Concert Review – Page 3 – Mondo Bizarre Magazine

July 2, 2024July 9, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

Jesus the Snake | All Them Witches, Hard Club, Porto, 24.06.2024.

words: Marcos Leal (freely translated by Raquel Pinheiro); photos: Telma Mota

Jesus the Snake, a band from Vizela, ofereced a serene and contemplative cradle with their spacial pinkfloydesque melodies. Only the dense riffs of the last track broke the immersive state and awoke the audience for what was to follow.

When All Them Witches turn arrived the change of atmosphere in the room was palpable. The audience in constant uproar and ecstasy, at times contrasting with the here and there immersive melodies of the band. However, they also own beating riffs. All Them Witches manage to transport the listener to a road movie in which we travel through prairies, and the typical dinners and motels of American landscapes.

The band played a setlist that reviewed several of their tracks such as the opener See You Next Fall, When God Comes Back, Alabaster, The Marriage of Coyote Woman and after effusive aplaus, on the encore, Bulls.In short, it was a happy return over here and a great welcome for All Them Witches.

June 18, 2024June 22, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

Sprints, Mouco, Porto, 15.06.2024.

words: Paulo Carmona (freely translated by Raquel Pinheiro); photos: Telma Mota

I confess I’ve spend most of my life seeings attempts at burying rock-‘n’-roll for the most varied reasons and dantesc like premonitions. As if a chronicle of an announced demise.

It is bands like Sprints that show up giving the finger to those morbid mistrustfuls, holding a fluffy white bunny passport.What happened Saturday at Mouco was epic.

They arrived, they saw, they conquered. With a very energetic and lascivious garage/stoner punk rock this young band from Dublin grabbed the audience from the beginning to the end of the concert. No truces given drawing the audience to get involved with the band at song, at every charge.

Energetic and irreverent, well instrumentally sustained with drums supported (Jack Callan), bass and vocals (Sam McCann) guitar (Colm O’Reilly) and Karla Chubb (main vocals, guitar) doing everything else. Karla has an overwhelming power that leaves no one indifferent.

The setlist played was everything the Sprints have to give and believe it is a lot. Heavy, Adore, Cathedral, Delia, Shadow and Letter and others, were part of the party that ended with Karla in a happy mosh among the audience.

I left belly filled and only felt like singing to myself: I know, it’s only rock’n’roll, but I like it, I like it… yes I do! How not to?

May 7, 2024May 8, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

SDH, Mouco, Porto, 04.05.2024.

words: Paulo Carmona (freely translated by Raquel Pinheiro); photos: Telma Mota

It seemed everyone was already waiting to shake their hips to SDH frantic rhythm, since that happened from the start. The powerful loops and samples continuously blasting throughout the room that had enough space for improvised dancing. The Barcelona duo’s (Andrea Latorre e Sergi Algiz) synth pop a la discoteque, even if mixed with some industrial experimentism and a sparkle of dark wave is an invitation to dancing.

Andrea dances throughout with goth-dancer mannerisms and sensuality in her gestures. The very creative and pertiment always changing set design, mixed with the overhaul dark ambient and the frantic colourful lights did the rest. Very funny.

They showered the submissive audience with an energetic and progressive set going around tracks like No Miracles, Tell Them, Balance e obviamente, and the always expected Hectic. I’m not going home. The warm up worked very well and I will go around city alleys looking for sige sound franticness. I think I know where to go.

May 2, 2024May 2, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

Lloyd Cole, Casa da Música, Porto, 28.04.2024.

words: Paulo Carmona freely translated by Raquel Pinheiro); photos: Paulo Carmona

Lloyd Cole is one of those unique cases in which a man, a guitar and his voice manage to give an whole concert in which the audience does not fall into a dragged sleepleness apathy like. There are several factors for that: The first one is the voice to be in shape in the highs and lows and the knowledge of using breathing to achieve what is intended.

Another factor to have in consideration is the compentency is the playing of the electro-acoustic guitar. The rhythms, the freestyle, the intensity, the silences and the arpeggios. All very well played and pertinent to the flow of the songs. And the songs, of course.

When a song is well written, well harmonized and has a poem that tailor suits it because it is felt, loved and conceived since it naturally; with guitar and voice, or orchestra it will always be a great song. That was what, once more, Lloyd Cole offered us. Always nice and afectous, supported by is British humour, including about mid concert pause, explaining it is mandatory for guys his age, he was an excellent entertainer from beginning to end.

The menu included more introspective songs such as Like Lovers Do, My Other Life, 2 CV, Today I’m Not So Sure, The Afterlife, The Idiot, Butterfly and more iconic and uplifted songs like Are You Ready To Be Heartbroken, Jennifer She Said, Brand New Friend, Perfect Skin and Undressed. On the much demanded and thanked encore Lost Weekend and Forest Fire were played.

On my way home, on the aftermath, I was thinking a cup of hot tea and sweet, sweet biscuits would be right the thing.

April 26, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

Kristin Hersh, Auditório Francisco de Assis, Porto, 21.04.2024.

words: Neno Costa (freely translated by Raquel Pinheiro); photos: Telma Mota

The tracery of Sparky (Hips and Makers, 1994) filled the wideness of the stage until Kristin Hersh’s voice filled the room with Eyeshine (Clear Pound Road, 2023) casting out ghosts that seemed to threaten Throwing Muses’muse at every turn.

Lady of lyrics tinted by experience and personal conflicts, braided with a pop folk sound under a harsh vocal sky Kristin Hersh and her acoustic guitar run through thirty years of career, including her time with Throwing Muses, in an intimate, mature, flowing performance in choices such as Your Ghost (Hips and Makers, 1994), Kay Catherine (Throwing Muses, 2020), Your Dirty Answer (Sonny Border Blue, 2001) or Ms Haha from her latest album.

It would have been wonderful to prolong this golden moment of the musical calendary, electrically wrapped with The Cuckoo (Hips and Makers, 1994) and English folk song open to interpretations, cladled as a goodbye.

April 18, 2024April 18, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

Hohen Ford | Patrick Watson, Hard Club, Porto, 15.04.2024.

Hohnen Ford © Mondo Bizarre Magazine/Marcos Leal

words: Marcos Leal (freely translated by Raquel Pinheiro); photos Marcos Leal

On a Monday evening the line of people to Hard Club was visible before opening time. It took some time for British singer-songwriter Hohnen Ford, the opening act to be on stage. Quickly, with a smiley face, starting to play the piano and singing beautifully. Of note a cover of Radiohead’s No Surprises and the live debut of a new song, Honest Mistake. Going by the delight many were listening to her on the front rows, she gathered new fans.

Patrick Watson turn, playing Lost With You under mild, intimate light, that progressed towards the other musicians, surprisingly encorporating the lyrics of Radiohead’s CreepIt was a concert of great complicity and intimacy that captivated the audience. As much on a scenic as well as musical level it was a concert of great beauty and sensibility with songs that tools to intimate, but also mundane places. Between sings there were stories about those songs in themselves, and some joyous moments. Such as in Lisboa Mermaid in Lisbon was sung by Gisela João (on record the voice belongs to Teresa Salgueiro), displaying good stage chemistry. In a kind of encore Hohnen Ford returned, and once more enchanted the audience singing an acoustic song along Patrick Watson.

Patrick Watson & Gisela João © Mondo Bizarre Magazine/Marcos Leal

The concert ending was surprising. Patrick Watson came down to the middle of the audience with a megaphone accompanied by his bassist/guitarist carrying on his shoulders some sort of lights structure, both slowly playing and singing towards the room exit.

Patrick Watson © Mondo Bizarre Magazine/Marcos Leal

April 16, 2024April 25, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

Sereias | Sleaford Mods, Casa da Música, 13.04.2024.

Sereias © Mondo Bizarre Magazine/Daniela Tedim

words: Paulo Carmona (freely translated by Raquel Pinheiro); photos: Daniela Tendim

Sereias opened the evening with their frantic, vocally agressive rock. Abundantly shouted in despair, among foul language, demands and political and social criticism. They’re very solid and original instrumentalists in the way they mix styles and impose tempos. But always very together. An interesting band, no doubt.

Sleaford Mods © Mondo Bizarre Magazine/Daniela Tedim

I could say punk bastards are back or that the good old fashioned rebels would have returned in na electro punk rap and spoken word version, but I will not do it, even because I just did it. I’ll center myself in what is worthy about British duo Sleaford Mods. Obviously punk’s stigma is present on the fast intense vocalizations of the sarcastic speech, at times comical, and electronic samples minimalism everyone. But, in reality, do Jason Williamson and Andrew Fearn Bing us or intend to put across?

To me, it seems they have a lot to say and to uncover not only Great Britain concerning, but regarding the world at large in its hypocrisy and aggressive capitalist economy. Sleaford Mods music is to be danced to, felt, grooved. It is also to be reflected upon and internalised. Although the communication channel is minimalist electronic music, their message is anything but minimalistic. In line with social and political criticism “in your face” bands like The Clash, Public Enemy, Rage Against, this duo shots towards their chosen targets with genuine haughtiness.

The concert at Casa da Música justified all that. Jason’s voice on his East Midlands Accent among psychedelic strobe lights, vociferações that resembled seagulls overing above any coastal town, his balancing water bottles on his head artist posture like a cocky rooster trying to moonwalk and footloose, tracks like TCR, BHS, and the cover of Pet Shop Boys’ West End Girls keep coming out entertaining the hordes attendees and Sleaford Mods fans.Oh Captain! My Captain! They follow us everywhere and I go west.

April 9, 2024April 12, 2024 Mondo Bizarre Magazine Concerts

BDRMM, Mouco, Porto, 06.04.2024.

words: Marcos Leal (freely translated by Raquel Pinheiro); photos: Marcos Leal.

Hull band Bdrmm awaited first concert in Porto finally happened. Bdrmm came to download their electric showgaze mantle upon an audience split between a sound delight and happy talk.It was remarkable the way the band was applauded and cherished by the audience, leaving the quarter rather pleased, and, in a way, apparently surprised with such reaction, multiplying thanks you at each song. For about one and a half hour Bdrmm downloaded a stream of songs that satisfied the wishes of their fans, starting with Alps, carrying on with Be Careful.

Then, melodically loud with songs like Gush, Push/Pull, Happy, one of their greatest hits, here almost unrecognisable among a deluge of distortion, until, at, last, arriving at a good Port, um thrilling cheering by from the audience and thanks by Bdrmm.

April 2, 2024April 2, 2024 Mondo Bizarre Magazine Concerts

Pop Dell’Arte, Hard Club, Porto, 29.03.2024.

words: Paulo Carmona (freely translated by Raquel Pinheiro); photos Hiliana Melo

On stage, more than showbiz, more than show off, give rock’n’roll truth. As it is in its essence. Unpretentious and genuine. That is what Pop Dell’Arte is. That is it, and it is very good.

Sonorously speaking it is complex in construction, structure, form. Bass, drums and guitar played by Zé Pedro Moura, Ricardo Martins and Paulo Monteiro are extremely competent performing the songs as well as on their own, leaving an impression with the daring passion the music flows to our senses. João Peste’s voice is what we were used to over decades. Intense and very charismatic. At times powerful and resounding, at times sarcastic, dragged, and insolent filled of an apparent juvenile innocence. Take note, apparent! Maybe that is why he and his companions can make Pop Dell’Arte’s music seem so fresh. Each concert is a celebration. An hymn to the band’s aesthetic conscience and its survival along its life spam.

This concert didn’t deviate from it, and that is good. It started with Star Wars and Em Creta, through Avanti Marinaio, Planet Lakroon, Panoptical Architecture for Empty Streets in a Silent City, Wil’n’Chic, Be Bop and Sonhos Pop, and, towards the end Freaky Dance and My Funny Ana Lana. A great celebration, no doubt.Is it me or this more thrilling, frantic, alternative as well as pop side of rock as its strongest expression in a time references were few, but, indisputably, remarkable.

March 19, 2024September 3, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

F.M. Einheit – Associação de Moradores da Bouça, Porto, 15.03.2024.

The Club Meets the Drill

words: Raquel Pinheiro; photos: Renato Cruz Santos/Cultura em Expansão We are at one of those places most would not associate with industrial music, Associação de Moradores da Bouça, a local residents society, founded in 1975. Through Porto’s City Hall programme Cultura em Expansão, Associação de Moradores da Bouça has been helding events, like diferent sorts of concerts, including more fringe ones.

There are too many of us gathered in the patio outside the concert room. Which goes to show that fringes can be relative. F.M. Einheit became known to if not all, most of us in attendance, when he was part of Einstürzende Neubauten, that he left in 1995.

The planned seated concert is turned into a stand up one in order for everyone to be able to attend. That changes things a little or the audience. In chairs, we would easily be able to see the images of the projections that accompanied F.M. Einheit’s demolitions, cracking, pouring of materials, playing a gigantic spring with a drill.

The video projections come with background sounds and beats. A mix of clubbing grooves, voices, mechanical, machinery noises. From where I stand for most of the concert, by the door and the mixing desk, it is not easy to see the images or, other than the playing of spring & drill, what is F.M.’s up to. I can hear sounds and see a glimpse of what looks like a workbench with a few things upon it. Wood plaques? Bricks? And what is FM pouring from a big bucket? Gravel? Whatever it is, it makes for an harrowing sound.

The evening will keep being filled with contrasts, dissonances, resonances, peculiar noises. And thee drill!

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