Thieves By The Code were first on and, having just reviewed their début album 'Tales From The Green Muse' I was really looking forward to seeing the band live. The band themselves were in high spirits, this was the first of a series of dates they were playing in a short UK tour to promote the album.

 

They opened with 'Corner Of Your Eye', the highlight from their Thieves Garage EP and the sound was fantastic. It was unfortunate that more audience members hadn't arrived for kick off as the band were on top form, assisted by a new toy – a sampler which allowed them to drop all of the samples that play a key roll in their recordings. Singer Alex Sinesi was in fine voice, although it did seem his vocal got lost slightly in one of my favourite songs – 'Studio 54' where drummer Nick Van Vlaendern's harmonies seemed to take over. By the last track, the largely instrumental ‘Turbominchia’, the crowd had filled out and you could tell we were in for a great night.

 

Red Raucous were up next and I have to confess, sandwiched between such original artists, their sound came across as a little too conventional but there's no denying they are great players with a fine set of songs. The three piece line-up (I've seen four guys in some of their photos) played authentic rock'n'roll with tight arrangements, however, with a name like Red Raucous I feel like they ought to have cut loose a little more – I wanted them to lose control, to try and frighten the audience. Their show was professional where I was hoping for explosive. For me the guitarist was far too well behaved although Will Moore on drums was certainly a joy to watch.

 

By the time Clowwns came on the room was full and heaving. I'd not seen them live for a while and they started the set with a few songs I was less familiar with. Lead singer Miles Heathfield announced that their début album is finally finished and we should be expecting a release around March next year, which is fantastic news – this album has been a labour of love and we can't wait to get our hands on it. Clowwns are a hyperactive bunch, they boast one of the finest rhythm sections in town, one of our most inventive native guitarists, a relentlessly energetic front-man and a bag full of catchy garage rock tunes often built around the harlequin theme of the bands name (the extra 'w' is to avoid confusion with a similarly named antipodean group who are, by all accounts, truly dreadful).

 

The set came into sharp focus for me on the song 'Love Vigilante' – it's an amazing song, you could almost call it addictive, every time I hear it I'm stuck with it in my head for days. Another highlight was their re-working of Ian Drury's 'Hit Me' – sometimes when a band converts a song into their own style it's a massacre but not with these clowns. Last time I saw them they were playing a version of 'Ghost Town' by The Specials which they had reassembled in such a way you'd be fooled into thinking they had written the original and they've had similar success with 'Hit Me' – it's a different song altogether in their capable hands.

 

Bootleg Festival is an interesting concept in gigging – they've staged a four night festival at The Prince Albert, with each night curated by a different label, although tonight's show was curated by the venue themselves. The idea is that the show is recorded and will later be available on sale, with a free download of each act available for the audience on the night. Tonight was a great night of entertainment, although I would say it was not made clear how we, as the audience members, were going to get hold of our free downloads – perhaps this was secret knowledge handed to punters as they paid on the door or booked their ticket online and as a member of the press I missed out. Either way I was left a little unsure as to how it's all going to work. I'm certainly interested in getting my hands on the download as all three bands turned in flawless sets and the sound at front of house was impeccable. Who knows, if I get to review the night again in recorded form I may come out with a completely different take on proceedings!

 

Day two of Bootleg Festival began with a set from critically acclaimed psychedelic songsmith Crayola Lectern. Unfortunately last years highly lauded début album 'The Fall And Rise of Crayola Lectern' was not enough to rouse much of an audience for Chris Anderson and his able accompanists Alistair Strachan and Damo Waters (who also played drums for previous headliner Clowwns). A shame as this was a charming performance of some wonderful songs from an act that I would describe as expertly bonkers. Anderson delivers a wittily observed, often deadpan, vocal whilst playing expensive piano chords backed by wobbly organs, sparse percussion and gorgeous trumpet playing that sometimes breaks down into simple breath. At times the strange phasey pads are a little too loud for my taste, overwhelming the piano but overall it's a charming set of wonderful original material with my highlight being 'Slow Down'. The album has to be listened to for one to really appreciate it – a truly unique act.

 

George Frakes, who also plays guitar for Sterling Roswell, was offered up as middle support but, as he was only given three songs, and he was accompanied by Roswell on an old analogue synth for the third, it didn't really feel like he was given the chance to show what he can do. Frakes, dressed like an extra from the third Back To The Future movie, is obviously a bit of a genius at finger-style guitar and played a great ragtime tune of his own. He talked about doing a turn at Edinburgh Festival with Roswell in tow, but it seems a painfully small glimpse into a talented folk artist. I may be overstepping my mark but I would have liked to have seen Frakes open the show with a full half hour, giving Crayola Lectern the main support slot and allowing Frakes set to stand on it's own two feet, rather than feeling tagged awkwardly onto Roswell's show.

 

Instead Roswell began his show straight after Frakes' third song. This was a move the sound-engineer, the Innerstrings Psychedelic Lightshow guys (who turned up to add some of their distinctive retro lighting effects) and even Roswell's own band were obviously not expecting. Roswell ended up waving at them all, frantically to get the show started in a comedic hiccup that was soon recovered once the band, bathed in those authentically psychedelic lights and encircled by an incredible collection of vintage instruments and studio toys, began playing.

 

Sterling Roswell played drums for Spacemen 3 in the late 80's before setting off on his own journey and is described as an artist, musician, poet and producer ‘beyond categorization’ in the blurb for tonights show. His set of old fashioned 60's tinged psychedelia is authentic and Roswell, who is eccentrically dressed in leather trousers and a leopard print scarf, certainly looks the part, as do the rest of his band. They sound the part too, with a great drummer and bassist, a dancing woman with a pair of maracas and three guitars enhanced with lots of reverb and analogue tape delay. The set begins well and peaks early, I'd say, with his excellent single 'Give Peace Another Chance' from this years ‘The Call Of The Cosmos’ album. It's a charming song with his distinct cutesy, understated vocal and he also charmed us a little more when he explains how these first days of wet weather are perfect for the first crop of magic mushrooms, a treat he's given his band with a day trip to Kew Gardens 'Intoxication Season' exhibit. Unfortunately there's not really enough of a crowd for the happening to start happening and it soon feels like Sterling has outstayed his welcome. Things take a turn for the sour when he ignores calls from the venue management to end the set, having run beyond curfew, saying he'll just play one more 'quiet one', which descensd into another full-blown psyche wig-out – one step too far for my taste.

Adam Kidd