer Eric Danville for his book “The Complete Linda Lovelace” (2001). “I went to see my first play. I saw Richard Chamberlain in ‘Cyrano de Bergerac.’ I saw ‘Grease’ in Manhattan. I saw the Alvin Ailey dancers.”

Ms. Boreman died after being injured in a car accident in 2002.

Over the last 30 years Mr. Winters worked primarily as a producer, largely of action-oriented movies with titles like “Born Killer,” “Rapid Fire” and “Body Count.”

But his final film was a return to his early years: “Dancin’: It’s On!” (2015), a romance built around a dance competition starring winners and runners-up from the TV series “So You Think You Can Dance.” He directed, produced and choreographed the movie.

While filming it in Panama City Beach, Fla., in 2013, he experienced breathing problems, which led to a diagnosis of congestive heart failure and triple bypass surgery.

In addition to his brother, Mr. Winters, who died in a Fort Lauderdale hospital, is survived by his daughter, Romé Bernstein; his sons, Alexander and Jonathan; a stepson, James; and a granddaughter.

Ms. McKechnie saw Mr. Winters last year when she was performing at a cabaret in Miami Beach.

“He could be strong and tough,” she said, “but there was a real sweetness about him. He was jovial, and his face and eyes were still so expressive.”

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