// NIGHTS // HEY LOVE, HELLO // //Debut Single//

 

…And so it begins, what has happened so far… continues.

The last few months have been nothing short of extraordinary  for NIGHTS, but all one’s senses convince, that this is the real beginning.

NIGHTS debut single – ‘Hey Love, Hello’ was released on Friday 5th July courtesy of Necessary Records. The accompanying video directed by Robbie Knox and Ryan Prout illustrates the bands tasteful expression of sexuality in a one shot scene and the first in an arsenal of exceptional rhythm and blues based funk.

At the height of the hottest summer in living memory, NIGHTS have released a deliciously delicate single that encapsulates their uniquely blossoming and characteristic stylish groove. ‘Hey Love, Hello’ is as simplistic as it is infectious and memorable. NIGHTS are good at inducing a kinetic response on a number of levels. The debut release illustrates a sensual restraint, set at a tempo fixed to provoke a familiar result – a characteristic manifestation of movement.

Wylee’s words are a hum of minimalist harmony as he does just enough to enhance the feeling the song creates but he shows glimpses of the comfort his vocal range has recently realised. ‘Hey Love, Hello’ is a strong first effort from this new outfit. It is rather symbolic of the mystery of the bands timeline thus far, in that it doesn’t give too much away. The single’s repetitively lazy like groove is the embodiment of a collectively confident band sure enough of themselves to do exactly what they want to do. In their way and in their time.
Video produced by – Cinema Campesinos

// NIGHTS // LEPUB, NEWPORT // 04/04/2014 //

The anticipation of this night had been building for weeks. Flyers and posters baring the now unmistakable ‘NIGHTS’ logo of a white ‘N’ overlapping ‘I’ on a blackdrop were spotted appearing all around the Newport area. By late March like the coming of spring, the anticipation transformed into excitement as the buzz gathered momentum and, on the evening of the 4th April they came in their swarms selling out Le Pub, so much so that only 8 tickets were available to the birds and the boys who waited until the last minute.

It seems unthinkable that a band who had never performed publicly together before this night should demand such a furore. This though added  to the intrigue as a familiar friend transcended into a very new and compelling beast.

‘NIGHTS’ are born from ‘Dirty Goods’, who were the most popular and established band who had reached far beyond the South Wales circuit. Antony Smith known as ‘Wylee’ on guitar and vocals coupled with Mikee Gregory on drums remain from the 3  of Dirty Goods. ‘NIGHTS’ have repackaged, rebranded and, to some extent recruited. The main body of ‘Dirty Goods’ remain but the addition of Gareth Pearson on lead undoubtably adds more than one string to ‘NIGHTS’ bow. A well renowned finger picking guitarist; Pearson’s presence realises a dimension that ‘Goods could not. The ever present groove and funky hooks from the bands core give them an inimitable signature sound and a sound with a confidently clear direction. With new bass player John Myles, ‘NIGHTS’ structure is complete.

The walk into the familiar setting of Le Pub felt different tonight. The undisputed epicentre of the South East Wales music scene could be the only place to set the wheels in motion. A DJ set by Neil Young greeted the guests before London’s ‘Midè’ impressed the building throngs with their soulful rhythms.

Nobody was in any doubt who this night belonged to.

Friends, fans and faces familiar in the music machine amalgamated together as the heat rose and the darkness fell. A palpable smog of anxiety  in the upstairs atmosphere greeted Gareth Pearson under a solitary spotlight and began an unforgettable show. His mesmerising solo work on his ‘Adrenalin Rush’ suddenly grabbed the beaming masses and stole the attention of every individual. The time was here, the stage was theirs.

In countless gigs at the venue no one could have been received as ‘NIGHTS’ were. Was it the build up? Was it the affection for the band? Or was it the sheer belief that this was their time? The answer was that it didn’t matter; ‘NIGHTS’ blew the lid off the place.

The refreshing belief in themselves was well demonstrated by opening with the dreamy ‘Youngsters’, a laid back, heavenly soaring tune that eulogises all that’s great in ‘NIGHTS’. To achieve a balance between genuine emotion and pure rhythm, one would expect something else to give, however the newest of the set ‘Youngsters’ introduces the effortlessness in which the band can now creatively bask in.

Wylee’s voice pulled at the heart strings as he hit  notes at will and from ‘Youngsters’ onwards  the band seemed to have the gift of time. This was their debut performance yet the assured subtlety of the parts…..and the pauses convinced the audience of their class. In the blink of an eye the crowd emerged from intense observance to a writhing mass of movement. That came as no surprise to those who followed ‘Dirty Goods’ but the eye for detail and professionalism couldn’t be ignored.

Gregory’s clinically efficient drumming is the foundation for ‘NIGHTS’ ultimately natural sound. They delighted the unrelenting smiles with well known favourites such as ‘Dark Highlight’ and ‘Sunshine Afternoon’, both of which are examples of the accessibility and charm of Wylee’s lyrics interwoven with ‘NIGHTS’ versatility and innovation.

Le Pub was a cauldron of heaving happiness and it was mirrored by the band, in particular the guitarist Gareth Pearson’s persistent grin. The evening culminated in ‘Flavours’ and ‘Honest’ that drew everyone into dance and celebration of what was a committed and impressive set. Make no mistake, this was not complete, how could it be? The night was about the birth of the band, it has since transpired that the collective now expect more. They will get it.

‘NIGHTS’ have a style that is evidently influenced in R&B and soul, ..and indie but this is the ‘NIGHTS’ style. They became something else that night, they took a stride into the unknown, they convinced those who witnessed it that they are sure of their sound and they have enough to delve into the realms that bands such as The Klaxons, Django Django and Metronomy have reached. ‘NIGHTS’ in built belief portrays a comfort but not a complacency in their abilities and vision.

There will be more nights like this but this night was the glorious introduction to the journey of a band we know, but a band who are reassuringly separated from their former selves and ready for the next vital chapters.

‘Hey Love Hello’ New Single OUT 25/07/14

Next Show // 8th August – Koko, Camden, London

www.wearenights.com

All Photos by: Jonny Reasons (jonnyreasons.com)

** TINDERSTICKS ** NOTTINGHAM CONTEMPORARY, 06/06/2014

To see a band perform in the place they are from is not necessarily essential but there are certain musicians who are so connected to their home town, and are important enough for their town, to connect with them.

I remember insisting that it must be Manchester that I see Morrissey on his ‘Ringleader of the tormentors’ tour and the Arctic Monkeys in Sheffield. Tindersticks position in British music secures their claim to the same entitlement.

In all honesty, Tindersticks had passed me by, despite my twin brother’s promotion of their prolific back catalogue but perhaps it was just the volume of albums that he bought and played to me that brought the science of probability into play. I was bound to overlook the odd genuinely great band because the human mind is not capable of ingesting it all, is it?

At the End of the Road Festival on a sultry August evening in Dorset a couple of years ago, my respectful appreciation for Tindersticks transformed to admiration after a jaw dropping rendition of  ‘Chocolate’ from their 2012 ‘The Something Rain’. I was left wanting more and yearning to make up for my years of misguided apathy.

Unsurprisingly, it was my twin who gave me the opportunity to correct this. The charming ‘Nottingham Contemporary’ hosted the installation for ‘Singing Skies’.   A year in small paintings – skies, a work by Suzanne Osbourne, would be followed by Tindersticks acoustic presentation featuring songs from their past and the album that bared the same artwork – ‘The Something Rain’.

A handsomely humble space hidden away from the bustling streets of Nottinghams Friday night crowds, the orderly queue at ‘The Contemporary’s’ bar symbolized the etiquette for the evening ahead. Respectfully polite, the selective audience filtered through into the gallery. The band’s family members and fans came together tonight to celebrate the music and artwork culminating in the most intimate of performances.

The darkened space, subtly lit and hung with Osbourne’s photographs, complimented the simplistic beauty of Tindersticks and the occasion. The ambiance in the capacity audience was of laid back affection for a band well known by one and all in attendance. As the band took the platform, drenched in low light they eased into a fluid stream of stripped back renditions of well known and equally well received numbers from their past in a chronological order.

The fact that the set was unplugged added to the majesty of the evening. Tindersticks are not a group handicapped by the lack of power because innovation and deep soul are the irresistible weapons in their arsenal, demonstrated perfectly by keyboard player Dave Boulter’s touches of minimalist magic on the keys and glockenspiel. This intertwined with the resonant, lazy drawl of Stuart Staples vocals, leaving listeners in awe of the bands incredible control of time and their self assurity.

‘Marbles’ and ‘Tiny Tears’ were impeccably executed and drew the already close crowd further into the arms of the bands warm and passionate embrace. The heartbreaking waltz of ‘She’s Gone’ glided through the atmosphere and pinned the audience to Staples acheing barritone upon a melodic cloud engineered from the five piece, who, were as close knit in formation as they are in composition.

Tindersticks wandered and strolled through their underrated repertoire. ‘Black Smoke’ represented the unity of the band as the faultless rhythm section paved the way for guitarist, Neil Frazer’s versatile but restrained chords as he judges what is beneficial for the song as a whole in their overall autobiographical brilliance. Frazer only really let go and lost himself in the flamenco style intro of ‘Her’.

The results of Tindersticks brilliantly constructed songs are nothing short of epic but in the sense that it takes hold of you in a cinematic grip rather than a more contrived feeling of synthetic emotion. Tindersticks and particularly Staples are unhurried and the bassy echo of his voice offers an affection and power which is mirrored in the bands ultimate affect. To my mind, only Richard Hawley has the ability to achieve what they can in both demeanor, class and lyrical honesty, yet they demand an audience to close their eyes and lose themselves to the scenes that they create.

The band finished with two songs from their last album, ‘The Fire of Autumn’ and ‘Medicine’ which, like all that proceeded them, was met with delight from the knowledgeable crowd. In keeping with the informal air of the evening, the band mingled with guests and discussed the enchanting images that shroud the bands latest record. I found love that night in Nottingham. It was as unexpected as it was true but after that experience it will certainly last.