The Everyday Gig Review Roundup (October '21)

It’s our October live music roundup. The Everyday Magazine is sending out it’s best writers to report back from clubs, pubs, basements, fields and the best live music venues across the UK to report back to you on what’s going on out there.

First up, Keely Rhodes unleashes her inner sample and beat drop demon with Marlowe at Crofters Rights in Bristol, then Rich Nally shares his night with acoustic great Scott Matthews at St Stephen’s Church, Bristol and Jasmine Khan gives us a taste of a contemporary, relaxed classical music experience at Birmingham’s first instalment of Symphonic Sessions at Hockley Social Club.

Marlowe and J Chambers @ Crofters Rights

Words by Keely Rhodes

Marlowe is a collaborative alt-rap project from Seattle-based hip-hop producer L’Orange and North Carolina rapper Solemn Brigham. I went to see them perform on Thursday 7th October at the Crofters Rights in Bristol.

I don’t think I’ve been to this place since it’s former incarnation as The Croft, so it was kind of strange to be stepping back into somewhere much more light and welcoming than I remember, with exposed beams and soft lighting. I mean, it’s possible that it was always there and my memory is just a bit hazy from those days! But either way, it has a nice atmosphere and good beer.

I arrive shortly before the support act starts, so I grab a drink and wander to the small room out the back. The support artist is J Chambers, a Mancunian hip-hop artist in dungarees enthusiastically introduced by his man on the decks. I would describe it as socially conscious rap-reggae - heavy bass, good rhythm to dance to and a fast word count. He announces he’s been working on a project called Escape from the Kingdom - about what a “shit state” our country is in, to a raucous cheer. He’s got a great energy and plenty of wheel ups - they’ve been on a long drive down the motorway today and are pretty knackered but they definitely get the night off to a great start. There’s a poignant number with the refrain ‘“freedom ain’t free’” and he ends with ‘Blakeley Boy’, a tune about his roots up north which leave us all happy and well primed for the main act.

And so it begins. The enthusiasm with which Solemn B (one half of Marlowe, the other being producer l’Orange) approaches the small stage is pretty staggering. This man is charisma personified and I can instantly feel a massive grin forming on my face - almost as big as his. He says we better make sure everyone in Bristol knows this is where they should have been tonight - this man is up for a party and we are all invited.

By this point the crowd is much more mixed and is absolutely up for it. The moment those first beats drop - those old samples which I love - we are all bouncing along and whooping on demand. L’orange is on his laptop and mixing desk at the back - bespectacled with his hoodie up, whilst Solemn B takes centre stage. They play tunes from the latest album and Marlowe 1 - firstly we get ‘Medicated’- a tune for the smokers, and by the crowd response I’d say that was a fair few. Then ‘Basement’, a tune from when he was in a much darker place he says, but that’s not where he is right now with all of us here. On stage is clearly where he likes to be.

He gets us to shout “play that shit!” throughout the hour and I’ll be honest, come the end I’ve lost all objectivity and am at the front doing what my Fitbit tells me later is an aerobic workout! I love seeing someone love what they do, and Solemn B is loving what he’s doing right now and it’s utterly infectious. The bass is heavy, the samples are perfect and his delivery is so smooth and fast, and he’s got that characteristic southern drawl which I love. He ends with ‘Future Power Sources’ - the most recognisable tune due to radio play. We love it. We ask for more. They drop a couple more. And then it’s over. That was a fast hour.

The buzz in the bar afterwards is palpable. We are all hot and sweaty and smiling. Unprompted, two random people tell me they can’t believe they’ve got to see someone so good at a venue so intimate - and it’s hard to believe Marlowe aren’t destined for much bigger. I managed to have a brief chat with Solemn as he leaves, mainly to say I loved it! But I also ask if he has any musical recommendations. He tells me to check out Raury, a rap artist currently with no label after being dropped. I listen on the way home on my headphones. It’s good.

Scott Matthews @ St Stephens Church, Saturday 23rd October

Words by Rich Nally

Our venue tonight is St Stephen's Church, found at the very heart of Bristol nestled away behind Corn Street, its tower doing its best to stay prominent among the office blocks lining Colston Avenue. We were greeted with a warm welcome at the door before taking our seats in the cosy and beautifully lit space from the 13th century to see Scott Matthews, an Ivor Novello award-winning singer-songwriter, whose mix of acoustic blues and folk rock sees him now adding ambient guitar-based electronica to his skill set. This tour up and down the UK will see him occupying venues from Cornwall to Ireland before heading to Europe in mid 2022.

Church gigs require a delicate touch; there is no hiding behind the acoustics. Scott Matthews soulful reaching delivery filled the space perfectly, a mix of older material and some tracks from his new Album ‘New Skin’ offered a touching heartfelt experience that wrapped up this intimate venue's audience in its arms.

Often gigs for me are a mix of not only the artist but the experience, venue, people and drinks; and tonight had some memorable moments that will forever be tied to my experience of Scott Matthews. In front of me sits a mother, her daughter and her boyfriend – we enjoyed some convo before the gig started; they were a nice family who likely had no idea they would be as memorable as the gig itself. A fair amount of wine was enjoyed here and it manifested itself beautifully when mum reached after her clattering glasses that had just fallen from her head during the quietest part of a song, sitting up and softly, but louder than intended, announcing to her daughter “He is the sexiest man I've seen since George Michael”. Shoulders ahead bounced up and down as people did their best to control their laughter – mine giving the same view to those behind. I never saw George Michael in person, so refrain from commenting.

I was quickly impressed by Matthews' ability to play often quite stunning finger picking style guitar, while delivering well controlled sensitive vocals – he had me engrossed from the off tonight, this was a captivating and at times touching performance, that was soon to bring the lady in front of us to tears.

Before playing Passing Stranger, Scott says something that myself and Sarah (my long-term gig buddy) had not quite heard properly, something about a drum and The Lantern gig. “What was that?” “He asked if anyone was at the Lantern gig” I replied to Sarah, while now piecing together what he was requesting from the crowd. Sarah lifts her hand in a glorious moment of inadvertently volunteering to play the drums on the next track, realising with panic on her face that she was due on stage in the next few seconds. Fair play to her, she removed her hands from her face and went up on stage to do a cracking job, following instructions in great spirit – even offered some extra drum beats from time to time as the song crossed its bridges and finished with a solo, or two, maybe three.

Shortly after, Scott joined us in the middle of the church to play his last song Home & Dry – no mic, no backing drum... no Sarah. He stands halfway up the aisle showcasing his speedy finger picking while his delicate vocals ease over the carnage that is the city centre at 10:30pm on a Saturday. This works perfectly, we still feel hidden away here, protected from the drunken war that is raging yards away outside.

In the end this was a wonderful evening full of heart and soul, togetherness and connection, where Scott brought us into his world and sent us away feeling warm and fulfilled.

Scott Matthews’ upcoming tour dates are here.

Symphonic Sessions at Hockley Social Club on 21st October

Words by Jasmine Khan

Hockley Social Club and The City of Birmingham Symphony Orchestra recently came together to bless Brum with a fresh, innovative approach to live classical music. Symphonic Sessions is a contemporary, relaxed classical music experience, featuring DJs and a tasty selection of street-food, cocktails, beers and wines.

Hockley Social Club said, “The event was very much a collaboration and together we organised the thing from start to end. Of-course, the CBSO provided the musicians, and we provided the food, bar and venue!”

They also commented that “The CBSO are very forward thinking and they're always looking for ways to stretch to new audiences, so together we thought about offering something away from the usual grand concert halls.”

The intention behind Symphonic sessions was to combine both Hockley Social Club and CBSO’s unique audiences and push them out of their comfort zone, so that both audiences could enjoy a different, unique performance. And they did just that.

The night's entertainment included two sets by a string quartet as well as intermittent performances by Hockley Social Club’s enchanting resident DJ, Pritt Kalsi. The quartet was made up of Collette Overdijk on first violin, Kirsty Lovie on second, Amy Thomas on Viola Arthur Boutillier on Cello. Their collective performance was simply stunning.

1st violinist Collette relayed that the change in environment allowed the quartet much more freedom when it came to determining their set list. This clearly enabled a dynamic, avant-guard performance that stretched way beyond the bounds of classical music. Obviously, the set was faultless and so technically excellent I (unsurprisingly) could barely comprehend what was going on. But, I loved it.

The atmosphere was one of muted ecstasy. Every audience member was silent and entirely focused on the musicians, a practice which the rest of the music scene could really benefit from. That being said, when it was appropriate to make noise the audience erupted in applause and the quartet’s final performance received a well-deserved, extended standing ovation.

After her performance, Collette excitedly expressed, “It felt like the audience and musicians were so close, it was super-exciting having so many people there and the atmosphere was electric. We felt like rock stars!

She also highlighted that “These type of events present classical music in a cool way, which makes it appeal to a whole new group of people who might not come to a concert at Symphony Hall. As musicians we have to be explorers, and therefore being able to programme different, interesting music is great.”

“The CBSO is a world-class orchestra and each and every one of its musicians is amazing. We are Birmingham’s cultural flagship and want to serve the city.”

The next Symphonic Session will be in December, again at Hockley Social Club. If you’re not sure whether you should check it out, then you can catch a glimpse at the kind of talent you’ll be missing out on here. I’m pretty sure you’ll be convinced.

Want to write a review? Get in touch here.