Posted in SHOFT on Thursday 10th November 2011 at 11:11pm

Hooops #3Having finally escaped from a difficult working day and made a very surreal trip on a bus which seem to hurtle dangerously through the dark countryside with little idea where it was really heading, I was slightly distracted by the time I arrived in Bristol. Deposited in the middle of the city's rush hour, I watched people bustling around all seemingly unaware that tonight was, once again, a Hooops! night. This slightly ramshackle but always entertaining happening defies any attempt at being pinned down as a club night or anything remotely similar, instead managing to encompass performance art, comedy, drama and music - often simultaneously, and managing to occupy every possible corner of the venue. But tonight, it's a stripped-back affair focused entirely on the music and occupying just one floor of The Louisiana. With some seriously good touring bands passing through town, it seems only right that the link with Fife's Fence Records should bring them here. So - for one night only I'm sure - this was Hooops! stepping back and letting the music lead the way.

I've often said how ignorant I am of local happenings, and I confess that The Jelas are a completely unfamiliar name, despite having been around for a fair few years. They are an irrepressibly energetic three piece who despite an outward appearance of utter chaos, are clearly a tight and well-rehersed machine. Back from a recent tour which saw them popping up all over the UK, The Jelas are promoting their new album "The Body Parts" which on a first listen appears to capture their oddness exactly. The rhythm section pounds out a choppy, edgy spine which the guitar jaggedly dances around. Meanwhile drummer Aled, strident bassist Natalie and guitarist Colin all chip in vocals, which range from strange chants to deranged yelps - often within the space of a single song. In discussion after the onslaught of noise and bewilderment we decided that there are definite hints of The Cardiacs here - but there is also something almost unique about the mix of math-rock technicalities and anarchic punky noise. It's enjoyable and disturbing in equal measure, and an oddly demanding listen. In short then, The Jelas are probably the ideal Hooops opening act - idiosyncratic, confusing, and captivatingly odd. There is nothing easy about this listening at all.

With nearly all of the bands managing to get lost heading back to the venue tonight, time is tight and things are quickly shifted around to accommodate the full band version of Player Piano. Having only seen Jeremy Radway before as a solo act, I'm a little unsure what to expect as a motley crew of musicians take to the stage. In the event the band is, despite only recently forming in this line-up, fantastically tight and strangely funky. Low-slung disco basslines support jerky keyboard riffs as Jeremy's damaged, soulful vocals croon and soar with support from multi-instrumentalist Rebecca Jade. With Jeremy happy to shun the limelight on stage, the star of the show quickly becomes drummer Ed Grimshaw who manages to pound out some ridiculously great disco rhythms which have apparently been transported in directly from the late 1970s. Somewhere, mid-set I decided that Jeremy is in fact the natural heir to the likes of Jeff Lynne and other purveyors of that vein of complex, crafted pop which has all but died out in the era of the throwaway download single. On the as yet unreleased new track "Everyone Knows" this reaches it's peak with swoons of vintage analogue keyboard and soaring choruses. It's pretty clear that the audience - a strangely hard to pin down collection of local regulars, Fence devotees and curious passers-by - is loving every minute of this. It's a short set, but feels effortlessly tight and bodes well for the rumour of a future album release.

There is a buzz of anticipation for The Shivers, borne of the great reception their record has garnered in the UK since being released by Fence no doubt. Soon, Keith and Jo take to the rather empty looking stage bathed in blue light, an unassuming pair who seem perhaps a little nervous. Taking advantage of the hush of reverence and atmosphere of expectation in the room, they begin a quiet, atmospheric take on "Love Is In The Air" from their recent album. It's still amazing to me how a duo with just keyboards and electric guitar can produce such complete sounding music, but they manage it again with "Kisses" which mutates into a jerky, funky strut with a vein-poppingly intense vocal performance from Keith. His wild stare and impassioned delivery is in total contrast to Jo's calm, understated performance which finally comes forward when she takes charge of lead vocals for a single song. Her voice is a revelation, a spine-tinglingly quiet and huskily soulful drawl which also adds a new dimension to "L.I.E" a very early Shivers track which pre-dates her arrival in New York to add colour and tone to Keith's sometimes stark early work. Clearly overwhelmed by the reaction both here and across the UK, Keith and Jo seem to be enjoying the sense of event as 'merch lady' and Jo's sister Katherine takes the stage for "Remain In The Pain Zone" - a chaotic, dramatic and hilarious romp which sees Keith rapping, strutting and over-acting his way through the song. Guitar discarded, he gestures wildly at the audience as the churning organ supplies a sort of demented vaudeville backdrop. The reaction is overwhelming, even the band appearing a little stunned at just how well it goes down - but this is Hooops! and it's just the kind of thing we've come to expect. Closing with an affecting, slow-core take on "More", the title track of the current album, The Shivers leave the audience appropriately baying for an encore. It's been a pretty successful night.

Making my customary dash for the last train home with the final note still hanging in the air, I wondered where and when Hooops! might pop up next, and just what it had in store. If it's about a sense of occasion, then despite being a more sedate affair tonight was very special indeed, with some of the genuinely warmest reaction from an audience I've ever seen at a Bristol gig. Shorn of its usual chaos and confusion, tonight was almost entirely about the music - and while Hooops! is attracting touring bands of this calibre and pairing them up with eclectic and challenging local acts, its all going to be fine. Trust me. Or more accurately, trust Hooops!

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I've had a home on the web for more years than I care to remember, and a few kind souls persuade me it's worth persisting with keeping it updated. This current incarnation of the site is centred around the blog posts which began back in 1999 as 'the daylog' and continued through my travels and tribulations during the following years.

I don't get out and about nearly as much these days, but I do try to record significant events and trips for posterity. You may also have arrived here by following the trail to my former music blog Songs Heard On Fast Trains. That content is preserved here too.

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