On Wednesday 8th February Tom Williams & the Boat play the Jazz Cafe in Camden.

Although Tom & co are supporting their next release with the help of Pledge Music, Moshi Moshi have been providing solid support for the band of late, providing them with a juicy support slot alongside Sweet Baboo and Spector at Slow Club’s recent Shepherd’s Bush Empire gig. With a new album on the horizon and a brooding, upbeat single, My Bones, receiving regular airplay on BBC 6 Music, it’s a gig I’m especially looking forward to.

Joining the band on the lineup are Two Wounded Birds, Fiction and Becoming Real. Don’t miss it.

On February 14th Vinyl Jacket have been invited to play Huw Stephens Presents at The Social, Marylebone.

I left Newcastle less than a week before Huw Stephen’s curated an epic lineup featuring Let’s Buy Happiness and Grandfather Birds (I was SERIOUSLY gutted to miss it), so I’m properly chuffed to get to go to one of his nights at last. Worried about spending the commonly dreaded V-Day with a partner in the fear of typical cheesy activities? Surely a gig is the only way to go… As for single little me, I’m going to dress up for me and the music. In Vinyl Jacket’s case, judging by brilliant new single Red Light, this should involve a Hawaiian shirt with a neon flower print.

For the official event page head here. Other bands on the bill include Man Without Country and St. Spirit.

On Monday 20th February I’ll be heading to the Bull & Gate for the first time this year to see Fran O’Hanlon take to the stage as Ajimal.

Fran’s been working with Mick Ross of Frankie & the Heartstrings on a new EP, Childhood. The first single release from it, A Footnote to Love (part one) has just been made available on Bandcamp and is being released by the Heartstring’s Pop Sex Ltd imprint.

Mr Ross is known for his ability to bring the best out of the acts he works with, be it Waiting for Winter or Let’s Buy Happiness so I’ll be waiting for the rest of the recordings with a haughty impatience… or at least heightened anticipation anyway.

I’ve seen Fran play many times, in multiple environments. From the darkness of the Cluny 2, to the intimacy of Osbourne Valley’s Blank Studios. He’s always mesmerising. The elevated, occasionally stuffy, always sticky Bull & Gate venue will be a new challenge. I wonder if it’ll be just Fran and his guitar and keys or if he’ll be trying to bring others again like he did in the above performance for the Roundhouse Rising festival. The Bull & Gate is a venue that I’ve seen work for some bands (Shields and Holy Mammoth worked the stage like pros, but their supports didn’t necessarily fare so well), but as a solo artist Fran will need to stun the room into silence for everyone to appreciate his delicate material. But I’m not worried. It’s what Fran does best.

As always, share your gig tips with me on Twitter!

I’ve played this to all and sundry, taken the CD on road trips, linked to it on Spotify and popped it on in my room for guests. The reaction is unanimous: people love them.

Cut(s), a five track EP (six if you include a cello interlude), reworks tracks from Ex Libras’s debut LP, Suite(s).

The album, more guitar heavy and loaded with angst and experimental affectations, has been broken down into menacing loops and ambient riffs for the EP. It’s haunting and beautiful – the vocals soar and the tense-sounding bass wraps you up, while choral vocals and sprinkling of piano seem to follow you around even after you’ve finished listening. It’s an addictive record – so obviously I can’t help returning to it. Live, it’s just as I’d hoped.

The above video is for Teenage Eyes from Cuts(s). I’m rather hoping they’ll be playing this when they return to London’s Cargo on the 15th March. On a past visit they were recorded performing tracks from the original release. Here’s Underachiever, a track that was reworked as renamed as ‘I Am Home’ for the EP.

This video from Cargo looks so flipping’ epic I can’t wait for March now!

I remember once when I worked for Amazing Radio we did a prerecorded interview for Amazing Afternoons and both the presenter and I didn’t hit the record button… whoops. I think it was Amit from the band who we spoke to and he was ever so nice when I called back and asked if we could do it all over again! They’re such nice, thoughtful people! (And clearly very patient). Plus they record in a converted shed. Kudos.

See you on March 15th?

Like debut single Eleanor (which I have a tiny cameo on), it’s being released by Cottage Industries.

Here’s the video. Predictably, it’s lush. I want a knitted version of Jon.

The Union Choir Your Melodica from David Wala on Vimeo.

I’d like to write a review and that, but I’d be totally and utterly biased, (can you blame me?). However, I will say that the first time I heard this was on my last night as a Newcastle resident, the evening of the Royal Wedding. The band played an acoustic version of the track and it felt like the perfect way to end my time in the North. In true ‘me’ style I turned up in the midst of genius Nev Clay’s set (who paused his song and gave commentary) and saw out the evening with the band and a few pints in the Head of Steam. The first time I saw Nev was my first outing ‘with the band’ so it all felt… ‘right’, but also made me not want to leave!

I’m hoping that The Union Choir ‘do a Let’s Buy Happiness‘ and publish a lovely lyric book packed with Jon-Melvin-anecdotes…

Pre-order your copy here.

… It’s not considered a landmark year, but the last 12 months have been so erratic, it seems to feel a bit more significant. I’m in my third office in a year (Sky this time, after a great six months at Channel 4) and things are finally settling down a bit. I’m also enjoying being away from my Shoreditch shoebox of a bedroom – Willesden Green has been good to me so far!

However, the settling down bit is scary. Nothing, as ever, is set in stone. I’ve got ten months left of my fixed term contract at Sky so time will tell if I find anything more permanent. I do like experiencing different workplaces – the corporate operator Sky has about 17,500 employees compared to Channel 4′s Public Service Broadcasting 800 (again, approximate). It’s also a very different role to my previous ones.

I’ve not had the chance to podcast recently so I’m hoping to get back to the music in 2012, if there’s a demand for it. I need to get over the North West thing – in Shoreditch I’d go off to gigs and events most evenings but I’m more of a hermit in my new home, perhaps it’s the cold or maybe I’m risking getting too comfortable.

I had one of those epiphanies the other day, the kind that will seem irrelevant to everyone else, where I realised that podcasting and blogging are activites I can pursue independently. I don’t have to rely on anyone else to put my plans into action – but neither to I have to ask anyone. And that’s sometimes dispiriting.

The two things that I’ve loved doing in the past, presenting and music, have required me to find others to help me go further. I can write songs, but I’m scared to play guitar solo, plus I’m not a very advanced player. It’s great to be able to play with others as it makes the whole process more fun, but it’s also nerve wracking to reveal what you’ve written.

The last track I wrote was the first in several months. It’s short and it’s ‘demotastic’; long pauses, Garage band reverb and general poor quality. But it’s the idea that counts, I suppose!

I also would like to move from radio into onscreen presenting. I guess I could do this at home with vlogs but I’d love to film future music interviews and get out and about. Unfortunately this requires assistance so I guess I’ll need to pluck up the courage to start asking people to help out. I’ve always been quite embarrassed to admit how much I enjoy presenting for fear of it changing people’s opinions of me. I enjoy meeting new people, and I like the excuse to find out the hows and whys of music and more – interviewing is the tried and tested method of getting those answers.

Soon, I’ll be revealing my top musicians of the year, so if you’ve got a band you think I should listen to, leave me a comment below.

Not only was it a massive deal for the Sheffield two-piece, but it was also a dream come true for my podcast interviewee this month, Tom of Tom Williams and the Boat.

I first met Tom whilst working as a BBC Blast reporter in Kent, and have seen them perform in tiny local venues and bigger platforms such as the Avalon stage at Glastonbury. In the podcast, Tom chats to me about what the gig means to him and the band, the success of their debut album Too Slow and what to expect from the imminent follow-up.

Also featured on this month’s podcast are haunting new duo The Kindling, Bird, one of Liverpool’s most exciting songwriters, experimental acoustic artist Daughter, Get Frank favourite Oaken Lee and former Amazing Folk Roots act Urusen. There’s also a spot for vibrant ska-band By the Rivers, who are soon to embark on a UK tour in support of The Specials.

Listen to the podcast here – and check out the contact page for details of how to get involved with the next one!

However, I’ve finally recovered enough to give a bit of time to putting this, the Get Frank Does Leefest podcast together.

I’m so incredibly grateful to Rich, Dave and all the guys at Leefest for making me feel so welcome. It’s the most fun I’ve had at a festival in a long time and, despite going on my own, I was kept company by some amazing people.

For this extended edition of the Get Frank podcast, I hit the press area of non-profit festival Leefest to chat to some of the emerging acts gracing the stage over the weekend.

PLAYLIST
Fraser – ‘Let It Rain’
Public Service Broadcasting – ‘Introduction (Let Yourself Go)’
The Stanley Blacks – ‘Caroline’
Jose Vanders (feat. Luke Leighfield) – ‘Blindsided’
Professor Penguin – ‘Pirate’
Loose Talk Costs Lives – ‘Hemlock’
Pengilly’s – ‘Writing Things Down and Thinking Things Over’

Highlights from the festival include; Professor Penguin’s performance of ‘Pirate’, Sneaking a peek at The Stanley Blacks as they recorded an exclusive performance of ‘Caroline’ for Leefest TV, Jose’s entire performance (particularly her introduction to her track ‘Man on Wire’ and her exquisite phrasing), Loose Talk Costs Lives’ shirts, Pengilly’s bottle of ‘adult lemonade’ and the night that followed, Public Service Broadcasting’s on-stage telly and the guys from Fraser, just well… being the guys from Fraser! Finally, thanks to Zanna for the lift to the station!

Listen to the podcast here

…The Get Frank Does Leefest Podcast!

I’m hoping to cover the festival for my next podcast, having invited lineup curator Rich Legate to join me on my last episode, which you can listen to and download right now by clicking on the handy soundcloud module below…

It’s been a difficult week for everyone, I’m well aware. Seeing people’s tweets, messages and general social networking statuses have been heartbreaking – but I’ve also found equal emotion in the incredible images of crowds holding their brooms aloft and grouping together to clean up and erase the damage. For some this will be impossible and all we can do is try to support them. I’m lucky to have amazing friends who have all been Tweeting and texting to see if I’m fine – thank you! I hope you are all safe too, and will remain so.

As we reach the weekend, London is starting to breathe again. My sigh of relief will come this weekend at Leefest, as I try to brave working the press area of a festival again (it’s been a while!) Again, I’m lucky to have been given my own ‘second chance’ by Dave, Rich and all the Leefest crew, who’ve been immensely supportive and accommodating of me and my very new, admittedly green podcast.

I received a brilliant email from Ric of Leeds/London band Pengilly’s today, to say that the long-awaited video for the band’s single Toby’s Hill is ready for your visual and aural consumption. And my word, was it worth the wait.

PENGILLY’S “TOBY’S HILL” MUSIC VIDEO from BROWN BREAD FILMS on Vimeo.

Live, the band are a sight and sound to behold so make it a staple of your future new music agenda to check them out live sometime soon. In fact, why not this Saturday at Leefest? You can still get tickets for the two day festival (which starts tomorrow). You can either get a weekend ticket, which includes two nights of camping, or a day ticket. It’s a non-profit festival and money will be partly reinvested in next year’s event and also donated to local charity, KidsCo. So many ‘small’ festivals have fallen by the wayside this year – through the dogged determination of its young team of organisers, Leefest has resisted throwing in the towel and is on the eve of greatness. I can’t bloody wait.

Hopefully I’ll see you at Leefest tomorrow, if not, I’ll be bringing an update soon!

The two day event, which takes place on the 12th and 13th August on a farm in Bromley, South London, raises money for charity KidsCo and is a brilliant way of making new music accessible to the masses – whilst attracting big name talent that usually would give Kent amiss. Plus, at just £55 for the full event (including camping), I think you’ll agree that it’s a bit of a bargain!

Leefest - see you down the front?

For this podcast, rather than feature one interviewee, I took on a co host in the form of the lovely Rich Legate. He’s a former LSR FM station manager and is in charge of booking artists for the festival – no mean feat considering that much of the festival has been organised on next to no money (money that included savings of some of the young organisers).

A unique element of this festival is that it mixes new and emerging artists with big name headliners and attempts to treat all as one. At the festival you’ll be able to see up and coming acts gracing the main stage as well as the smaller tents usually reserved for the newbies. It’s brilliant experience for the musicians and great for us smug, ‘musically-interested’ types who want to see the ‘Next Big Thing’ play in a potentially muddy field in Kent five years before they play in an almost certainly muddy field in Somerset…

Rich was kind enough to put in the legwork for this podcast on my behalf and bring me five of the acts he’s most looking forward to seeing across the weekend (fingers crossed he gets time!) They are; Fraser, Pengilly’s, Loose Talk Costs Lives, Stanley Blacks and Professor Penguin, who Rich performs with as a guitarist.

If you’d like to check out the podcast and possibly even subscribe to future episodes, head here.

The first of these artists is Kal Lavelle.

I first met Kal way back in my first year of study at the University of Birmingham. I caught the end of her amazing solo performance on the acoustic stage at Prichattsbury 2008 and pestered her for an interview on my meagre £20 dictaphone. Undeterred by my crappy equipment, Kal was more than happy to chat about her music.

Later that summer, covering Lounge on the Farm for BBC Kent, I heard my name called out by an Irish accent; Kal was playing the festival! We caught up and Kal dedicated her song, Disaster to me. To repay the favour, when I was called upon to co-host Myspace Mars Planets Radio with Alex Zane a month or so later, Disaster was the Myspace track I decided to play.

Roll on nearly three years later and I discovered that Kal was to support an Amazing Radio interviewee, Emily and the Woods, at a gig in Newcastle. Once again Kal dedicated Disaster to me, and as I watched her play I realised how far we’ve both come – Kal is steadily racking up a following during support gigs for Atlantic Records artist Ed Sheeran and has even recorded sessions for the likes of phenomenally successful youth broadcaster SBTV (who recently appeared fly-on-the-wall Channel 4 documentary that I provided the site support for).

Kal’s seminal number Disaster will always remain one of my favourite songs, not only for the memories it holds for me but because it perfectly encapsulates the gut-wrenching feelings of a relationship breaking down. No matter how many times Kal performs the song, it never looses its power – something wonderfully demonstrated by the album recording. (Trust me, the accapella moment towards the end of the song is simply stunning.) However, the song I think you should hear first from Kal’s repetoire is Downstairs, a track that introduces you to Kal’s signature mixture of pure longing, sadness and sexual tension.

The second act, Oaken Lee, is another act I have a personal connection with.The musical maestro behind Oaken Lee is Jake Flowers, someone I first saw perform at Birmingham’s Artsfest 2008.

I remember thinking how different Jake was from the other acts playing the Kerrang! stage, with his woolly pullover and acoustic guitar.

In my last year at Uni I got a call from someone seeking music for a charity event at Selly Oak’s Urban Village. I couldn’t get a full band together, but managed to convince my friend and guitarist James to come and play. Jake and his two bandmates were also playing and I remember thanking my lucky stars that James and his friends had convinced me to stay for the performance – it was captivating.

I feel rather honoured that Jake has had the good grace to keep in touch since I left Birmingham, and I jumped with joy went he sent me a copy of his new EP. The sound is ever so slightly lighter than his older recordings, with the occasional sample (in the style of ‘Pop Folk army’ Tunng’s thirties-style orators) and less amplified/electric instruments. It’s perfect for those wistful Summer moments and certainly requires sharing with a friend. (See, that’s how I think of you all now!) The Americana Acoustic numbers feature bass from Jake’s long-time friend and musical contributor, but feature less drums than on older releases, presumably free-ing up Jake to tour independently whilst still staying true to his on-record sound. He also experiments more lavish backing vocals, and revels in the quiet pauses he has total command over.

To see how Jake’s sound has developed, check out the original/Oaken Lee recording of One Summer Gone, one of my favourite tracks from the songwriter. The new version is less lo-fi, with more reliance on acoustic guitar and less on bluesy electric guitars/offbeat drums. The Oaken Lee rendition takes its time and allows one to ponder the terrific lyrics and reflect upon the idea that ‘this world was ours’.

The third and final artist is another who has changed his musical alias of late – and yes, I also have longer-term connections with him, this time being that my band Get Frank supported him as both a two-piece and six-piece back in Birmingham when he performed as Dan Smith.

Dan is now enjoying success as Bastille, with two of his anthemic, sequenced, synth-heavy numbers being featured in E4′s addictive reality series, Made in Chelsea. He commands the synth sounds like no other, making them sound fresh, modern and as foward-thinking as pop songs can be.

Unlike many other ‘artists bearing synths’, Dan’s voice is dexterous and warm. In his former pop life, he could justifiably be described as a male Regina Spektor, with flexible vocals and amazing piano lines. Any former fans fearing Dan’s transition to the programmable side have nothing to fear – Dan’s addition of more keyboards is a journey of progression rather than cynical cashing in. His work remains unique and relevant – and I ruddy love it.

Finger crossed I get them on a Get Frank podcast in the near future!