Lovely to hear a stripped back version, but it doesn’t quite have the class of the original track in all its psychedelic glory (check it out here). Still, it has whetted my appetite for the Finsbury Park gig in a few weeks featuring the mighty Monkeys and the not-so-Tame Impala.
With its high ceilings and shadowy corners, Village Underground was the perfect venue for SOHN last week. I’m inclined to mock singers who wear all-black and pull their hoods up over their heads like bearded Scottish Widows, but I have to give it to him, it worked. Neatly placed strobe lights surrounded the stage and added to the drama, pulsing and flashing in sync with the music. Above all, his voice was utterly flawless. Unbelievably so. I assumed some of the quality and elegance of his voice on record would be lost in a live performance but it was achingly pretty. It was a real treat to hear 'Red Lines' early on and then 'Oscillate' - the two songs I first heard from SOHN a year or so ago - but the throbbing end to 'Bloodflows' was spectacular. The one (and very small) let down was that after a quick dash off stage he came back for an encore and finished the set with 'The Wheel', a catchy tune, but one that seemed like a bit of a step down after an otherwise perfectly arranged set. No biggie. Londoners can catch him again at Field Day 7th June. Otherwise see the list of upcoming shows here and get the album Tremors from 7digital or Amazon.
First taste of new album. BIG Instrumental (emphasis on mental). I have been making some very weird noises humming/screeching along to this. Love.
Well that’s a beautiful headline….
His name may not have instantly stood out on the impressive 6Music Festival billing earlier this year, but after seeing Kiran Leonard’s performance online, I was keen to catch him at The Waiting Room on Friday.
As a performer, he has an off-kilter charm - he pulls as many faces as he plays instruments (22 on his debut album apparently) and his voice roams freely and easily from casual crooning to frenzied shrieks. His songs seem clever, but not too clever, and you had to get your head around some complex rhythms/time signatures and genre hopping, but it was really easy to go along for the ride. Oh and it was lovely and loud, just how I like it.
His youth is part of his appeal (unbelievably, he wrote ‘Dear Lincoln’ at the ripe-old-age of 14) but I can only hope that someone with his nerdy level of talent will keep it fresh and interesting.
Check out his guest mix for Tom Ravenscroft while you can. Worth a listen. And Londoners can see Kiran and his very talented four piece band again on Friday 18 July at The Sebright Arms. Book your ticket at :http://www.wegottickets.com/event/270356