Reviews – Page 6 – Get In Her Ears

LIVE (Photos): Deer Shed Festival, 2024 (Day 1, 26.07.2024)

Having fallen in love with Deer Shed when I attended for the first time back in 2022, and then going on to have another dreamy weekend at the North Yorkshire festival last year, I was very glad I got to go again this year. Highlighting a real family focus, whilst hosting a range of exciting new artists, it oozes the warmest of vibes and – being smaller in size than most other festivals – creates a space that feels comfortingly intimate; an inclusive safe haven for artists and fans of all genres and ages. Whilst providing a child-friendly environment, this does not take away from the quality and array of performances on offer for everyone to enjoy. Although I’d say I’m in the minority of attendees who does not have children (or isn’t a child themselves!), I in no way feel this to be hindrance – there’s still plenty of adult fun to be had, just in perhaps a slightly less intense, and more safe, environment than most other festivals. Which is no bad thing, in my opinion!

Amongst those performing, a fantastic number of female, non binary and queer performers are represented, and I was lucky enough to catch lots of these over the weekend – a good balance of artists I already knew and loved, and those who I had not had the chance to see before.

After our seven and a half hour journey, and settling into our pre-pitched tent (a revelation saving so much time and energy that I will be doing it at every festival going forwards!), we make it to the main stage just in time to catch Liz Lawrence. A GIHE favourite and one of the first ever guests on our radio show, she combines a twinkling emotion with deep funk-fuelled hooks as her distinctive syrupy vocals narrate each reflective offering. From songs such as 2019’s ‘USP’ and ‘None Of My Friends’ to recent single ‘Strut’ (at the request of “the lad that said ‘can you play Strut for my mum?’”), and everything in between, a gritty splendour flows throughout, as the sun shines upon our first taste of live music of the weekend.

Next up, we head to the In The Dock state to witness the fierce power of OneDa. Declaring that “pussy power is a way of life”, she launches into a set of immense hip-hop infused drum ‘n’ bass anthems, all delivered with a ferocious swirling energy and seething passion.

Following some tasty vegan gyoza, we wander over to The Lodge stage to catch some of the colourful “digital voodoo” of Nana Benz Du Togo. Emanating a majestic grace, as their voices and unique instruments combine to create uplifting anthems like ‘Liberty’ and ‘To Be Free’, their message remains clear throughout: as lyrics like “I wanna make my own decisions” resonate with a stirring poignancy, a deep empowering spirit oozes from the stage. Declaring that “women should be free to be what they want to be”, and describing their aim as being to “recover the place that our mothers lost to the patriarchal society”, Nana Benz deliver a wonderfully invigorating set; uniting the buoyant crowd in a resolute drive for change with a glistening joyous energy.

To end the night, I swap from my usual position of spectator to ‘artist’… If you can call DJing that. Either way, I was on the In The Dock stage, playing tunes to a tent that ended up being full of people for the Silent Disco. Lurking in the shadows without being noticed is generally more my vibe, so needless to say I was quite nervous about it. But, despite the cursor key on my laptop deciding to stop working at just the wrong time, causing a few clunky ‘mixes’(and with most of my set clashing with Liverpool legends The Coral on the main stage), it was really lovely to see so many people dancing and singing along to the music I was playing. Noticing the number of young people who seemed to be enjoying it – making up dances with their friends and getting excited by certain songs – was particularly heartwarming, and I’m really grateful to have had the opportunity to do it. So, massive thanks and love to Deer Shed for letting me unleash my danceable queer tunes onto the crowd (and hopefully my laptop cursor won’t break next time!).

Stay tuned for photos of, and words about, of Days 2 & 3 at Deer Shed – including some special thoughts about the kids’ activities from next generation GIHE gal Orla….

Words: Mari Lane / @marimindles
Photos: Paul Dawes / @GRNDglass

August 7, 2024August 19, 2024

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LIVE: Circe – Electric Ballroom, Camden (22.07.24)

Bathed in blue light, dark-pop artist Circe slowly emerged on to the stage at the Electric Ballroom in Camden last week. Stood next to a solitary neon blue crucifix which glowed ominously throughout her set, the London-based musician opened with the effervescent sounds of ‘My Boy Aphrodite’; the repeated lyric “you do kill me, always thrill me” encapsulating the immersive, all-consuming quality of her live performance perfectly.

Supporting American band The Midnight on their recent UK and EU tour, Circe’s blend of dystopian-yet-euphoric dark-pop was the ideal accompaniment for their synth-wave sounds, proved by the packed venue full of the band’s fans who had turned up early to see the emerging artist. Performing a mixture of tracks from her debut EP, She’s Made Of Saints (2020) and her most recent release, Drawing Wings From The Light (2023), her seraphic vocals and cinematic synths oozed vividly through the speakers.

Even without her trademark visuals and backdrop – scattered bunches of artificial flowers reminiscent of Juliet’s tomb in Baz Luhrmann’s Romeo & Juliet, and a montage of footage from films and her own videos – Circe’s theatricality was still as potent as ever. Predominantly written and produced from her bedroom, the drama that underscores Circe’s songs translated beautifully into a more grandiose setting. The glossy, bass-drenched beats of ‘Going Down’ – a song about being infatuated with a cheerleader – hit much harder live, whilst the lucid, intoxicating synths on ‘Ten Girls’ – a song about fuckboys – dripped with defiance. She also treated listeners to a new track, ‘Heaven’s The Other Way’, packed with more of her shimmering electronics and emotive vocals.

It was the formidable sound of ‘Blue Love’, however, that was the true highlight of the set. Described by the artist as a hybrid of her influences, including Karen O and The Cure in their Disintegration era, Circe’s invite to “come take a shot at it / I’ll let you rot with it” dazzled the crowd. As she performed it, she confidently paced across the stage, raising her arms and gesturing to the sky, radiating confidence and true star quality.

Although she would later appear on stage again during The Midnight’s set, Circe closed her performance with ‘Riot Of Sunlight’. As she played her acoustic guitar, a euphoric rush of dizzying electronics swelled around her. Rapturous cheers and applause at the end of her set proved that Circe’s live charm is undeniable. Her neon dreams and cell-tingling dark-pop fantasies are truly best experienced in the flesh.

Follow Circe on Spotify, bandcamp, YouTube, TikTok, Twitter & Instagram

Photo Credit: Zak Watson

Kate Crudgington
@kate_crudge

July 31, 2024July 31, 2024

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WATCH: pink suits – ‘Are You Gay Yet?’

One of the first songs written, but the final single to be released from pink suits’ recent album Dystopian Hellscape, ‘Are You Gay Yet?’ has now been blessed with an accompanying music video, complete with all the riotous style that makes up the band’s signature impact on the punk scene.

The video is set in the kind of classic British pub that will be instantly recognisable to anyone who has ever stopped for a pint in a small town. Union flag bunting is strung up above the bar and a painting of the queen watches over the punters. Other than rather muted blues and greys, the only pop of colour is the golden yellow of very manly beer as the old mate from school chuckles, “Are you gay yet?”

As the music ramps up and the band delivers their response, the video switches gear. With the rallying cry “Am I gay yet? Fuck yes”, the band infuse the drab, simple setting with vibrant energy and colour. They swap out a grey hoodie for a pink mesh tank top and fringed leather waistcoats and leap up onto the karaoke stage. As the song goes on, the crowd joins in, replacing jeans and jumpsuits with bold silk scarves, bright pink cowboy hats and an eclectic assortment of fetish-wear. The camera lingers on different looks, highlighting all the styles and identities that fall under the queer umbrella; making a question as simple as “Are you gay yet?” horribly insufficient in its goal of pinning a label on any individual.

Throughout, neither the setting nor the people change. But the way the band bursts unapologetically into the scene opens a door for everyone there to embrace their own uniqueness and individuality. It hammers home the unavoidable truth that queer people aren’t separate from society, but a fundamental part of it. Whether you see that at a glance or not, the only difference is how much they hide it from you when they’re not sure if you’re safe to come out to. By standing up and being themselves, pink suits take a bland heteronormative room, where it passes as a hilarious joke to suggest someone might be gay, and turn it into the party of the century.

As the video continues, the line “What will the neighbours say?” is delivered from behind a pink latex fetish mask complete with blond braids and a spiked collar. The answer is right there in the room: the neighbours are as wild as anyone else and have been waiting for exactly this permission to show off their authentic selves.

Of the inspiration behind the video, the band explain:

The video was inspired by a real conversation Lennie had in a pub in Manchester with someone they went to school with, as well as an awkward experience doing Karaoke in a bar in a small town in Colorado. The guy hosting the karaoke night had a toy guitar and would play all of the guitar solos, so Lennie did a song and on the solo got on their knees to play the guitar with their mouth and it made the guy absolutely freak out and lose his shit at having a bloke drop to his knees in from of him. It was a very uncomfortable end to the song!”

Watch the joyously empowering new video for ‘Are You Gay Yet?’ now:

Kirstie Summers
@actuallykurt

July 24, 2024

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EP PREVIEW: Zami Yazeed – ‘Release’

Finding strength in tenderness and catharsis in her confessional songwriting, Maldivian-raised, London-based musician Zami Yazeed pushes through doubt and emerges as a more resilient artist on her upcoming EP, Release. Set to be shared later this year via Village Live Records, the six tracks that form her debut record are poignant reflections on love, shame, autonomy and resistance, all underscored by her considered instrumentation and smooth, emotive vocals.

“The world can be cruel, my darling” Zami earnestly muses on ‘Rest’, the EP’s opening track. Her compassionate acknowledgement is personified through her gentle, atmospheric guitar strums and sympathetic lyrics, both of which lull listeners into a state of calming bliss. This is a feeling that underscores all of the tracks on Release, with Zami’s affecting vocal acting as a benevolent guide through any uneasy or painful sentiments. This is especially true of following track, ‘Conversations I’ll Never Have’.

Her delicate blend of romantic guitar tones, soft percussion and beautiful, lilting string instrumentation and melancholy saxophone notes – which gradually builds to a rush of majestic sound – provides the cathartic release of the imagined ‘Conversations’ Zami alludes to in the title. By blending elements of folk, jazz and traditional Maldivian music, her narrative-led songs manage to simultaneously flow in both a deeply personal and poetically universal vein. Her clear ear for melody also aids this admirable combination. This skill shines through again on ‘Redhan’. Named after a Bioluminescent Plankton in the Maldives, Zami sings in her native language of Dhivehi here. The track is a rumination on homesickness and the healing power of nature, with the yearning quality of her voice transcending any need for direct lyrical translation.

Zami is at her most expressive towards the end of EP. On ‘Guilt’, she asks “and what is love? If it’s not freedom?” – dwelling on the unease of unresolved feelings in the aftermath of a breakup. The penultimate track ‘The Sinner’s Song (Live)’ feels like a companion piece, with more of Zami’s delicate, yet full-bodied instrumentation enabling her to express the complexities of her emotions, as well as continuing to impress listeners with more of her rich vocal range.

Despite it’s somber sound, eponymous track ‘Release’ is a poignant way to bookend a record that has clearly been crafted with great care. It’s refreshingly short too, clocking in at just two minutes and thirty seconds. As a whole, Release is a record that allows Zami to contemplate the troubles that have prompted her writing, and through her genre-blending sounds and vulnerable, yet assertive voice, hopefully it has afforded her the space to resolve them too.