Everybody’s favourite Illinois alt-rock foursome, Fall Out Boy have finally announced their return to the UK today as they embark on an eleven date tour of Europe. Only a small handful of the dates make it onto UK soil and of course it’s not until the beginning of 2018, but with brand new, and seventh, studio album ‘MANIA’ set for release on the 19th of January, these shows will no doubt pack a punch and even be the first insight into what the new record is like. The European dates on the 2018 MANIA tour are as follows:
11th of January 2018 – Electric Brixton / London, England
27th of March 2018 – Birmingham Arena / Birmingham, England
28th of March 2018 – Motorpoint Arena / Cardiff, Wales
29th of March 2018 – The O2 / London, England
3rd of April 2018 – Zenith / Paris, France
4th of April 2018 – AFAS Live / Amsterdam, Netherlands
6th of April 2018 – Max-Schmelling-Halle / Berlin, Germany
7th of April 2018 – Zenith / Munich, Germany
10th of April 2018 – Mitsubishi Electric Halle / Dusseldorf, Germany
12th of April 2018 – Forest Nationa / Brussels, Belgium
Despite only four of the dates being held inside the UK, Fall Out Boy have amassed a reputation as an outstanding live act and with a discography as strong as there’s, catching either one of these is a must for all fans. Tickets go on sale on the 24th of November at 9am… so good luck. Alongside the announcement of the tour came the video for the brand new, calypso flavoured single ‘Hold Me Tight Or Don’t’, and you can find it right here. This may well be one of the best tracks FOB have released in years with such a fun and vibrant feel, showcasing Patrick’s vocals wonderfully and generally holding a lighter feel than some of their previous darker, more obscure material.
Words by Stuart Green (@mojo20_music)
It’s been some of the most important and frequent news in the entertainment world for the past few weeks as more and more names continue to be mentioned and more accusations of sexual misconduct and abuse surface every single day. Hollywood has seen directors, actors and comedians such as Harvey Weinstein, Kevin Spacey and Louis C.K all accused of these extremely serious allegations and rightfully so, and then the music world was shook when the lead singer of Brand New Jesse Lacey was accused of soliciting nude photos from an underage girl. All horrendous crimes and all horrific acts, and along with it comes the reality that a career, a legacy and an entire reputation can crumble to dust following an allegation of these historical crimes.
Therefore it’d be extremely important for these accusations to be true as the impact it could have is detrimental to the continuation of a career, as Essex alt-rock five piece Nothing But Thieves are finding out. After some posts on social media appeared earlier today that accused the band of a plethora of different sexual misconduct charges. For a band still in the infancy of their career and seeming to have all the tools and the talent to become particularly successful, this comes as a huge shock to fans and a huge shame for anybody that has got behind them since their forming in 2012. However, the issue is that the allegations seem to have come from out of nowhere and are only being spread on social media at this time. The band have also released a particularly convincing statement in which they deny entirely any of the allegations made about them, which has us thinking about the importance of following the correct channels into making your complaint and also being wise so as to not push false information through forums like Twitter and Facebook to get attention or of course, the ever sought after ‘likes’.
Until the matter has been investigated further it is unknown whether their is any truth to these rumours and we certainly hope not and that the band can continue unscathed after this ordeal. However if they are found to be guilty of any of the accusations then this spells a just but tragic end for a band that could have had it all. As the latest information stands Nothing But Thieves have already began to lose booked concert dates including working with NME and upcoming shows.
Words by Stuart Green (@mojo20_music)
With Sunday evenings all unanimously belonging to Sir David Attenborough’s astounding Blue Planet 2 series, every man and his dolphin has become a marine biologist in training, and rightfully so. The unreal images of the natural world and also the stark reminder that unless human kind alter their way, it won’t be around for long, make it thrilling viewing for all, hence it’s overwhelming success. HOWEVER, the one thing I don’t agree with in the slightest is the soundtrack, as here at Mojo20, we’re certain we can curate a much more fitting score than Hans Zimmer ever could. So here we go, it’s the largest migration of club bangers ever discovered, and it could be coming to a BBC nature documentary near you…. maybe.
Mr Scruff / Fish (from Keep It Unreal) 1999
With a large majority of his original works being nautically themed or centred around marine life, we have to start here. Imagine the chorus on this, played over the stunning image of Nemo knocking around near some coral. Perfect.
Bloc Party / Octopus (from Four) 2012
Obvious choice, I mean it’s called ‘Octopus’, which clearly gives us eight great reasons to use this 2012 banger. Not Bloc Party’s most memorable track admittedly but what was we going to do? Include ‘Octopus’ Garden’ by The Beatles? This is a BBC documentary you know?!
Modest Mouse / Float On (from Good News From People Who Love Bad News) 2004
Another example of a band being particularly dedicated to the aquatic as they not only gave us ‘Float On’ but they also released the album ‘We Were Dead Before The Ship Even Sank’ plus tracks like ‘March Into The Sea’, ‘The Whale Song’ and ‘Missed The Boat’. With this much of an interest in things of the ocean, they have to make the soundtrack.
Queens Of The Stone Age / I Sat By The Ocean (from …Like Clockwork) 2013
Josh Homme drops a marine flavour into this one, thereby combining two of our favourite things. Plus, why would he not be on Blue Planet 2? He’s on everything else. In fact Attenborough might be the only person in showbiz that he hasn’t collaborated with.
Mastodon / Deep Sea Creature (from Call Of The Mastodon) 2006
Everybody’s favourite episode on Blue Planet, whether it be the first series or the new one is the one where we visit the deep, and find out about all the weird, crazy looking things down there. Imagine how some dirty death metal would set the scene whilst we learn about some see through blob with a torch on his head.
The B-52’s / Rock Lobster (from The B-52’s) 1978
No explanation required… it’s a banger and it’s got lobster in the title. Nuff said.
Swim Deep – The Sea (from Where The Heaven Are We) 2013
Absolutely perfect on all fronts here as Birmingham dream popsters Swim Deep seem to have designed their entire music careers to fit into this soundtrack. Good for them as well, that’s what I call ambition. Plus this would settle your nerves a bit after checking out the deep.
Crosby & Nash / To The Last Whale (from Wind On The Water) 1975
I can hear it now, being played over the final segment of the show as Sir David informs us all of the impending doom of the planet due to the failing environment, a message set against a backdrop of a desolate eco system that once thrived, whilst half of what was a reasonably ok late 60’s folk rock group remind us of the king of the ocean, the mighty whale.
Heart / Barracuda (from Little Queen) 1977
Finally, we need an up tempo and exciting theme tune so when it comes on people know it’s business time and this one fits like a glove. Showcasing one of the more viscous looking fish in the sea, I can imagine an opening montage of action packed highlights from the ocean, including David Attenborough rolling over the bonnet of a car at some point.
Honourable mentions go to The Coral, Reel Big Fish, Reef, Frank Ocean, Billy Ocean, Seasick Steve, The Beach Boys, The Ocean, The Seahorses and The Crabs
Words by Stuart Green (@mojo20_music)
As one of the super powers in music over the past few years, of course it’s big news when Taylor Swift releases a new album and droves of fans will have shot out to buy the album today, or at least sat at home and streamed it anyway. ‘Reputation’ is Swift’s sixth studio album, released across an already thirteen year career and not just any career as she currently sits atop the music mountain as one of the most successful and recognisable mega stars in the whole entire world, and all by the age of 27. You’d have to live under some sort of sound proof rock to not have heard (and even enjoyed) at least one if not more of Swifty’s hits and with the amount of radio play, media attention and social media promotion she receives, it’s not a wonder. Now me telling you that Taylor Swift is successful is not news, neither is the fact that she’s released a new album, as it has been widely covered and the hype and build up has been ever present.
However what I do want to say, is that I really don’t care.
In a world of everyday narcissism and self obsession, whether this be on social media or in the real world, if you can call it that anymore, this sort of edgy for the sake of being edgy gimmick doesn’t inspire or evoke any emotion from me whatsoever, and the self indulgence of her new “persona” is just infuriating. Now I’m not daft, I’m fully aware that there are millions of devout Taylor Swift fans that would not only strongly disagree with me here, but would also like to see me suffer for my sacrilegious words. However my problem is, we’ve seen this all before, this evolution of Taylor Swift from princess of pop to absolute badass, who apparently died and therefore she’s not taking anybody’s calls just seems like a desperate media plea and an attempt at widening an already respectable fan base. It isn’t like we haven’t seen it before, as she was a bonafide country sensation before broadening her sound out to the more commercially palatable and radio friendly pop style. I’ll be straight with you here as well, I didn’t particularly like either of these guises either but at least they didn’t infuriate me as much. Now every month for the past few years we’ve had to endure the tabloids force feeding us all the gory details about either or end of Taylor Swift’s most recent relationship, and again as someone that gives zero credence to the goings on of the celebrity world, I couldn’t care less, and the fact she’s had multiple public partners in recent history really doesn’t interest me at all either, you go for it girl, but the fact that on the first day of release, all the other music news publications have immediately detailed the laundry list of enemies and rivals in the celebrity world that she’s used as cannon fodder throughout her latest record. It’s layered with digs at Calvin Harris and Tom Hiddleston which to me just sounds so petty and playground-esque. Is the world really bothered enough about her love life to spend £10.99 on iTunes? I would actually assume yes. Would the world seriously be that interested in how she feels about other useless reality TV robots like Kim Kardashian and Kanye West? Absolutely they would. That’s the world we live in now, and we all need to get used to it, apparently.
I haven’t got tons to say about the music side of it as I feel so drained and demotivated by the aura and essence of not only the album but the latest presentation of Taylor Swift. It’s clearly darker and a lot more brooding and vengeful, fuelled by anger of past events and sending a message of imminent comeuppence but in doing that all she appears to have done is join a long list of names, who’s musical presentation solely revolves around them telling you how bad ass they are, how great they are, and normally having a pop at every one else. Just listen to DJ Khaled, Rhianna, Drake or even new girl on the block Cardi B and you’ll see the pattern form. It’s ego over art, presentation over substance and hype over credibility. It gathers a wide audience and who am I to ever say they’re doing it wrong, but what I can say is that I’m not impressed and as much as I can’t get on board with the selfie every second way of life, I also can’t get on board with the representatives and the faces of this generation.
As this is a music publication, I’ll give a brief run down of how I feel about the album from a musical point of view:
‘Ready For It’ is a great opener but she doesn’t half draw out that metaphor about stealing some blokes heart.
‘End Game’ sounds like every other song on Radio 1 at the minute but does feature your obligatory featured artists in Ed Sheeran and Future, so yeah.
‘I Did Something Bad’ beats that same drum that many others have about stuff feeling soooooo right when it should feel wrong, etc, whatever.
‘Look What You Made Me Do’ is one of my least favourite tracks of 2017. It sounds like ‘I’m Too Sexy’ by Right Said Fred, and that was shit as well.
‘King Of My Heart’ and ‘Gorgeous’ both seem to have more positive connotations generally and may even hint towards a new man in her life. OMG.
‘New Years Day’ is my favourite track on the album for two reasons, it’s stripped back and more organic. The current presentation and gimmick seems to have been dropped and some honesty and normality appears to have been regained. It’s actually very beautiful and it’s minimalistic style is such a welcome treat by the time you’ve dealt with the rest of the album. Without a doubt, this track is the highlight and I wonder what Swifty Dog’s next incarnation will be like, and I partly hope she falls this way into a more acoustic, singer songwriter based forum, because with the vocal talent she has and the clear work ethic she’s always possessed, there’s no reason she couldn’t take on artists like Laura Marling, Norah Jones or Katie Amelia and beat them at their own game. The other reason I love this track is because it’s the last one on the album and it’s over and now the pain can stop.
Words by Stuart Green (@mojo20_music)
Good God almighty he’s done it again. I suppose it’s been a few years since the last time he changed his name, but wouldn’t you just know it we now have another way to refer to Sean Combs, and that is Love. His name is simply Love, or Brother Love, I suppose if it’s a more formal setting. But forget Puff Daddy, Puffy, P. Diddy, Diddy or anything else you thought you knew him as because he won’t be responding to any of those former monikers anymore.
This announcement came just around his 48th birthday, making it no doubt harder for friends, family and well wishers to know what the fuck to put in his birthday card. It must be a rib on everyone. Imagine you’re his mate and you’ve forked out on a $5000 Rolex watch with his name inscribed on it, just for the big narna to go and change his name on the day. You’d be fuming. Still, as one of the most famous rappers the US or even the world has ever produced and as one of the most powerful men in the music business, he really is at liberty to do whatever he likes. If that’s his name, then that’s his name. End of. However, not everybody is taking the news so lightly as the wrestling world of all places has jumped into action to remind Mr. Combs that there is already a Brother Love and the name isn’t free for use.
However the villainous wrestling manager, portrayed by wrestling royalty Bruce Prichard, who just so happened to introduce the WWE universe to The Undertaker 27 years ago this month, hung up the Brother Love gimmick many years ago, meaning that it may just be up for grabs. Perhaps a match between Diddy and The Undertaker is the only civil way to decide this? Either way, I look forward already to his next name change. What’ll it be? The Gobbeldy Gooker? Doink The Clown? How about Stone Cold Sean? Stay right here on Mojo20.com for all updates and important information.
Words by Stuart Green (@mojo20_music)
It sometimes really doesn’t seem fair to even associate a particular artist with one song.
When it comes to Australian singer songwriter Vance Joy, it’d be so easy to say something dumb like “Christ, I thought he disappeared after Riptide”, and ok you’d have a point that the name Vance Joy has been scarce since he released one of the hottest tracks of 2013, with his beautiful yet catchy debut, ‘Riptide’, but that doesn’t mean he hasn’t been hard at work, and it doesn’t mean he hasn’t been successful. His debut single release may have received a hell of a lot of attention and exposure and I think that was purely testament to how incredible the song really was/is, however that was very early in his career and it’d be another year before he’d release his debut album ‘Dream Your Life Away’. I’d attribute the gap between initial break out and release of his debut album to be the reason why his name may have faded from the lips of the radio DJ’s and the casual music fans. It was what happened to Azealia Banks… although she still hasn’t released anything since ‘212’ which was five and a half years ago… or has she, I lost interest. Anyway, not to say that VJ is anything like Azealia Banks, but the point is that Vance Joy is BACK, and with a fabulous, gorgeous new tune entitled ‘Like Gold’.
‘Like Gold’ is a wonderful acoustic number that holds as much fun as it does depth. From a distance it seems like a naïve and playful track that reminds me of other great artists and bands like Noah & The Whale and Jay Jay Pistolet, (who if you don’t know, is Justin Young from The Vaccines’ solo efforts, if you’ve never heard him solo, do yourself a favour) to nae a few, but the lyrics suggest a wisdom and retrospective that disprove any ideas of it being a tale of young love. The use of percussion make it sound so large and so grand despite the minimal guitar track. It’s a genius piece of music in terms of the effect it has emotionally. It’s low key and down tempo but so much fun to listen to and the use of the cymbals add an excitement you may not expect. Also, harking back to not having ears on him for a few years now, his vocal style appears to be very different from what I’d heard before, but still holds so much beauty, and his delivery is also incredibly impressive as he spits out lyrics at a mixture of different tempos throughout.
It has to be said that Vance Joy is one of the most talented musicians on the planet and whether he’s granted the exposure he was afforded before, whether this new track has the same success as he had four years ago, it really doesn’t matter, he certainly deserves it but it won’t be the making of him. Vance Joy has the talent and the insight to be hugely successful, but far above that, he deserves the recognition as one of the best today.
Words by Stuart Green (@mojo20_music)
So, It’s been a few days since the first ever 2Q Festival in Lincoln took place, and whilst the recovery process is almost complete and while the city remembers fondly, we look hopefully to the future towards not only the return of 2Q, but other projects and events just like it that will wake Lincoln up and inject it with the same life it had on the 28th of October 2017. You may have already read our gig reviews on Life, Circa Waves and Jaws, but now were going to take an overview style look back at 2Q Festival 2017.
Were you there? I should certainly hope so, and if you were then none of this will be news, just a recap. If you weren’t however then I don’t know what the hell you were doing that could possibly warrant missing one of the most exciting days Lincoln town centre has ever seen, and I certainly hope that by the end of this article, you’ll regret your decision to miss it. As 81 different bands and artists were ready to perform on any of the nine different venues involved, already the statistics alone are staggering. How on earth could such a feat be achieved? The answers simple. Hard work. Hard work and ambition mixed with community spirit and local support were the only elements required in creating such an event and all these elements were heavily present on the day as a team of staff and festival management came together to piece together the entire project which took six months of labour and planning to pull off. To them we say thank you. The hard work and vision of these people turned an otherwise sleepy city centre into a melting pot of musical fandom, bringing every type of music lover out of the wood work and giving them something fantastic. The sight of these nine venues all packed out to capacity with enthusiastic and intrigued festival goers is an image that will remain burned into my brain.
The event itself proved to be more eclectic than anticipated also, as we started our day listening to the soothing tones of Lewis Canner at the Angel Coffee House, before heading off to Liquor to find Northern Captives playing a riotous, loud punk set to a packed room… and this was all by 12.45pm. Lunch time had barely passed and already the festival was in full swing. “If it’s this crazy in Liquor, what will everywhere else be like?” we wondered, before wandering over to Red Five to find that it could barely contain the people within. The ‘This Feeling’ tour was taking place at Red Five and my word did these young, talented musicians show us a thing or two. We watched The Himalayas perform an amazing set to a huge crowd and were impressed by the stage presence and song writing ability they already possessed. They have it all, and I’ll be listening out for their name being mentioned in many other circles before they make it big. We found ourselves in places we’d never normally dream of going as we spent hours upon hours at corporate nightclubs that I’d normally never enter for some “ethical reasons”, but as Circle and two floors of Home were playing such huge parts within the festival, we had to venture inside and what a job they did. As multiple different artists such as Jaws, Sam Varlow, Get Cape Wear Cape Fly, The Sherlocks and Peace drew gigantic crowds, the venues were more than capable of looking after everyone and keeping the show on track. It was a joy to be present and a joy to see what these places could do when a substantial focal point was the reason for such a gathering. As well as the aforementioned venues there was also Back To Mono record shop which featured a much more laid back, acoustically centred line up and it was very much needed. After kicking off the day with a variety of DJ sets (one of which being by yours truly) we began to see promising young stars like Lauren Rycroft and Paisley Atlanta take centre stage, and after a day of wandering around the city, a quick coffee and an hour of something more down tempo was exactly what the doctor ordered. After this quick break, it was time to head over to the student quarter and visit The Swan, which as far as a student bar when you’re not a student goes, was absolutely brilliant, and I’ll be returning for a pint very soon indeed. As headline slots approached all around the city, you could imagine that Home and The Engine Shed would be filling up to capacity, but a more intimate setting at The Swan made Eliza & The Bear’s performance even more wonderful. That and their Halloween outfits anyway…
If you’ve read our Circa Waves review then you know how the day ends but as base of operations and the largest/main stage for the entire festival, The Engine Shed deserves a lot of respect for delivering as it always does. A lively and equally as enthused crowd as what started the day was present for the festival headliners and it was time to dig down for any remaining energy I had left, as prepared for the grand finale. Upon Circa Waves final song, as ticket holders continued to party all over the city, it was time to get a taxi and reflect on the day. Had it worked? Was Lincoln ready for 2Q? You’re damn right it was, and if it wasn’t for everyone that decided they wanted to be a part of history and go and get a piece of what was being offered to them, then it couldn’t possibly have worked and there wouldn’t be any possibility of its return, however, I remain hopeful that the sights and sounds of 2Q Festival aren’t gone, but just waiting. The pride I felt for Lincoln city and its inhabitants will not only last but be outdone next time, and as always, just as we always say here at Mojo20, good music wins again. This time, it won big.
Words by Stuart Green (@mojo20_music)
Photography by Steven Haddock (Twitter: @stevenhaddock FB: @stevenhaddockphoto) StevenHaddock.co.uk