CityLife

AUSTRALIAN rockers Airbourne wowed a packed Academy on Saturday with a high-octane performance, leaving a breathless crowd and a sweat and beer stained stage. Kicking in with opening statement Stand Up For Rock 'n' Roll, the antipodeans sprint out of the blocks and by second number Hellfire singer/guitarist Joel O'Keeffe has dispensed with his shirt and is drenched in water. O'Keeffe is clearly the star of the show with his high-kicking and visual antics, climbing speakers and jumping off the stage whilst firing off his lead licks. The other members are no slouches either as second guitarist David Roads and bassist Justin Street cover every inch of the stage themselves as a foil to O'Keeffe's energy. Rock dock Airbourne will certainly never be in the rock dock accused of subtlety as they bludgeon through debut album tracks Fat City and nothing to the imagination Diamond In The Rough. O'Keeffe's between song patter is reduced to a helium squeal though he does show a nice line in opening beer cans by smashing them against his head. Showing a capacity to showcase a stripped down riff on Whats Eatin You they have clearly taken on board the influence of fellow Aussies AC/DC and Rose Tattoo, with a song akin to an unholy alliance between DC`s Young brothers and the Tatts formidable Angry Anderson. As they finish on encore Blackjack O'Keefee disappears offstage yet again before re-appearing behind the bar playing a furious guitar solo and leaving the top shelf in mortal danger. Airbourne. Young, dumb and very possibly full of rum.

WINTER is drawing in so thoughts naturally turn to Cord, which emerged blinking – as if from the back of a wardrobe – after a shake down and substantial brush off this month. With a big crowd of regulars, all of whom have accrued a sense of ownership over the place during years of pint sinking and pie eating, a new look would always be controversial. But with the trademark booths passing from well worn to worn out, few could argue it was time for change. Cord of old was a small bar; Cord the second feels bigger. Inside, the booths at the front have been ripped out, as has the bar at the back; the latter being repositioned to the wall opposite with three booths now taking up space where it once stood. The most striking change has seen the back wall of the bar blasted through and a bright white bricked stairwell installed leading down to the basement. Down it, the first door you pass is the gents, making a trip to the toilet much less traumatic for half of Cord’s customers – cutting out the wrestle across the basement dancefloor it used to entail. Inevitable Less impressive is the inevitable new paint smell that, with the heat, and the musty damp pong in the basement, can get a bit overwhelming. Post-renovation hangovers, we hope, for which a slug or two of the premium spirits from the spanking new back bar is the best hair of the dog. Some will think it’s a shame to see the character of an old favourite change so dramatically. Upstairs with the flash new look there’s little of the local hangout left – if Cord was once definitively Northern Quarter, could Cord 2.0 in fact be anywhere? But then the Northern Quarter isn’t a beardies ghetto anymore: catering, whether you like it or not, for a broader set of socialites. Cord is moving with the times. Shouldn’t you? What do you think of the new Cord? Have your say. Cord, Dorsey House, 8 Dorsey Street, M4 1LU (0161 832 9494).

SELDOM has a triumphant homecoming been as elegant and understated as Elbow’s is tonight. Had they wanted, they could have arrived on stage with the Mercury Music Prize held aloft, flags waving and ticker tape falling from the ornate curved ceiling of the Manchester Apollo. Instead, the band from Bury devote the evening to a mesmerising display of intimate entertainment, where one of music’s most coveted awards is almost incidental to the proceedings. Starlings is the tune to get us on our toes – as it does in the winning album, Seldom Seen Kid – and sees no fewer than four band members raise trumpets towards the skies for a wake-up jolt which isn’t really needed, but welcomed with rapturous applause. It’s followed, as is every song, by an enthusiastic and almost reverential round of applause which wouldn’t seem out of place at the proms. Annals Elbow have easily earned their place in the annals of rock and roll, but this is a far more polished and considered performance than that. The crowd sit so transfixed during songs that you could probably hear a plectrum drop. The set list is mainly taken from Seldom Seen Kid, interspersed with songs from Leaders Of The Free World, and a couple of older numbers. Next up is the simmering love song that is The Bones Of You. And lead singer Guy Garvey is already starting the opening strains to the title track from Leaders Of The Free World when a fan shouts for some “old stuff”. The intricate orchestrations which make up the Elbow oeuvre mean that their music shouldn’t sound this accomplished away from a CD player or iPod, but it does. The ethereal string section which so help Elbow’s sound to soar during recordings are here in the flesh and give the live performance added depth. Elbow’s biggest tune to date, Grounds For Divorce, is a definite reason for celebration. The Fix Richard Hawley arrives on stage as a special guest to perform the bawdy gambling duet ,The Fix, and looks like he wants to stay. Mirrorball is soothing and mesmeric. Station Approach cements Elbow’s affection for the place they still choose to call home. Perfect Weather To Fly – the only song about the band themselves – reveals just how requited optimism should sound. Then there’s a spine tingling rendition of Newborn, which sees the Garvey strumming an acoustic guitar, and builds into a hypnotic crescendo. The collective members of the band are calm and collected but absolutely brilliant when the time comes. But Garvey has their mandate to take centre stage. Bearded and short sleeved, he look dmore like a mate than a lyrical genius. Mercury When he does mention Mercury, it’s to make the point that Manchester has already won two prizes, probably making it the best city in the world. There’s an anecdote about the number 135 bus to Bury and numerous comments reinforcing how much Manchester means to the band. But mostly Garvey asks between each song whether everybody is still feeling OK and has the air of a man who would nip away to fetch a glass of water if one of his fans said he was thirsty. He sings angelically about being stubborn, selfish, and too old… even though he is actually humble, polite and vocally magnificent. Perhaps not wanting to darken the mood, there’s no mention by name of the late friend and musician said to have inspired much of Elbow’s recent work. But there is a single black balloon nestling among the sea of pastel shaded spheres which fall to the floor at the climax of Elbow’s exuberant One Day Like This. It’s the song which has soundtracked our summer and the band from Bury’s long overdue recognition on the national stage. There’s an encore and a somewhat sober finale to send us calmly on the way - and leave us wanting more. This has been Elbow’s year and on the strength of this show, deservedly so. What did you think of the show? Have your say.

SUPPORT tonight came from Scouse/Manc trio Kids On Bridges. As Numan seems to handpick his support acts they’re normally worth a listen. Drawing upon the mundane and morbid for inspiration and championing the sounds of the likes of Pet Shop Boys. Fusing 80’s sugary synths and more contemporary Emo musings with some refinement and publicity KOB would have legs. Goth The ageing Goth who has neatly crafted a 30 year pop career from doom laden lyrics is fast becoming a pastiche of his former self. After the huge sales of his first two solo LP’s debuting at No1 Numan's popularity has been in terminal decline, along with his mood. What was once a brooding demeanour is now a full-blown stroppy punk with a de rigueur Billy Idol sneer, absurdly providing catharsis from a 50 year old father of three. What can’t be taken away from him is his committed fanbase, or Numanoids, who remain religiously devoted to their idol. Offering praise at every opportunity – for them, Numan’s bi-annual tour is as fixed into their calendar as birthdays and Bank Holidays. Sonic Additionally impressive are his masterful sonic soundscapes and textures. He may not have re-invented the synth – being a latecomer to the New Wave movement - but he has crafted some of its finest moments. Everything from the apocalyptic loop of his intro track to the sophisticated electronic brilliance on Down The Park via the canonised classics, Are ‘friends’ Electric, M.E. and Cars - Numan extols cool accomplishment. Criticism comes easy with the new material. Take Haunted for example, from his 2006 album Jagged, overcooked thrash metal, limp and pathetic with no spine to hold it together. Tonight, caked in smoke and blinded by a hyperactive lighting rig, this working class popstar is restrained by synthetics and his own pretence, which doesn’t help the tracks that many would consider to be ‘filler’. As Numan snarls the final lyric to Pure, “I want to dip your wings in blood / And watch an angel bleed for me” it’s not forced from the pursed lips of a broken man but pronounced, arms stretched sanctimoniously looking down from his ivory tower as the crowd repeatedly chant, “Numan, Numan.” What did you think? Have your say.

FORGET X Factor, if you want to see young British talent, take a long look at Laura Marling. She's got the look - a dainty version of Agyness Deyn. She's got the voice, a cross between Beth Orton and Joni Mitchell. She's part of an eruption of sparkling artists emerging from the London boroughs. She's got the critical approval thanks to a Mercury Prize nomination for her debut Alas, I Cannot Swim. And she's certainly got the songs mixing infectious pop and tender folk. But to round it all off, she's only 18 with the songwriting maturity of a 35-year-old, writing convincingly about breakdowns and emotions. Marling opens tonight’s sell-out date with the simple but catchy Ghosts before spending her set mixing equal parts of optimism and darkness: the upbeat and the pensive. Staggering maturity You're No God and Cross Your Fingers are pop, Crawled Out of the Sea and Old Stone convey the staggering maturity of Marling's songwriting, and Night Terror and My Manic and I evoke a bleak landscape held together with a slow heartbeat. Her melodies are complex and faultlessly performed, and it's easy to get carried away with her vocal and forget that she's also got some evocative lyrics in her armoury which make the songs that much more impressive. When she's backed by the band she's emphatic. When she's on her own she's heavenly. While the likes of Adele and Kate Nash have been seemingly thrust into the limelight with their brand of mouthy pop, Marling has managed to saunter subtly into the pop consciousness. Watching Laura Marling is like witnessing the start of something special. Do you agree? Have your say.

YOU can feel a bit of an anomaly at a Pam Ann show if you’re neither gay nor cabin crew. The ‘60s throwback trolley dolly with more bile than the average gallbladder has a very distinct and utterly faithful following; consequently one of her gigs, even in a room the size of the Lyric, feels like a private party – and is a whole lot of fun too. The first half is largely spent getting to know the different airlines represented in the crowd and matching them with their characteristics (all Virgin staff are outright tarts for instance and BA are positively equine). These stereotypes are so outrageously executed it would be churlish to take offence. To round off the first half they were gathered on to the stage for a demonstration of their walks through the terminal building to the tune of Disco Inferno. Witticisms In the second half Pam, issuing barbed witticisms as she went, resurrected a couple of old favourite tricks. Sashaying down the aisles as the crowd shrank back into their seats in fear, she divided the audience up into the much revered first class, the wannabes seated in business class and sneered at the plebs in economy. A security search was conducted having half inched a bag from the sweaty palms of a woman in the front row, sorry first class, and was thoroughly rifled through. The cabin crew gang and other unsuspecting stars of the show, including a particularly cute terrorist, were reunited for the closing, spontaneously choreographed sequence, aptly rounding the night off with a scene camper than Cornwall in the summertime. Did you go to the show? Why not tell us what you thought.

HAVING only just recovered some hearing from the recent sonic torment of Kevin Shields’ deafening dream pop crews summer reunion shows the prospect of yet further tinnitus boosts is all too tempting to pass up, especially when it’s as expertly executed by Spiritualized’s Jason Pierce. Himself only having recently re-emerged following a life threatening bout of pneumonia, it’s little wonder his appearance causes the kind of thunderous applause that some groups struggle to coax in more sizable venues than tonight's. Whilst there’s little doubt who exactly commands the seven-piece group on stage and whom all eyes are permanently fixed, Pierce takes a sideways position furthest stage left, without managing to engage beyond a humble “thanks” all evening. Soaring But with melodies as soaring and enlivening as those found amongst the set tonight most can forgive this perceived arrogance. Whether it’s in the group’s cacophonous take on 'Amazing Grace', the cathartic healing of 'Ladies and Gentlemen We’re Floating In Space', or during recent single cut 'Soul On Fire' Pierce’s on stage command is masterful. But if the heart-rending melodies are moving the first few rows the swell of chatter throughout by those trying to re-live their own personal Brit-pop excess days threatens to ruin the good cheer for all, even a jaw dropping take on the Floyd-esque atmospherics of ‘Shine A Light’ doesn’t quieten the further reaches of the Academy. Come Together Though there are few voices that can be heard above the crushing highlight of ‘Come Together’; it’s simple seesaw riff and gradual deafening volume swell being kinda hard not to take notice of. And soon after he’s disappeared from the stage once again, and whilst little is said and no indication given to when he might return, Pierce’s vision is one worth waiting for. What did you think of Spiritualized's performance? Have your say.

“I JUST can’t stop saying I love you,” gushed Stevie Wonder to his 15,000 new best friends. Could we feel the love in the room? We sure could. Stevie Wonder has always been about positive vibes, love and more love. Some say it is his only failing - too much sugary sentiment at times. But some who had waited a lifetime to see Wonder on stage were willing to make allowances. Balder of pate, thicker of waist he may be at 58 but his funky and soulful credentials remain in tact. A blizzard of rhythm propelled the opener As If You Read My Mind and Masterblaster (Jammin) unleashed a turbo-charged reggae beat. Wonder had entered playing a slightly mournful refrain on the harmonica. Behind him were arrayed a band of 14, three of them committed to percussion. There were infuriating passages when Wonder insisted on sing-alongs and audience responses, or gave us a few well-chosens, but when he returned to the business at hand the years fell away. It is one of life’s enduring mysteries how the eternally funky Superstition and the ineffably mushy I Just Called To Say I Love You could come from the same muse. But Wonder has covered enough creative ground these past 46 years to have earned the right to pen the odd stinker (You Decide which is which). Decade And this, his first European tour for a decade sees him rambling amiably through the highlights of that long career. Even the diehard fans would admit - and the set list last night acknowledged - that most of those highlights fell in the 1970s. After the Hotter Than July album in 1980 Wonder’s song writing genius cooled to a long autumn which has lasted to this day. Most of us were just glad to be in the presence. Only the pop historians can say if Wonder once played in Manchester in the dim and distant past, but it certainly wasn’t these past 25 years. So this night was hardly expected. For over a decade, Wonder had not toured but, as he explained on stage last night, it was the death of his mother in 2006 which somehow inspired him to seize the day and get back to what he does best. He is now an elder statesman of soul. So many of the other totemic figures of black music - Marvin Gaye, Otis Redding, James Brown and Isaac Hayes - have gone the way of all men. Hardly any of Wonder’s peers carries a song book as extensive or as impressive. Hearing these songs dusted down reminded us how many have passed into the fabric of our lives, signifying the birth of babies, first love, weddings, even funerals. It is not cliche to say that Stevie Wonder last night treated us to the soundtrack of our lives. Did he live up to expectations? Miss any of your favourites out? Let us know your thoughts. Stevie Wonder plays the M.E.N. Arena again on Friday, October 3. £55, £65. Call the Box Office on 0844 847 8000 to book.

IN the absence of a time machine, let’s leap between the years and consider what brings us to the Apollo to see The Courteeners start the first of two sold out dates. Go back to 2005 and you might have witnessed Liam Fray singing songs on a kerb outside a Bootle Street nightclub, it happened more often than not. Fast forward to the end of a one hour and fifteen minute set in Ardwick on a chilly October night, following a colossal rendition of What Took You So Long? and stop for a second. Consider the tabloid column inches, blessings from their idols (Morrissey, to name the most important one) and the ignorance of national play lists in between. It’s been a blur, one hell of a journey and when Liam steps to the mic, welcoming the crowd to his hometown double-header with lyrics to The Smiths’ hit Ask, he kick starts a show which is brave, tender and riotous in equal measure. Acrylic Aftershow, Kokaine Kimberly and Acrylic are wedged into the first 10 minutes, it would be bold to suggest that the bravado had given way to nerves, but let’s be as bold as they perceive to be. They seemed a little nervous. A reminder that they aren’t all just blustery bravado that gives the lads something to sing in the street after ten pints. Kings Of The New Road, which measures an enticing subtlety with gritty riffs, forces a calming lull in the charged atmosphere before Slow Down offers a real life demonstration from the idiots' guide to great sing-a-long. You can choose to find the poetry in Fray’s eloquent lyrics, like the stark Please Don’t, but it’s just as easy to throw yourself into one of the band’s mass grin-alongs. Bravery Confidence has all too often been misquoted as arrogance, but there’s no mistaking bravery and Fray’s decision to take a moment without his band, accompanied by only a string quartet for the beautiful Yesterday, Today defies his relative inexperience. It’s a showstopper, his vulnerability onstage, in a shallow light, diminished by the scale of what he is achieving before your eyes. New single That Kiss follows, as pure a pop record as you could hope for which only goes to help remove the ageing slurs of them being Libertines copyists. We know this is home turf when Fray asks “Where’s Eileen”, finding his mum in the crowd and showing her his band’s name in lights. Not Nineteen Forever comes along and if Eileen didn’t believe it then, she’ll certainly believe it now. With one hell of an anthem to stop time in it’s tracks his mother and Manchester should be well proud. Do you think The Courteeners delivered? Have your say. The Courteeners play the Apollo again on Friday, October 10. £15. Call to check for returns. Ida Maria and It's A Buffalo support. To celebrate The Courteener’s triumphant homecoming gigs this week, the boys recorded Thursday’s gig which will be turned into a live four-track EP. Fans can get hold of the special edition for a bargain price of just 99p. All you have to do is pre-order at www.7digital.com/thecourteeners or text LIVE EP to 78789.

IN the darkness of a sold out Manchester venue, a black-clad four piece perform dark, fluid music with throbbing baselines, lyrics of intense gloom, euphoric climaxes and are fronted by a man with a straight-cut fringe and a booming baritone. Luckily, despite the comparisons to that legendary Manchester band, the young men of London-based relative newcomers White Lies have the packed out venue in the palm of their hands as they play their first ever proper sell out headline show on their first proper headline tour around the UK. And what a sell out show it is; It’s not just White Lies that make tonight special, but the unquestionable talent of the supporting bill, which may explain why the renowned Oldham Street boozer is busy from the off as fellow London dwellers Post War Years step on stage. Achingly cool hipster Undeniably likeable, their sound owes much to the same influences that informed Oxford math-rock darlings Foals and, as long as you’re not an achingly cool hipster who despises bands that rise to fame on the coat tails of similar sounding success, then PWY are a real treat for the ears. More vocally ambitious than their equestrian peers, all members of the band contribute vocals and, despite a genteel demeanour, have a way with both melody and thumping dance beat, almost straying into the territory of – whisper it – piano house on one particularly fine track. Certainly ones to watch. Occupying the hump of the bill are North Wales via London trio The Joy Formidable, who despite singer-guitarist Ritzy being near-on the smallest person in the room, have in her a ferociously intense frontwoman. Completed by bassist Rhydian and drummer Justin the trio create a fierce racket mixing psychedelic swathes of reverb with singalong choruses. Tight locked groove Hurling themselves around the Night & Day stage, there are moments that look as though the assembly may collapse as, tottering on heels, Ritzy’s guitar narrowly misses Rhydian’s face. But, as they fall into a tight locked groove on a pounding set closer, there’s little question that The Joy Formidable may just be one of the most promising young finds these Isle currently have to offer. Beautifully brutal. All of which leaves the venue primed perfectly for the arrival of White Lies. A new band to most, these four Londoners are by no means amateurs, already the survivors of two industry bidding wars. With considerable record label money behind them, this first headline tour is likely to have been described in management meetings as the first real Big One, it’s Important, and other such terms that require capital letters. Career-destroying explosion And so the band come complete tonight with extra speaker towers packed onto the Night & Day dancefloor and – count them - eight stadium-sized lights that dwarf the venue’s standard rig. Yes, all of this would be pointless if they didn’t have the performance to match, while the slightest hint of imitation would fuel the Joy Division fire to the point of career-destroying explosion if they didn’t have the songs. But they do, and from the off White Lies are playing to a stadium; As someone that witnessed one of Editors first Barfly shows, the difference between Editors’ Tom Smith's nervous approach and WL frontman Harry McVeigh strident control is clear, while the 6Music daytime playlist humping single, Death, proves beyond question they can write a tune. Astonishing milestone While Unfinished Business’s “blood on your hands” refrain stands out from the shuddering backing, currently every song seems to deal in this kind of lyrical gloom. But as the band grow with time, their confidence in performance and the obvious appeal of the tracks seem to suggest that 12 months from now could see White Lies selling out venues somewhat larger than the Night & Day. As Harry explains, this is their first ever “proper sold out headline show”. An astonishing milestone for what could be a fruitful year ahead. What did you think? Have your say.