A Green Day in Sheffield (26/10/09)

This is late to be added, but it was a great evening...



Travelling 132 miles South to Sheffield is not a problem if Green Day are involved. On Monday 26th October 2009, that's exactly what my Dad and I did. (Yes I go to gigs with my Dad on occasions.) Leaving in the afternoon to arrive promptly, it's just as well we got there for 5pm (doors were at 6) as the queue - although already huge in length - was forever expanding, curling and loop-de-looping around Sheffield Arena.

Support band Prima Donna took to the stage earlier than expected, and hats off to them for at least trying. They received nothing more than polite applause (but honestly, no support act get much more than that) despite an overwhelming amount of enthusiasm and impressive leopard-print attire. Their songs consisted of old riffs and stereotypical rock 'n' roll. They're like Motley Crue mixed with Aerosmith and a killer Hollywood attitude. They didn't make much of an impact, but give them a break, they were on before Green Day.

The legends made their entrance to around 13,000 cheering fans. Young and old, male and female - everyone loves Green Day. Bleached at 37 is not generally a look most can pull off, yet frontman Billie Joe Armstrong does it well - it seems his punk status has not faded over the course of Green Day's 21 year career. Taking to the stage to 'Song of the Century' (audience in perfect unison) before blasting off into new album opener '21st Century Breakdown' it seems the crowd know these newbie songs just as well as they do any Dookie or American Idiot.



The set list was impressive (see the bottom of the entry) spanning right across the board, young and old singing like their lives depended on it. But there were a few surprises too, say hello to 'She', 'Brain Stew' and 'Jaded' along with Billie Joe conducting his fans through a Mozart classic. (I'm not joking.)

What is most interesting about Green Day shows however, is not the crazy covers such as 'Iron Man' or 'Shout', nor is it the energy they have or the buzzing atmosphere they create as a result. It's the intimacy of the event, and how they make each individual feel like they're the only VIP there. How they keep the punk rock closeness in an arena which holds 13,000 is beyond any mere mortal like you or I. It felt like we we all crushed into a tiny underground venue, be it their starting point back in Berkley, 924 Gilman Street, or the NYC legendary (sadly now closed) club CBGB. If you want to sing this one and get up on stage, you can - just as long as you know the words. One shaggy haired guy stepped up to sing 'Longview,' but it came with a price... "You know the words? Swear? Okay, can I cut your hair off first though?" Billie Joe asks. It goes without saying he did it. We love this band. Roll on June 2010. Manchester here I come.

Setlist:
Song of the Century
21st Century Breakdown
Know Your Enemy
East Jesus Nowhere
Holiday
Give Me Novacaine
The Static Age
Are We The Waiting
St. Jimmy
Boulevard Of Broken Dreams
Murder City
Hitchin A Ride
Welcome To Paradise
When I Come Around
Iron Man/Rio/Crazy Train Jam
Brain Stew
Jaded
Longview
Basket Case
She
King For A Day
Shout/Stand By Me/I Fought The Law/Teenage Kicks/Satisfaction
21 Guns
American Eulogy
====
American Idiot
Jesus Of Suburbia
Minority
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Last Night On Earth
Wake Me Up When September Ends
Good Riddance

The Kids Were United.

It doesn't take a political genius to realise that here in the UK, we need some kind of change in our governing system. Clearly, something needs to be said, and historically, the youth were the ones who said it... Whatever "it" was. Expression through music, art, dress and activity added to and fuelled the cause the kids felt so strongly about. Thousands became involved causing a 'movement' and defining an entire generation. I may be the only one who thinks this, but it seems like the majority of the youth today can't be bothered.

In Washington DC on 15th November 1969, more than 250,000 people protested against the war in Vietnam, the punks of the 70s were known for their anti-establishment attitude and lifestyle; they stuck a big, fat finger up at Margaret Thatcher and broke free from her grasp. Musical movements can scare the older generations; even jazz when it began to grow in popularity in 1920s and 30s America was approached with caution by the parents.

What I'm asking however, is what's next? Who will be the 21st Century voice to scream at Parliament, to 'scare' the elders? What will make my generation be taken seriously by those in power? Who will articulate what we want to say, but individually we can't? I don't know. In fact, I'm not even sure of songs which 'define the era.' As the youth we live in a time of High School Musical and Fame remakes, Disney is the (so called) musical 'big shot' with Billy Ray Cyrus' daughter and The Jonas Brothers.

For every decent song there are twenty horrendous ones. For every great artist there are one hundred ridiculous ones. Yes, we have decent bands, The King Blues express their views well, Oasis broke up before they got there (announcing to a crowd "everyone vote Labour!" was as politically expressive as it got), Jamie T is an amazing artist - perhaps not the most political person around, but he can communicate with my generation through stories we can all relate to. Although not wanting to be known as a political artist, his songs point out the broken Britain we live in, what the youth are up to and how many still feel proud of the Empire we once possessed. The sad thing is, one man can't make a movement. And no matter how much I can't stand it, most music today means nothing - you just need to watch X Factor to see the regurgitated nonsense Simon Cowell throws in our faces each year...

Sham 69 united the kids of yesterday, let’s reunite. Even if we don't know what as yet.


*Credit to www.flickr.com/jadeeey/ for the photograph of The King Blues letter to Gordon Brown billboard. I got it from Google Images, thanks.

Belated Leeds Post

The greatest British festival rolled 'round again in the usual slot of the August bank holiday weekend and I couldn't of been more excited. This year I was no longer a newbie to Bramham Park and all of the wonders it holds. Reading & Leeds mark the end of the festival season, despite Bestival still to come, the ex Carling, now festival Republic weekend is the true curtain call.

This year, they really out-done themselves; packing the weekend with must-see acts spawning all genres, and legends almost everyone would agree are unmissable. The headliners alone (Arctic Monkeys, Radiohead and Kings of Leon) would be worth the ticket price.

Friday 28th August

Skint & Demoralised were the first band I saw, providing comedic lyrics, truthful poetry and a good feeling to kick start our weekend. Joking that "Busted were better" as my friends and I walked over to the main stage for Fightstar, it was apparent that the festival madness had begun - people screeching, howling and just generally having drunken fun... at 12:30 in the afternoon. As one random girl said in passing, "I love how you can have a can at 9AM here, and no one thinks you're an alcoholic." Concurred. Totally true. If the two men in morph suits aren't drunk, then God help them in the real world.

So then as some friends were scoffing down some of the many junk food delights on offer, I thought Chickenhawk would be a good band to kill some time to. (Basing this conclusion on the fact they are called Chickenhawk.) Performing on the BBC Introducing Stage, they weren't bad when you got up close, but from a distance they sounded terrible. Maybe they'll be on the Festival Republic Stage next year. My fingers are crossed for them - I like their band name.

Spinnerette looked like a sensible option next. Brody Dalle with her smoke stained vocals and just her whole stage presence attracted me, because when I was younger, I wanted to be just like her. Spinnerette were okay. Just okay. Ms Dalle was cool, but I'd of rather seen The Distillers.


One incorrect assumption to make would be that music is the only thing to be involved with at Leeds. Jack Whitehall was on the comedic menu and don't think that something wrong with the tent (they had to "sort it out" before it collapsed) would stop the Alternative Stage overfilling. If I hadn't of heard most of the jokes on his TNT show, then it would of been so much funnier. However Mr Whitehall is one who laughs at himself and his geeky persona and "I did comedy as a last resort" light-heartedness makes him all the more hilarious and a top banana to see live.

I'd seen Enter Shikari before, and despite a new album since then, there were no surprises or anything unexpected, except mid-set when singer Rou exclaims "Can I get a reeeeeewinddd?!"
Erm, if you like...? How odd. Overall, they were just a band to bounce to in the afternoon air. Hockey were a sharp contrast, offering up feel good dancey music at it's finest. Reaching the NME/Radio 1 stage too early for The Maccabees, I had to endure one of the many poppy ("Oh Hollie you're wrong, we're pop punk") tween bands, this one - no different to any other - are called You me At Six. During the small section of their set I witnessed, they managed to ruin last years headliners Rage Against The Machine and perform a number of songs which I couldn't tell the difference between.

Right, so I my timing was completely wrong and The Maccabees weren't on for ages, so I caught a little of Maxïmo Park (good, yes) before eventually returning to the NME/Radio 1 Stage at 18:25 for The Maccabees. They proved themselves to me (sounds ridiculous, I know) but the last time I saw them live I was utterly disappointed, far from impressed, but now they have proven that they really are one of the best bands around today and I would recommend anyone to give them a listen.

White Lies were one of the bands of the weekend. Epic. Thrilling and with very little, if there were any at all, gimmicks. Harry McVeigh gave me a sight chuckle when he dedicated set-closer 'Death' to a member of management who had just had a baby. The sound was so good, they're just fantastic.



It's amazing how The Prodigy can still have such an effect on an audience now, after so long. People today still go mad over the songs they did 15 or so years ago, yet people bang on about Oasis sounding the same, or Kasabian having too much hype. The main stage was packed, it was amazing that we got so close to the barrier for Arctic Monkeys. Although I don't think they were the band of the weekend, or did anything to leave you in awe, there was something great about Arctic Monkeys. Just about everyone I spoke to after the gig said they were bad. Perhaps it was because this was my first time at one of their live shows, or maybe it was because I was a geek and learnt the words for 'Humbug' as best as I could ready for the weekend, but I enjoyed it. Granted the power cut - or over timed pause - during 'Brianstorm' was slightly annoying and there wasn't very much interaction (talking that is) with the crowd, but they were good. Isn't the point of seeing a band to experience the songs? And as for "They didn't play many old ones" Bullshit. Yes 'Teddy Picker' and 'Mardy Bum' were missing, but if you wanted to hear 'Whatever People say I Am..." then you should of went to see them three years ago.


Saturday 29th August

3OH!3 are a more dancey version of The Bloodhound Gang. They're a hilarious act, and one who you shouldn't really like... but just love. Well worth getting up early for a brunch time treat at the Dance Arena. 'Don't Trust Me' was their highlight. But seriously who are these people?



The View were on fire over on the main stage and one man - complete with Strongbow box on head - got his wish of appearing on the big screen near the end of their set. Well done mate. Passion Pit's singer has a crazy voice. The Massachusetts five piece were great, but the comparison between Michael Angelakos' speaking and singing voice is mad. (Good mad, please note.)

Time to pop back over to the Main Stage for Vampire Weekend who played very few from the debut. This would usually be a bad move for a festival slot, but being as the new ones didn't sound that different from the old ones, we'll let them off. Plus, once 'APunk' and it's cutsie intro begins, all is forgotten and Bramham went wild.

The Gaslight Anthem are a good live band. And despite not knowing many lyrics myself, I loved them. Now we all know Bloc Party are a must-see. Moving up the bill since last year, Kele and co rocked the main stage, 'Flux' was brilliant as per, but it was new single 'One More Chance' which really got the crowd going. Set-closer 'Helicopter' was a wise choice, a mass sing along erupted and it brought with it memories of Guitar Hero. (Haha)

The time had come. Radiohead were minutes away. There's something beautiful about them. Something special. I don't actually think I can express how brilliant they were and I only have one criticism... Where was 'Creep?'

Sunday 30th August

New Yorkers The Virgins had a reasonable turnout considering the time, and the crowd were one to be proud to be part of. Lively and slightly excitable. Nice. I saw New found Glory purely for 'Kiss Me' and Funeral For A Friend because I couldn't be bothered to move. Both could of been worse. I enjoyed a nice croissant to some song from 'Hours', an album I bought years ago... Their new stuff sounds no different to that album (well I think it was new.)

Next I wandered over to the NME/Radio 1 Stage, which is where I'd stay from about 4PM till 9ish. The Horrors, Jack Peñate, Florence + The Machine, Friendly Fires and Jamie T. One after the other. Since 'Primary Colours', The Horrors have entered a new league of arty, abstract rock. Finally they can be taken seriously and listed as a band with potential to be around for a while. Their live show expands and confirms this. Faris Badwan is intense, and hypnotic as a frontman, as opposed to previous years when he has appeared awkward.

It seems everything wasn't new for Jack Peñate, as he still delivered a cracking live performance. He too seems to of gained slightly more confidence since his latest release, stage diving numerous times and losing his favourite shoes in the process. This didn't dampen his spirit and he joked with the audience, "I'll come for you." It was such a happy atmosphere, playing old favourites 'Torn on the Platform' and 'Have I Been a Fool?' but the greatest song of his set was - without question - 'Be the One.' It made women and men alike scream in delight. 'Let's All Die' was brilliant and full of life oddly, and since this set I can't get enough of 'Pull My Heart Away.'



Florence Welsh nearly made me cry. Her voice is so amazing, powerful and bolts through you with such force, yet it is filled with beauty. Florence + The Machine played a fantastic, yet unfinished set. Be that due to the leak in the tent right above the drummer, or the crowd singing a Happy Birthday chant to Ms Welsh, we will never know... It's just a shame that their five star album 'Lungs' didn't win the Mercury Prize the other night.

Ed Macfarlane can dance. He's probably my favourite dancer of 2009 actually. And his band Friendly Fires know how to put on a show. New song 'Kiss of Life' got a good reception, but my personal highlight was 'Skeleton Boy' and 'Jump in the Pool.'



Jamie T is always fantastic live. He puts on a simple show, one which the crowd play a part as important as Jay himself. To hear the entire tent sing in unison for the majority of his songs is enchanting. Sadly, yet like many, I left early in order to get a good spot for Kings Of Leon. It's well annoying, but the security block off the left hand side entrance to the Main stage area and you have to walk all the way around burger stalls and merch stands to get anywhere close. Luckily, I timed everything perfectly and didn't even have to listen to any of the fucking Kaiser Chiefs. Well done Hol.



Kings of Leon own Leeds. We'd all heard that frontman Caleb Followill had an outburst on stage at Reading, so we were sceptical. Apparently there was a lack of interaction and communication, but let's face it - it was obviously a technical fault and not the band themselves. Every song was strong, crowd and Caleb singing together, the band enjoying it as much as the audience, the rain not even mattering. Some said that it was only until 'Only By The Night' that the Tennessee based boys became stadium rock, but songs like 'the Bucket' or 'Molly's Chambers' sounded just as correctly placed as any 'Sex on Fire' or 'Use Somebody.'. Mr Followill gave heart-warming speeches about England and you can tell just how grateful they are for everything they have. They worked hard for the main stage headlining slot at one of the biggest festivals in the world... they deserved to be there, and I'm happy they were the last band I saw at Leeds Festival 2009. Oh and Caleb dedicated 'Fans' to "those who didn't come for two songs." Any ideas what two songs he meant? Haha, love it.

Humbug - Arctic Monkeys

It was anticipated, we didn't know what to expect and my copy did arrive two days early (thank you hmv.com pre-ordering) but Arctic Monkeys' latest release 'Humbug' is available to all of us mere mortals now - and we're ready for the lads to blow our brains. 'Humbug' will.

More brutal, exciting and "in yer face!" it will prove to be a classic... without selling as many copies as their previous albums have - Spotify or no Spotify.

It's ten beautiful, mind-bending and intriguing songs, bursting with irregularity and uncertainty. It's brilliant. Brave. Abstract. We all said Turner was a genius, but not until now can it be confirmed, set in stone and other such sayings which just plainly mean he's fantastic.

First single 'Crying Lightning' with it's repetitive chorus and sexy beat finally (after a few listens) carved it's way into the brain, as do so many of the songs on 'Humbug'. 'Pretty Visitors' is like a punch to the face - which is good in this case. It's attacking, mesmerising and a poetic rant about... well pretty much nothing. Epic. "What came first the chicken or the dickhead?" Why, I don't know. Just epic. Then there's the hypnotising 'Secret Door'. Listening really means listening with this song, you can't just have it on in the background as you go about your business. It has a strange effect on the ears, perhaps due to it's complexity. Album opener 'My Propeller' has this amazing desert rock riff and is quite the vast comparison to ending track 'The Jeweller's Hands' with cynical lyrics and spooky, yet circus like undertones. But the two bring the album full circle, the perfect opening and perfect finale.

So if complex, hypnotic rock 'n' roll bands aren't your thing, then stick to 'Whatever People Say I am...'

And there's only a few days until Arctic Monkeys play Reading and Leeds festivals. Not long to learn the words then... Bah Humbug!

Your Idols May Save You...

Inspiration. It's something all musicians have and in some cases your idols may save you from lifetime embarrassment - something you weren't far from.

Remember Preston? He was in the Ordinary Boys and was on Celebrity Big Brother (don't worry, I didn't watch it either). To be honest, I was never really interested in whatever he was up to from his failed marriage, to storming off the set of Never Mind the Buzzcocks to defend said marriage. Like so many others I'd just cast aside any of his musical input, without so much as an intoxicated listen. But his solo single 'Dressed to Kill' is actually a good song.

So the video may hold the headline slot for the yet-to-be-invented Cringe Fest (search 'Dressed to Kill - Preston' on youtube now to see what I mean) but the actual music isn't bad in the slightest. It's down to Siouxie & The Banshees and their song 'Happy House'. Preston has done what so many do in order to create a decent song - sampled.

Lady Sovereign sampled in that Cure track 'Close to Me' for her song 'So Human' and what did it get her? Radio and TV air time and playing in Topshop's up and down the country - now she knows she's made it!

I'm not saying sampling's bad, wrong, or means you've run out of ideas. (That's what covering is for... jokes!) In fact a lot of amazing songs have sampled in other artists work, DJs do it and it works like it has for the artists I've mentioned. Lady Sovereign and Preston now can be accepted as people with a good song under their belts... But then again, they may become one hit wonders. Possibly like choosing between the lethal injection and the electric chair. (Possibly an exaggeration).

SUMMER TUNE ALERT!
On another note of inspiration, give 'Silence is Talking' by Reverend & The Makers a listen. It instantly reminded me of The Charlatans, and perhaps that's where the Rev got his ideas from, but whatever it's a great song.

Arctic Monkeys Are Back!

The first rule of rock 'n' roll: forget about the barber. Grow your luscious locks, reveal that macho mane. Arctic Monkeys have returned and despite 'Crying Lightning' being a great track, all anyone seems to care about is that Turner and Co (excluding Matt Helders) have let grooming drop down on their list of priorities.

Like all previous tracks, 'Crying Lightning' is catchy, but it does appear that their sound - similarly to their barnets - have gotten just slightly more virile. Mind, after hanging out with the likes of P.Diddy in NYC, for them not to of 'beefed up' even just a bit would be bonkers.

Upon my first listen, I wasn't exactly sure what to make of it. I remember in 2005 when I got my first taste of their work in the form of 'I Bet That You'd Look Good on the Dance Floor' and instantly fell in love with everything about them - especially Alex's heavily accented vocals. Skip a few years forward and I'm presented with a rather eerie song, wondering where the fun had gone. Then I listened attentively and took notice of the lyrics - I love it. Trust me it's a grower...

The video to their new single is interesting. More manly, cool and technical than years past - there's no sign of the fresh-faced Sheffield lads dressing as clowns -it shows the band sailing in a tiny boat in the most unforgiving and harsh conditions you could imagine. Suddenly giant versions of the band emerge from the water - perhaps to reflect what they have now become... mega stars.

So I'm going to say that fans need not to worry (too much, we haven't heard the whole album yet). And if you're lucky enough to be the owner of a ticket to Reading or Leeds Festival for this year, (I AM! I AM!) then you'll be amongst some of the first to hear the new album live. But I do hope that the boys don't discard too many of the fun and epic oldies as the festival will be my first time seeing them live.

I heard a few older fans expressing their brutal opinions that the new stuff is boring. But how can you know after only one song? I think 'Crying Lightning' is a quality tune and until 24th August, I won't, and can't say much more than I'm glad they're back.

Libertine Dream

Excellent. The Libertines are reforming! Hallelujah. Despite this sounding sarcastic, in all seriousness I'm thrilled.

I've seen Peter solo, Babyshambles rocking Leeds Festival '08 and Dirty Pretty Things at said festival only weeks before they split. I have never had the pleasure of witnessing The Libertines, never been apart of the magic they bring with them or experienced what it truely is to be 'one of the likely lad(ette)s'. Honestly, the reformation is all I've ever wanted since the break up. I want them to do all the things they've discussed - a new album, a tour... and obviously I want Peter to keep going with his solo career and Babyshambles.

But no matter how romantic and idealistic this vision may sound - there's no avoiding that bands can reform and run their legendary status straight into the ground. My happiness holds with it a shadowing doubt - hence my sarcasm at the start of this entry.

Take Guns 'N' Roses for example, (and I know there's going to be those who disagree) they were once rock icons. Now the words 'new but certainly not improved' come to mind. There's one original member, (who lets be honest was never the coolest one anyway) so in actual fact, they are not even Guns 'N' Roses - they're Axl's tribute act.

Then there's Smashing Pumpkins. Billy Corgan and Jimmy Chamberlin reunite the band in 2006, only for Chamberlin to leave in 2009. Have no fear though! Corgan will continue performing and recording under the name 'Smashing Pumpkins'... Need I say more?

So yes, I love the Libertines and always will, but I don't want their reunion to be like so many greats before them. So please Libertines, no goodbyes to any original members, or new ones to 'replace' them, we want it to be like there never was a split. A word of advice - if it doesn't run smoothly... bail before you crash and burn.

Ranting Roux

I heard on the radio not too long ago that La Roux's Elly Jackson stated that the lyrics from RnB and hip-hop songs were pointless. Granted 'Kiss Me Thru (That's 'through') the Phone' doesn't exactly reveal the meaning of life - but surely singing "I'm going in for the kill" and something about thrills is on a level just as pointless as anything Soulja Boy* (he really needs a dictionary, doesn't he?) could utter from his mouth. Jackson continued, "It's all rubbish, it's like 'Oh I want to kiss you' blah blah blah."

It is true that most songs today are all about (so called) 'love', and amongst them is 'Bulletproof', La Roux's 80's-pop-wannabee number one. The song is all about avoiding heartbreak - again a popular subject amongst the songs of the present, the past, and quite obviously will still be in the future.

I wouldn't say that lyrics such as "I'm not gonna let you sweep me off my feet" and "this time baby I'll be bulletproof" are world changing... then again, Elly's no Bono.

*Elly Jackson did not mention this artist, it was just me.

I'm Flo Sorry

If you asked me last year what I thought of Florence + The Machine, I’d of said something like “the flame-haired stage-school scholar and so-called front woman known as Florence Welch, does nothing but screech and jump about like a five year old fuelled by E-numbers.” I was, sadly, on the wrong side of the divide which Florence’s presence in the music industry produces. Now however, they are one of my favourite bands and I find myself loving absolutely everything I hear.

It is inexpressible how wrong I was to doubt and dislike such a fantastic and energetic band, and Florence herself. Had I realised that ‘Kiss With a Fist’ was their song (one of my favourite of 2008), then maybe I’d of given her a second chance after hearing ‘Dog Days Are Over’ before branding it screaming stupidity and flicking over the radio station every time I heard that oh so annoying introduction.

Ms Welch and Glasvegas did not impress me at the NME awards this year when covering Elvis Presley’s ‘Suspicious Minds', yet when watching it back a few weeks ago, it was pure brilliance! James Allan and Florence Welch have voices which complement each other as they are so different and equally enticing. I am sad that I didn‘t think this way back in February…

It’s beyond me why I took such a disliking to Florence + The Machine, despite loving their first song, (oddly oblivious to the fact it was the same band) but I am glad I have opened my ears and took notice - Florence + The Machine are fantastic, they have virtuosity which many shall never come close to and my, doesn’t Florence have a lovely pair of legs?

Peter Problem?

I understand that Peter Doherty is someone who generates mixed emotions amongst the public. Yet, after reading the latest issue of a leading music magazine, I found myself become extremely defensive… Perhaps too much so. I found the article in the magazine to be - if nothing else - harsh. To say that Peter Doherty is a man who upon entering a hotel foyer brings with him a "whiff of danger" and causes a "sense of concern" is rather cruel.

The journalist states that "We are here ostensibly to talk about Doherty's new album, but his past inevitably looms large." However, it becomes very apparent to me that digging up Peter's past was this persons’ intentions from the very start - his music can come in second. (Perhaps slipping in that one song on the new album mentions heroin - great evaluation). Clearly this journalist pre-conceived exactly what he was to write long before meeting Peter Doherty for the interview. The article contained sparse information on Doherty’s musical history and instead focused on events such as Doherty's drug problems and his relationship with supermodel Kate Moss - very tabloid gossip column, I must say.

In a recent radio/TV interview with a different leading music press, Peter described his feelings on the negative comments he receives saying that, “no matter how corrupted your mind can become by fame, you can’t help but still retain that basic vanity of a human being who’s going to be personally offended by someone saying something about them or their behaviour or their appearance. You’re just human really.” Granted, everyone is familiar with Peter Doherty because of all the negative media attention he has received, but if you listen to - and I mean really listen to - Grace/Wastelands, then you'll discover the true beauty of it and realise that actually, Mr Doherty is a fantastic musician. Weather you’ve liked his previous work or not, it’s worth the listen. Grace/Wastelands is poetic and melodic, enticing and addictive. Each song has it's own appeal, for example, “Lady Don't Fall Backwards” is and will be proven to be a huge song. The lyric "Lady don't you fall backwards, c'mon and fall into my arms" is enough to make any girl jealous of who that line is directed to.

Peter Doherty may be recognised as a rocker, but for his solo debut he’s went back to his original ways with song writing - big, yet graceful ballads, and swing-style toe tappers. You can dance your cares away, get lost in the world he’s created through his words or fall into a deep slumber as a soft guitar plays. Not many albums have such a range as this one does and whatever Mr Doherty has been involved with in his past is irrelevant.