It takes a lot of chutzpah to take a swing at the kings, but Chris Cheney, Phil Jamieson, Tim Rogers and Josh Pyke have never been lacking there. After two runs of The White Album Concert, the four are reviving the hit show for the iconic record’s 50th anniversary.
Have there been any change-ups since the 2009 and 2014 tours? Not the song allocation. We are doing essentially the same songs that have been divided up on past tours. We are going to add a few extra songs and a few little surprises. It was Tim’s idea to do something special and different towards the end. – Chris Cheney (The Living End)
What’s your advice for tackling one of the most iconic albums of all time live? I think we all realised the first time we did this show that we needed to put our own spin on the songs. It’s such a revered and loved record it’d be silly to try to copy it. But you also want to show respect, so it’s a fine line. – Josh Pyke
What’s your favourite hidden gem on the album? Julia. Not exactly hidden, but the hurt and bewilderment of that boy’s relationship with his mum is laid bare, then completed two years later with Mother. Hang on, must call Mum. – Tim Rogers (You Am I)
In your opinion where does ‘The White Album’ sit against classics Abbey Road and Sgt Peppers? ‘The White Album’ is a double album filled with quirk and flaws and terror and melody and avant-garde and country and rock’n’roll and craziness. It kind of has everything. It’s broader in scope that the other albums, making it a great live experience. – Philip Jamieson (Grinspoon)
It’s one of the most successful Beatles events ever staged in Australia. Following two sold-out tours, in 2009 and 2014, Chris Cheney (The Living End), Phil Jamieson (Grinspoon), Tim Rogers (You Am I) and ARIA Award-winning solo artist Josh Pyke are reuniting for a special 2018 tour to celebrate the 50th anniversary of The Beatles’ White Album (Beatles’ self-titled ninth studio album). They’ll perform the White Album from start to finish – with a few surprises along the way – while being backed by a 17-piece rock orchestra, led by musical director Rex Goh, with guitars, strings, horns and two drummers. And don’t stress, they’re not pretending to be The Beatles – this is a celebration, not a tribute band. Catch it at Melbourne’s Hamer Hall on July 13 & 14. Tix via www.whitealbumconcert.com/
The stage adaptation of Green Day’s American Idiot album is coming to Brisbane, and the two real life rockers playing antihero St Jimmy — Chris Cheney and Phil Jamieson — talk to Steve Bell about transitioning from one type of stage to another. Cover and feature pics by Terry Soo.
For many years East Bay punks Green Day relished their typecasting as snotty-brat teens, espousing the virtues of anti-values like apathy, self-loathing and narcissism with a scathing humour that suited their high-octane pop-punk perfectly.
As time passed, however, and they became a massive deal on the world stage, both their music and their world view matured to the point where their 2004 seventh album American Idiot — a sprawling conceptual piece penned by frontman Billie Joe Armstrong — was lauded upon its release for its articulate appraisal of the various malaises afflicting post-9/11 suburbia. It peered presciently at how the typical troubles associated with youngsters coming of age were being exacerbated by both insipid government and the corporations controlling mass media — magnified by a general all-pervading sense of disillusionment and lethargy — with these forces combining to potentially push a whole generation off the rails.
It was an ambitious move by Green Day (and Armstrong) but one that paid handsome dividends, reviving the band’s career and leading to a stage musical adaptation of American Idiot that opened on Broadway in 2010, winning two Tony Awards. It took all of the songs from the American Idiot album— as well as a few from 2009 follow-up 21st Century Breakdown — and moulded them into a compelling narrative, one as pertinent now as it was back when the songs were penned.
Now Brisbane theatre company, shake & stir, are bringing an exclusive Australian production of the “punk rock opera” to QPAC, and for the pivotal role of St Jimmy (at times performed by Armstrong himself on Broadway) they’ve tapped two genuine Australian rock stars — Chris Cheney (The Living End) and Phil Jamieson (Grinspoon) — to play the character in separate stints, but both of whom are currently preparing together to inhabit this somewhat nefarious character.
“Whether St Jimmy is a saint or not depends on your definition of saint,” Jamieson reflects, “but I don’t think so — he’s a villain. He’s the musical villain.”
“That’s what drew me to the idea of actually being able to pull the role off, I think, I don’t have to go outthere and play Mr Nice Guy,” Cheney smiles. “I can just dig the heels in a bit, and get a bit gritty with the character. He’s the one who sort of leads the lead character Johnny down the path of sex, drugs and rock’n’roll.
“[Johnny] starts out as this squeaky clean kinda teenager, and then you see his descent into debauchery. So there’s some pretty harrowing scenes: for all of Green Day’s crazy, kinda wacky punk image, there’s some really dark lyrics in there.
“It covers universal themes but also correlates back with what’s going on in America right now, with the madman at the controls, it’s like history almost repeating itself. But there is that timeless theme in the musical, with these kids trying to get out — trying to escape and find a better way — and tripping up wildly.”
Both Cheney and Jamieson were well acquainted with Green Day when American Idiot first came out — especially Cheney, given that The Living End supported them on the Australian Insomniac tour in 1996 — but both remember being taken aback by the album’s strength.
“I loved the record when it was released, I thought it was really, really impressive back in the day,” Jamieson gushes. “I went and saw the tour — I think from memory old mate here [points at Cheney] might have got up and ruined a song with them when I saw them, a Clash song. In the wrong key. But I was really impressed by it.”
“They were in the wrong key, I wasn’t,” Cheney laughs. “So I thought it was their best work,” Jamieson continues mischievously.“I mean I loved [GreenDay’s 1994 breakthrough third album] Dookie — so did the world — and then Green Day did what they did and I sort of wandered off. I guess you can become a bit complacent about acts after a while, you go, ‘I know your tricks, I know those bits, ‘ but then they brought [American Idiot] out and I was, like, ‘Wow, okay, I don’t know all your tricks. It’s a really, really impressive record.”
“Billie Joe’s always been a huge fan of The Who and rock operas and all that — he’s got a Jesus Christ Superstar tattoo on him — so it’s kind of cool that a writer like that could embrace it and put it into the form that he did,” Cheney reflects. “It’s a cracker of a record. It’s not easy to write songs that are linked — it’s like the second side of Abbey Road [by The Beatles] or something, the way that all of the songs were linked together.I love that sort of thing, it’s like the nutty professor or something, but it’s not easy to do.”
Both leads are really looking forward to their first major theatrical experience, even if they’re a tad overwhelmed by the quality of the Australian cast around them.
“I’m not an actor — obviously — and what I found when I came here is that the cast are all ‘triple threats’, for want of a better term — they can sing really well, they can dance really well and they can act really well,” Jamieson tells. “So it became a bit of thing where I was fairly terrified going to rehearsa l— I think I might have psyched myself out a bit. But it’s very daunting. And the piece is also quite challenging. It’s great, though, it’s really fun and it’s really quite a moving piece — it’s definitely not 42nd Street, it’s more like Les Mis. It’s sad, there’s some really, really moving parts.”
“I haven’t performed in theatre since Year 12 drama but I tell you what, though; I reckon I’m always acting when I’m on stage anyway!” Cheney laughs. “I’ll see some footage back and go, ‘Who the fuck is that guy?’ So while I do think that this acting caper is a stretch for the two of us, obviously, maybe it’s not that much of a stretch. I feel like when you get on stage I become this other thing anyway, and we’re playing the kinda rock’n’roll guy in this show so it’s not really a huge leap.”
And both of these acting newbs are at pains to point out that you don’t need to be a veteran theatre lover to dig American Idiot. “It’s not just for the theatre goers, it’s for the rock’n’roll fans,” Cheney stresses.
“It’s definitely worthy and will be a lot of fun,” Jamieson agrees. “It will be loud and they will be serving alcohol, but it will be in a theatre. And there’s some really funny theatre moments in the performance which are a bit kitsch — which I love — then there’s some full-on rocking out and some dark, incredibly moving moments as well. I can’t wait.”
Getting Idiotic Both of the rockers playing St Jimmy believe that there’s alot more discipline required for acting than when they’re on stage playing music with their bandmates.
“In my first run-through I put my wrong hand on something, so that destroyed the whole piece,”Jamieson recalls. “So I’m trying to get my head around staging, and being really disciplined about where I put my feet.”
“Yeah, in a rock band — especially my band anyway — I can kinda go off on a tangent, and the other guys will just follow,” Cheney continues. “Here, those other 20 kids in there are not going to follow if we decide to mix it up halfway through a tune! Nor would the band!”
Jamieson — who takes over as St Jimmy after Cheney’s run concludes — has been in the fortunate position of seeing a full run-through, and was floored by the calibre of the cast.
“It’s pretty impressive — they don’t hit any bum notes, not that I’ve heard,” he marvels.“They leave that to us. They never hit a bum note, which is annoying, and they know all their choreography and they’re always right… It gives me the shits. But they’re actually incredible, just seeing how well the cast act it out and how well they sing it, and how much emotion they put into it — that’s worth the ticket price alone, regardless of us douchebags.”
Andy Sang, Andy Watched Better known as the drummer for The Living End, Andy Strachan has just released his self-titled EP, something the talented musician says was a labour of love, with a little help from his friends.
While The Living End are putting the finishing touches on the group’s seventh studio album, drummer Andy Strachan says he decided to continue on with another personal project, this time operating under his own name. “The EP took forever because I did it in spits and spurts and finished recording the whole thing over a year ago and bashed it altogether. There is no pre-production, just a lot of tweaking and it came together and then I have to save some coin to release it, it takes a long time but is a real challenge and has been fun.”
The debut single from the self-titled album, Follow The Sun, certainly catches your attention with a mix of heavy riffs, solid lyrics and eerie melodies, something Strachan says got the thumbs up from his producer and good friend Woody Annison. “That riff came along and I thought that is good and put it aside and Woody and I worked on the riff and it just sounded so heavy. “My mind went into this negative thought process and thought about suicide and people jumping off bridges. “I thought I did not want to be singing about that and put it on the back burner and a few months later I put a positive spin on it about getting out of bed every morning and getting on with it. “When you are writing songs there are not fifty thousand options – there is just what sounds good to my ear and that cuts down the decision process a lot.”
Strachan is currently locking himself away in his ‘man room’ working out how he will play the tracks live. He notes that while The Living End is his main priority, his latest EP is about keeping the creative juices flowing in between recording and live performances. “This is about keeping me occupied and I have a batch of 20-odd songs ready to go when I get the chance. I am a shit guitarist and occasionally I will wrap strings in dunny paper because I only want two strings working at a time. I have two guitars and there are a couple of super fast songs I have written and eventually want to record.”
Officially entitled ‘The Beatles’ but universally known as The White Album, the double LP was recorded in a fragmented atmosphere (with many songs lacking the participation of all four Beatles). In 2009, 41 years after its release, four of Australia’s finest – You Am I’s Tim Rogers, Josh Pyke, Chris Cheney of The Living End and Grinspoon frontman Phil Jamieson – brought it back to life. Now they were back again to play the whole lot in track order.
The 17 piece backing setup was impressive, with brass, strings and two drum kits. The gear was picked to match the album cover too, with white baby grand and black and white drums. The show kicked off with a jet plane sample as Cheney let loose with ‘Back in the U.S.S.R.’, before Jamieson followed up with the gentler ‘Dear Prudence’. Jamieson, Cheney and Pyke joined forces for ‘Ob-La-Di, Ob-La-Da’ before Rogers made his first appearance in a truly shocking checked suit for ‘Wild Honey Pie’. He had no guitar to do windmills with, but did the next best thing with his tambourine. It was a bizarre feeling at first, seeing these legends in a kind of super karaoke. However, that feeling passed quickly as the four guys and their backing band were so into the songs and the fun of the event. With 30 songs in two sets to get through, there was no mucking about and a continual swapping over between singers, with occasional participation by all four at once.
Each of the stars brought his own style to the show. Jamieson, in dinner jacket and bow tie, camped it up in the first half, but came back full of attitude and high kicks after the interval. Pyke was the cool crooner, while Cheney was the guitar wielding straight rocker. Rogers played the rascal, becoming increasingly more disheveled as the night wore on, although he returned in the second half looking cool in tropical white. He was also the comedy relief and spokesman for the main players, with his most telling comment being that they were not there for nostalgia, they were there for the joy of the songs and delivering them with a lot of love.
Jamieson was the most mobile, wandering through the backing band, draping himself on them and, to the misgivings of the audience, overselected members of the crowd. He was super flexible, banging out the big notes in ‘Yer Blues’ and mincing about for ‘Honey Pie’ (it was a long way from Grinspoon’s ‘Dead Cat’). Cheney showed his stuff with the wailing, drawn out guitar solo in ‘While My Guitar Gently Weeps’ and rocked out in ‘Helter Skelter’, playing a guitar laid flat on the floor before throwing it high for a catch. Rogers shone out with his extravagant, theatrical style, with a fake pistol (complete with ‘bang’ flag) against his head for ‘Happiness Is a Warm Gun’, then dancing around a plastic pig mask during ‘Piggies’. Pyke’s biggest moments were in ‘Julia’ and ‘Blackbird’; songs just made for his smooth vocals.
The backing band, led by musical director Rex Goh, flexed its muscles presenting the experimental instrumental ‘Revolution 9’, with its clouded vocal effects, before all four blokes returned. The encore served up ‘A Day in the Life’, from the ‘Sgt. Pepper’s Lonely Hearts Club Band’ album and a reprise of ‘Revolution1’. At the end, a small boy went on stage to dance and sing along with the band. Boosted onto the piano by Jamieson, he was so good that it was hard to believe that it wasn’t a set-up. However, a gob smacked Rogers assured us of its genuine spontaneity.
They may not quite be Australia’s Fab Four, but there’s plenty of star power in the air when Tim Rogers, Chris Cheney, Phil Jamieson and Josh Pyke get together. They’re touring (once again) their tribute to The Beatles’ self-titled 1968 release colloquially known as The White Album, and the Sydney Opera House has filled four times over for the occasion.
It’s a surprise, therefore, to witness a docile crowd welcoming Cheney with only muted applause for ‘Back In The U.S.S.R.’. There a few key songs that were always bound to define this project as a success or failure, and the McCartney penned opener is one of them. So is ‘Dear Prudence’, led by Jamieson, which despite the 18 musicians onstage for this rendition, gets nowhere near the shimmering magnificence of the original. And it takes two drummers to do what Ringo did by himself 46 years ago.
The first real wave of enthusiasm spreads across the Concert Hall for ‘Ob-La-Di,Ob-La-Da’ – as a song, it’s one of The Beatles’ worst kitschy crimes, but it’d be unfair to deny the fun that it creates for this audience. Cheney, Jamieson and Pyke share the stage for this one, before the self-appointed rock star of the group makes his arrival in Rogers.The You Am I frontman seems to insist that his hungover monologue is the one consistent presence that ties the whole show together, but frankly, his bravado act gets tiresome.
Not so Cheney’s, as ‘While My Guitar Gently Weeps’ lifts much of the audience to its feet. As ever, some of The Beatles’ songs sit better in certain hands than others, and Cheney’s treatment of George Harrison’s tune (and Eric Clapton’s solo) is exultant. Pyke is a natural fit for the softer tracks – ‘Blackbird’ and ‘Mother Nature’s Son’ especially – while Jamieson seems happy to ham things up, so it’s fair enough that he gets ‘Don’t Pass Me By’.
By no means is The Beatles a flawless album – even the most popular group in musical history made its mistakes – but this all-Australian ensemble does a commendable job in reflecting the source material fairly. It’s just a shame that The Beatles never actually get a mention in all the self-congratulation that goes on here. Still, the Rogers/Cheney/Jamieson/Pyke group could do worse than tour Rubber Soul or Abbey Road, perhaps – because if all those songs haven’t yet grown dated, they won’t anytime soon.
We get Josh Pyke, Chris Cheney, Tim Rogers and Phil Jamieson to tell us about the return of the White Album tour.
Josh Pyke Which track on the White Album do you think you could listen to indefinitely and why? I think Revolution Number 9 has enough crazy sounds in there to occupy the mind for eternity. It might be an uncomfortable experience, but it wouldn’t get boring.
Choose one: John, Paul, George or Ringo. Why? I read once that when Paul was asked “What is it like being the best songwriter in the world?” he replied, “I don’t know, ask Neil Finn.” That’s a nice thing to say… I’ve also read he’s a ruthless business man, and was frustratingly perfectionist. He was also the “cute” one. So I dunno, I think on balance there’s enough going on there that even without the amazing songs he wrote to make him my favourite.
Finish this sentence: We’re bigger than… The Big Merino in Goulburn.
What’s something special you’ll be singing on the night? Playing Blackbird is pretty special for me… An honour, also quite scary.
The 50th anniversary of The Beatles visiting Australia is currently being celebrated: do you think your music will be remembered in 50 years? I can almost guarantee that at least two people will. But beyond that I have no idea!
Chris Cheney Which track on the White Album do you think you could listen to indef initely and why? Goodnight. Because it makes me smile but I feel sad when I hear it. Not many songs can do that.
Choose one: John, Paul, George or Ringo. Why? George. He was effortlessly cool. What pressure to compete with John and Paul’s songs but he absolutely stepped up to the plate.
Finish this sentence: We’re bigger than… The hangover that I suffered after the final show of the White Album tour five years ago?
What’s something special you’ll be singing on the night? Glass Onion. How kooky was John Lennon? The guy was nuts.
The 50th anniversary of The Beatles visiting Australia is currently being celebrated: do you think your music will be remembered in 50 years? Perhaps by a select few!
Phil Jamieson Which track on the White Album do you think you could listen to indefinitely and why? Tricky question this one. I am unsure if I could actually could pick one song to listen to indefinitely unfortunately. If I am allowed to pick five? Happiness Is A Warm Gun, Honey Pie, Piggies, Blackbird, I’m So Tired… not necessarily in this particular order. The thing I love about the White Album is its variety, so choosing just one song takes away the magic somewhat for me.
Choose one: John, Paul, George or Ringo. Why? There is a lot of choosing one thing in this questionnaire? I’ll go with Ringo. Why? It seems the right thing to do.
Finish this sentence: We’re bigger than… The dining table. Well, my dining table that is. If you combined us all… the four of us? Tim, Chris, Josh and I? Or the whole touring band??? The touring band is probably bigger than a bus. Perhaps not as tall. It kind of depends. Are you stacking us on top of each other?
What’s something special you’ll be singing on the night? Don’t Pass Me By. It was written by Ringo. It went to #1 in Denmark so it’s probably more special for the Danes but it’s an oddity on the White Album and that’s why I think it’s special.
The 50th anniversary of The Beatles visiting Australia is currently being celebrated: do you think your music will be remembered in 50 years? If DCx3 isn’t being covered in 100 years I’ll eat my hat.
Tim Rogers Which track on the White Album do you think you could listen to indefinitely and why? Savoy Truffle. Was my favourite as a kid and I never knew why. And I still don’t. Lick the mystery.
Choose one: John, Paul, George or Ringo. Why? Stuart Sutcliffe. For his cheekbones and early quiff.
Finish this sentence: We’re bigger than… The illicit dreams in your noggin.
What’s something special you’ll be singing on the night? Serenading Philip to sleep each night.
The 50th anniversary of The Beatles visiting Australia is currently being celebrated: do you think your music will be remembered in 50 years? I’d prefer to be remembered for my “unique” looks.
The Pants Collective is the solo product from Living End drummer Andy Strachan. His first foray into band leading is an accessible listen, but it rarely seems interested in pushing the envelope. This debut EP hews closely to the attitude and aesthetic scope of The Living End, but it doesn’t necessarily sound like the output of Strachan’s day job.
The seven-track release begins with the cartoon-like garage blues of ‘Secrets’, before getting more debauched (and less effective) on chunky rocker ‘It’s Gonna Be Fine’. It gets more interesting when Strachan shifts into gears he’s less familiar with. ‘You’ll Never Know’ dons a hazy ’90s pop-rock visage, while two-faced EP closer ‘Hometown’ evolves from a neo-reggae experiment into a pub rock anthem. Strachan’s voice is by no means laughable, but it’s not a striking feature. Accordingly, nothing of lingering curiosity is said during the set’s 24-minute run time. Nevertheless, Strachan does show promise as a songwriter. These songs would surely benefit from someone with pronounced on-record character revving them up.
Similar to how films that don’t require particular patience or attention to detail are the most suitable for in-flight viewing, this is easy to digest, but it mightn’t have you raving to your friends at journey’s end.
Stray Cats’ drummer Slim Jim Phantom talks with Tom Hersey about his legacy and who’s going to carry the torch for further generations.
“I think we invented it to be honest with you, ”Slim Jim Phantom says, looking back on Stray Cats’ impact on the rockabilly scene.
From any other artist this might sound like typical rockstar hubris, but with their 1981 self-titled debut, the trio set the template for the genre – everything you need to know about rockabilly can be found on that record, from Jim’s stand-up drumming to the scuzzy pompadours sported by the band members on the front cover.
According to a good-humoured Jim, his catalogue of work with Stray Cats, and groups like Phantom, Rocker & Slick, The Head Cat and Swing Cats, makes these solo tours a lot of fun.
“At this point I’ve been around for long enough, everybody’s nice to me. It’s a little bit like being Ringo but on a smaller scale. [Audiences] like it when I sing the songs, there’s not really pressure… They come because I’m a character that they’ve known along time now, and it’s a brand they can trust.”
When he gets here, Jim’s hoping to catch up with old friends, especially The Living End’s Chris Cheney.
“Fans can expect more or less what they’ve known about me and what I’ve kinda earned my stripes doing. It’ll be rockabilly music. There’ll be a couple of Strike Out songs in there, a lot of family favourites… I’m bringing Tim Polecat from the Polecats. We made a record together about ten years ago with the band 13 Cats so we’ll do some of those and some original songs… Just the same Slim Jim they’ve known and grown to love.”
So, if Stray Cats started rockabilly, who’s out there in the next generation of artists to keep it going?
“There’s a lot of good stuff. I really like Imelda May and JD McPherson.There’s a lot of people who are breaking through. And those guys are both on their way, and so all it’s going to take is for somebody to have that hit record. We did that with Stray Cats when we first formed, we got those couple of songs that are now pretty well entrenched in the public consciousness. I still play Rock This Town in the jungles of the Amazon or China or Australia and everybody knows it. It’s up to someone to do something like that. We’ve gotta get that hit record that crosses over into the mainstream but brings the rockabillies along for the ride.
“I encourage everybody to get out and make it broad appeal. It’s there to be loved by everyone; it’s not just some exclusive club. We never set out to play for an exclusive slice of the population; we just wanted to play for everybody all the time. And rockabilly, that’s my scene. I love the music and the style and the people, but I think we should expose ourselves to all sorts of stuff.”
At a gig a couple of years ago, local rockers Kashmere Club were getting ready to play in front of your regular Saturday night crowd at the Espy front bar when they suddenly spotted someone in the audience who they hadn’t exactly counted on being there. “We were sound checking and the bass player Jono came over to me and is like ‘hey man have a look in the front row’ and I looked down and it was Chris (Cheney) just standing there with a beer,” remembers vocalist and guitarist Billy O’Connell. “When I was in my teens I was a massive (The) Living End fan; I had the whole guitar hero thing going. So yeah he stayed there and watched the whole set and afterwards he came and had a chat to us.”
What started out as a chance meeting at one of Melbourne’s most iconic music venues ended up with The Living End front man Chris Cheney signing up to produce Kashmere Club’s latest off ering, the Lost & Sound EP. “We got in touch with him and sent him a few emails and you know what the industry’s like – you never hear back – but we kept at it,” recalls O’Connell. Eventually they managed to pin the guitar virtuoso down, and once they had a date, they then holed up at Red Door Sounds studio in Collingwood. “He (Cheney) lives in LA now so it was kind of a matter of waiting for him to be back in Australia and try to book out a week of his time.”
Working with such an esteemed Australian musician proved to be a profound experience for the band, and O’Connell is full of nothing but praise for the legendary guitarist-turned-producer. “He’s a hilarious dude and grounded as hell, such an Aussie,” he says. “He’s got a massive reputation of being a perfectionist. I’ve heard of him locking himself in a room tracking the same mix for eight hours. He takes massive pride with anything that his name is on, so it kind of got to the point where he was the fourth band member.”
Despite his profile, Cheney worked tirelessly on the songs and his work rate was something that rubbed off on the band members, helping them to get the best results possible from the time they had together in the studio. “He worked really hard,” admits O’Connell. “Like we were meant to just do the standard 10 or 11 hour studio day, and I think every night for the whole week, he was going well past midnight. He’s got an incredible work ethic which opened my eyes; to see someone who’s achieved that level in Australian music and to see how hard they do work.”
O’Connell admits that although the band member’s musical influences are vast, they were definitely channelling some sort of 70s vibe into the soulful rock’n’roll numbers which make up the EP. “Nathan the drummer, he’s basically ‘70s influenced,” says O’Connell. “He’s a huge Jon Bonham fan, so I guess there’s plenty of Led Zeppelin influence in the rhythm section. The songs usually start as basic folk songs, and when they come to the band they kind of get that 70s thing stamped on it.”
If there’s one thing Kashmere Club pride themselves on, it’s their live performance. So naturally while recording the songs for Lost & Sound, one of the biggest challenges for the band was how best to translate the raw energy of their live show into the studio. “I think it’s the age old challenge to try and capture your vibe and what you do best live in the studio,” admits O’Connell. “(But) I think we managed to achieve it. When I listen to the EP, I feel like it does capture us live; it’s a lot more polished. Being a three-piece, there’s no room to add guitar layers or second melody lines when you’re playing live; we still had the opportunity to add those things, but it’s still very much a representation of us a three piece.”
KASHMERE CLUB launch their EP Lost & Sound at Cherry Bar on Saturday August 24.