Review: Rebecca King ‘EP’ Launch – The Lacehouse – 22 February 2014

Rebecca King’s EP launch was a varied and vibrant affair, with a variety of performers and styles bouncing around the room, there was something for everyone. The diversity of the event was particularly apparent in the audience that accumulated, with people from all walks of life there to support her, the night proved to be a really great one.

Kicking off the proceedings was relatively unknown ALICE MACEY who’s sweet vocals welcomed the audience to a night of entertainment. Her vocals were strong, and the higher registers were delicate and well controlled, whereas the lower registers were powerful and sometimes belted, which worked well for her music. She is a solo singer-songwriter, and accompanies herself on the guitar, which she is confident with. The second number she sang showed a real consideration to song structure as she strummed the guitar quite heavily, whilst singing delicately over the top, which worked really well with the floating melodies and sweet country style of singing. Although she has an Americana country style vocal, she also writes more pop style songs, which have good chord progressions and interesting melodies. The last two tracks of her set particularly stood out to me, with Receptions, an original number which took a darker and sadder turn that the previous songs. Aside from the slight technical difficulties at the beginning, she recovered well and hurled straight back into it. The tone of her vocals are clear and crisp, which cuts through the strummed guitar. Her melodies are sort of cheerful over sadder chords, but the lyrics also remain a little blue with lines such as “I never understood why you were never on my side”. She is very comfortable in the higher registers, and thats obviously where her vocals sit naturally, however I would quite like to hear some of the lower registers in the vocals too, as I think this could add more variety to her melodic lines. The final song of the evening called Pocket is fast paced and lively, ending the set on a cheerier note. The fingerpicked guitar and fast paced vocal lines and lyrics make this stand out from the others. The verses build nicely, and enter into a catchy chorus, with lovely lyrics such as “I won’t give up on you, I won’t stop loving everything you do, keep me close in your pocket” which complement her sweet stage presence and vocals. It was a pleasure watching Alice perform, and I hope to see her more frequently on the Nottingham music scene in the near future.

Next to take the stage is the lovely JAMIE MOON, who I saw perform before at the Josh Wheatley EP launch (he’s a fan of EP launches, apparently!), and he blew me away. This proved to be another great gig from Jamie, and opening with Bite The Wax, he began a strong set. His deep toned fingerpicked guitar is gentle but commanding, which had the power to silence the room. He commands the guitar well, producing some gorgeous, clear harmonics which contrast the deep, gritty vocals nicely. The unforced vocals are sad and contemplative, which makes for a really emotional performance. Although the room was a little sparse, he still makes an effort to connect with his audience by making eye contact, and is very connected to his performance. He followed the opening track with Cold Hand, which really flaunts his songwriting technique, with the fingerpicked guitar balancing well with the vocals, and the guitar melodies rising and falling, and echoing the vocal melodies in the chorus, which is a gorgeous effect.

Another original You’ll Never Fool My Heart Again follows, where the rumbling fingerpicked guitar forms a musical backdrop to heartbreaking lyrics and vocals, and the passion in his performance is really apparent in this number, as the vocals are starkly honest and sad. Next Jamie plays Atom, another song which contains some of those beautiful guitar harmonics which enhance Jamie’s songs loveliness. Again the guitar parts and the vocal melodies interact well and the falling melodies express his sadness. Momentum picks up during the chorus though, as the pace speeds up slightly, demonstrating passion in what he’s singing. There is a definite sense of desperation, only heightened by lyrics such as; “you’ll never understand me, I’ll never underestimate your love.” Jamie ends his set on Bloom, in which he uses his guitar strings percussively and minimally as an intro, which is a subtle technique, but before long it picks up into fingerpicked melodies. His vocals are slower, and simple which allow for the guitar to come through and carry them. The song frequently ducks in and out of sections, and just as it gets sleepy, it picks up again, keeping the attention on him. The unsettled nature of these transitions cushion the anxious lyrics perfectly; “sometimes I lie awake staring at the walls. Each night is darker still just before the dawn.” Jamie Moon performed a brilliant, heartfelt and gentle set which was just gorgeous.

As the sets finish and the stage is prepared for another artist, Kane Ashmore plays the disc jockey role, playing classic hip hop in between the artists, which for the first part of the evening feels a little bit odd, as it is rather far away from what they play themselves, however, it keeps the audience’s mind on Rebecca King and Kane Ashmore’s collaborations and their separate EP’s which are more along the pop/hip hop vibes.

Next to take to the stage is LEE GOUGH, who picked up the pace with some classic rock, acoustic and pop inspired songs. Opening with Under The Raincloud, it’s a passionate performance with a really strong vocal delivery, which is powerful. The repeated “follow me” in the chorus adds some intense rhythmic development which works very well. As the song progresses, he begins to really put some oomph into his vocals, belting lyrics across the room, but he still manages to maintain excellent control of his voice, and manages to stay in tune, which is admirable! It’s no surprise to me that after the number, as he prepares for the next, he announces that he got “a bit carried away”, however it to me just seemed like a very confident, and enthusiastic performance.

Next he played Dry Your Tears, a song about how we take things for granted when there are people a lot worse off than us. The chorus in this number is catchy, and I think it’s endearing that Lee doesn’t overuse his powerful belt, and varies his singing style and tailors his voice to the different sections of the song. This lets us experience a little of his vulnerable side as well as the strength of his pop style belt. Lee continued to navigate his way through a great set of powerful songs, laced with hints of rock, pop, soul and classic acoustic music. Lee is a big fan of strumming the guitar though, and I do feel like I would like to hear a bit more variation in the guitar parts, such as some more fingerpicking.

Lee Gough ends his set on a song entitled Legends, where he really takes a soul/pop musical stance. In the chorus we hear the lyrics “legends of music, leave us with their legacies, so we can be free, so we can be free”. He sings about the loss of artists such as Bob Marley, John Lennon, Amy Winehouse, Elvis Presley, Jimi Hendrix, and how their deaths are tragedies. In some ways the song is sad and contemplative, mourning the musicians, but at the same time it can be uplifting, and looking forward. This is embodied lyrically in the final line, where Lee sings “although they are gone, they’ll live forever”.

Next to take to the stage is KANE ASHMORE himself, also releasing his new EP, and producing Rebecca King’s album too. He is joined for most of the set by MOTORMOUF, a local Nottingham beatbox artist, and together they pretty much go into a jam on the stage. They are both relaxed and comfortable, and I think that for this rap/hip hop music, it works well to have a relaxed atmosphere on stage. They have a history of working and performing together, and on stage they seem to be connected, and their synchronicity is evidence of great musicianship. Last Year is a chilled way to ease us into his set, with hazy keys and a heavy rhythm section, with a nice repeated chord sequence which remains unchanged through the verse/chorus sections. This gives the track a nice lull, and an ebb and flow which lends itself to the overlaying rap, which Kane raps passionately about his journey in the last year; “last year was a good year – great year. I made a name for myself on the stage here. Met some legendary folk and we exchanged beers, this city’s alright, I might stay here.” Next up is a rendition of The Ashmore Show, which he announces before performing that he hates it, but still performs it because everyone likes it. Motormouf joins him on this one, joining him on certain lyrics, and adding beatbox techniques over the top. As Kane doesn’t really want to perform it, they both kind of spoof it, and play with the track, which is fun and entertaining for the audience. Although there is a lot of fun and games in this performance, the track does flaunt Kane’s deep vocals, and his lower register singing voice, which is lush and has a gorgeous tone.

Next up, Kane battles balloons whilst spitting bars, providing a social commentary on England, and the capitalist society we live in, with large statements such as; “England today is like the slave trade” and passionate delivery, it packs a punch, despite the audience’s assault of balloons! Scribbling and Dribbling follows, and Kane informs us it’s not been performed in a while. Both Ashmore and Motormouf have a great presence on the stage, this song being a traditional pairing of the two of them. If you’ve heard Ashmore recently at all, you may have heard Misfit, a playful song about being a misfit, but this time it was performed like never before. I had only heard this song performed with an acoustic guitar accompaniment, and it’s often performed with the assistance of Motormouf, however this time it was performed with a backing track, and it’s clear that Kane is enthusiastic about the track, and seems to be really enjoying himself. The song has more of the gypsy balkan style musical influences that Ashmore uses frequently in this work, and it adds that sprinkle of personality and an edge to the music which is enticing. The backing track is superb, and really brings out new elements of the music, and especially flaunts Kane’s vocals.

Kane launches into another off his new EP, and it’s the title track Loonyology. The track has a cheeky brass opening, channeling the “gypsy flavour”. The rhythm section in the backing track gives it a secure hip hop identity. There is also a very heavy bass part in the track which is more noticeable live than on the EP, which is sometimes a little distracting from the performance. I really like the construction of the song and the chorus in which Loonyology is spelled out, it adds a great playfulness which ties in with the jazz/swing inspired backing track. Sounds follows, another from his new EP. Sounds is a track about trying to suss out the life around you, and working out what you crave; “life is a struggle, but you’ve got to keep going, losing your cares, keep the happiness going”. The song has a caribbean/reggae feel to it, but with classic hip hop beats. It’s nice to hear Kane’s singing voice during the chorus, and it sounds totally lovely too, sweet but with an edge too.

Ashmore’s tracks are all so widely different, they are all very varied, with different influences and production which separates them from eachother but one thing which connects them all are their references to previous works, there are occasional phrases and words thrown which makes you prick your ears. Another track which does this is Gypsy Grime, which is playful and has Kane’s unique stamp of well, Gypsy Grime, but has Motormouf joining him too. On the EP, Motormouf is featured, and Ashmore announces that this is the first time the track has been performed live. It’s a great, lively and energetic track, which brings out ther personalities and is very enjoyable to watch live, as well as listen to on the EP. My Town follows, which has always been performed acoustically and hasn’t been produced before, but the backing track for it is really great, with a simple bass and rhythm based track, but with added piano chords which forms an excellent base on which Kane sings. It’s soulful and powerful, and lovely hearing his voice on show. The song has a great movement and catchy melodies, and the whole song certainly is “bound to get you jumping up and down”.

Kane steps off the stage after My Town, allowing Motormouf to beatbox to his hearts content on the stage, throwing out some of his trademark moves, such as the boomerang. After Motormouf finishes his small solo set, Kane is joined by Rebecca King for the final song of the set. Crumbling Down opens with Kane rapping, over a backing track which is subtle and minimal. Rebecca is miming along, showing she’s just as invested in the song as he is, and then she erupts into soulful singing during the chorus, which is sultry and slow. Her vocals are also present in the backing track, which creates a really interesting layering to the song. As the set opened in a chilled manner, it ends that way too. They work so well together, and they complement eachother’s styles well.

Next on The Lacehouse stage is ED SCISSORTONGUE, a rapper based in London, who combines various styles and techniques in his backing tracks, which are intelligent and interesting. He has an intriguing use of words and constructs wordy phrases which are great to latch on to during the chilled, vibrant backing tracks. He has a great stage presence, and often has his eyes closed, which adds to the intensity of his tracks. He layers the backing tracks well, with deep bass tones complemented and contrasted by higher pitched melodies on synthesised instruments, such as strings and keys. The layering provides a good structure on which his deep rap vocals shine, and pulse through. His tracks are varied in topic, including singing about the faults of the human race whilst letting a narrative fantasy play out about an android colliding with earth and wiping out all life. It’s poignant and creative, and accompanied with a backing track which has a really clever use of strings being both bowed and plucked. It’s sombre and powerful.

Changing it up from the sombre strings, the track to the next number is heavily electronic, which is intense and full of angst. The backing develops well, and becomes busier and this enhances the turbulent undertones of the music. The brass samples which feature in Ed Scissortongue’s tracks are really good, and the manipulation of these samples is particularly effective. In fact, the general manipulation of all the instruments featured is a key element to the set which I enjoyed. It may have something to do with the idea of intrinsically editing the instruments sound, and creating something new and almost faulty with it. It’s unsettling but in an awesome way. The next track has very repetitive piano samples, which are intense, and combined with more brass it makes for a very interesting track. This song in particular has some excellent song progressions, and the added rhythm section is made more prominent by the rhythms of his vocal rap. After this, he announces that he wants to “pick the f**king party up”, and launches into the next number, which has a deafening, piercing hi hat beat, which punches through the backing and the rap. I like this one though, and the repeated chorus “so meet me at the rose garden” is really great to attach yourself to. The backing drops out here and there, and leaves space, making it really prominent when Ed comes back in with the vocals. It’s a great technique and with the punchiness of the hi hat works even better.

After being joined by a guest on stage, he launches into the final track of the evening. The backing on this track in particular, but even on the others reminds me of the music used by Pina Bausch in her intense dance theatre productions, and this is due to the manipulated keys and strong rhythmic backing. The track is an excellent accompaniment to the rapped vocals, providing a secure but vulnerable musical environment. The final track is reminiscent of the past, and is about an amalgumation of Ed’s past friends, but for the purpose of the track he’s created one fictional friend. It’s a social commentary looking at the situation of the youth in this country who are stuck in poverty, with references made to buying cheap alcohol and hanging out in council flats etc, which makes for a passionate and informed delivery. When the track finishes, the crowd demands an encore, which Ed Scissortongue provides, announcing that the track is “near impossible to rap”. This being because the phrases are long, and his breathing has to be spot on to enable him to even get all the words in. It has an intense chord structure, and this intensity is increased with the elongated phrases and ‘on edge’ delivery. It’s a fantastic set, which brought my understanding of hip hop to a whole new level, and I love being challenged musically, and this certainly opened my eyes.

Finally, the last but certainly not least to take to the stage is the person who the whole evening is focused on. REBECCA KING steps up to begin her glorious performance, opening with Come to Life, which is captivating and a fantastic way to grab the audience’s attention. We certainly do watch her “come to life”, as she stands alone on the stage in a beautiful red asymmetrical dress, again bringing in an edge to classiness. The backing is complementary to her vocal style of singing, using an interesting electronic sample during the chorus which mimics her vocals and adds a flourish to the melodic lines. It’s a lively and passionate opener, leading on nicely to her slower second number  which is sultry, singing “gripping my curves as we twist and turn”. It’s sensual, and the backing is wonderfully suited to it. The performance is made more intense by her connection with the audience, making eye contact and bringing the audience closer to her. Her vocals are stunning, with brilliant control of the higher registers, whilst her chest voice is powerful and gripping. As she sings she dances a little on the stage, making hand gestures and physically becoming involved in the music, which brings out the soulful nature of her songs.

Her next track she announces “I always say I play this song because I wrote it for my son and I really love it. But I did write it for my son and I really love it, so I’m going to play it”. It’s a heartfelt and gorgeous rendition of Race the Earth,  and it’s beautiful watching her performing something which means such a lot to her. She is thoroughly engaged in the track, and she is evidently enjoying herself too. Opening lines “I was drawn in by your stare, encaptured by your touch. You captivate me when you hold me, tight within your clutch” are sung to a simple melody, making the words even more prominent. The purity and delicacy of her vocals are contrasted and complemented by the electronic backing, in which synths race over the top of the vocals, and combined with the earthly title, can’t help but remind me of shooting stars. The song develops nicely, with a gradual build in texture and vocals, which bursts with passion and heartfelt soul.

Another older track follows, and she brings it from a high to a low, with a sorrowful, painful and intense performance of Because You Lied. The chorus in this song is particularly heart wrenching, as she places “lied” on the highest note, soaking it in heartbreak. The song showcases her vocal abilities, as at the height of the chorus, she’s singing delicately and beautifully high, whilst in the verses she sings in the lower registers, which feels sombre and downtrodden. The backing track to this number is beautiful, with backing vocals coming in and filling whilst she sings the longer, outstretched notes of “because you lied” in the chorus. Her performance is made more poignant by her loneliness on stage, as she stands there and sings this track on her own, she’s vulnerable and this just adds to the performance.

After some lighthearted banter, she launches into Say Something, the final track on her EP. The backing track is relaxed and chilled, with lovely soft brass, gentle keys and a prominent rhythm section. The whole song is relaxed, with an expansive chorus of “say something, or I’m gone, say something”. The melodies are weighted and sultry and are focused around a few key notes, which has this oscillating effect, which is heightened by her smooth, gorgeous vocals. The song develops subtly, and the bridge is a relaxed change of pace, and as the brass drops out, it allows her vocals to shine through.  The song is spacious, and allows for the tone of her voice to come through.

This is followed by Insanity is Bliss, which picks up the pace of the set, livening it up and bringing more of a funk/pop influence to the set. The bouncy melody of the chorus is cheerful and lively, which contrasts the lyrics “insanity is bliss trying to get you out of my head”. This is followed by About to Fall, a soulful and romantic,  which is sung with vigour and emotion. The song is sexy and relaxed, but the lyrics focus on the dilemmas of falling for someone “I hear your footsteps as you’re coming up the stairs, I hold my breath like all of the tainted secrets yeah yeah. You release the curiosity inside of me, why does something so wrong feel so right”. The verse is full of passionate vocal flourishes, decorating the song with classic pop and soul “yeahs” and “oohs” which are fun and flirtatious. The chorus then erupts, both in the vocals and the backing, with multiple layering of instrumentation, such as piano, brass and synths. The vocals are fluid and explorative, with layering of other melodies over the elongated “about to fall” lyric. It’s a relaxed and open song, and is beautifully performed.

The next two tracks are also the following two tracks on the EP; Appetite For You and Damn It I Do. The former is a bit more aggressive, it is forward and Rebecca King is upfront about her emotions “your fire is so exhilarating, I want to get burned”. The nature of the song is much more animalistic, singing “I have an appetite for you” repeatedly in the chorus, reiterating her point, and singing sweetly and flirtatiously to the audience, it’s great to watch her. Damn It I Do isn’t a new number, it’s a classic of Rebecca’s. But for the EP is has been re-realised into a swing/soul/hip hop fusion number. With the chorus of “damn it I do” being sung in a more classic jazz style, followed by muted, hazy brass creating a seductive, classy, jazzy feel. There is also a soulful bridge, where the backing drops out, and the only thing to accompany Rebecca is the clicking of her fingers and the backing “oooohs”. It’s a gorgeous version, with beautiful production (hats off to Kane Ashmore), and it was performed wonderfully.

The set ends with Stumbling Again, where Rebecca King is joined by Kane Ashmore, and they just have a playful jam on stage with the song. The subtle brass in the verse is funky and provides a great backing for the vocals to explore. The song’s chorus is particularly clever with the lyric “stumbling again” matched to a falling, stumbling melody. It’s a dance inspiring number, evidently from the dancing and jamming that Kane and Rebecca are doing on stage. It’s a fun, happy and optimistic, encapsulating everything that the evening proved to be. All the acts rocked the stage, and Rebecca closed the evening with a gorgeous, beautiful and soulful set, which I’ll remember for a long time to come.

Review and pictures by Cassia Helme

Rebecca King’s EP ‘Unspoken Words’  is available now here

Kane Ashmore’s EP ”Loonyology’ is also available now here