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LIVE REVIEW: Sudan Archives, Loppen, 10.07.2019

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Sudan Archives live at Loppen for Copenhagen Jazz Festival

Sudan Archives has sold out Loppen. This is impressive on its own terms, and even more so for an artist from outside of Denmark with only two EPs to her name. But there isn’t a second of her set that makes you doubt how she got to this point. Brittney Denise Parks is a performer

The set is, rather confusingly, part of Copenhagen Jazz Festival. Though Parks has cited a range of influences for Sudan Archives — hip-hop, West African rhythms, R&B — jazz isn’t an immediately obvious one. The violin isn’t generally associated with jazz, but it is central to Sudan Archives. And what she does with the instrument challenges the ideas of what it is meant to do. Aided by pre-programmed beats, Parks loops her instrument in an endless fashion, sometimes bowing it, sometime giving a solid thump, and sometimes strumming it in a way more akin to finger-picking a guitar than the traditional pizzicato. 

Parks works every angle of the stage, whether singing or playing violin, strutting in dangerously high flatform boots and getting the crowd moving in a hot, sweaty mass. Her vocals blur in such a way that it’s hard to tell what’s a backing track (like the beats) and what’s been looped, but her delivery is dynamic. She can be half-spoken and direct as on “Nont for Sale,” but she can also flatten everyone in her path by belting out a note. 

As we’ve all seen many phoney encores, a genuine one can take everyone by surprise, including the artist. Parks has left the stage following her planned (and, admittedly, appropriate) encore, but the audience is still cheering, then stomping, then chanting for her. It takes her a moment to return; again, she only has two EPs, what is there left to play? But she does treat us to a new, beat-driven song. While it doesn’t have the impact of her planned final song, “Come Meh Way,” the thrill of the collective excitement is enough to carry us all home.

LIVE REVIEW: Roskilde Festival 2019 Day 4, 06.07.2019

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Lizzo live at Roskilde Festival 2019

The fourth and final day of Roskilde 2019 greeted us with a one-two punch of positivity and acceptance. There’s a lot to unpack from Janelle Monáe’s set on the Orange Stage. Do you start with the visuals? The radical politics? The messages of love?

Janelle’s visual references, like her musical references, are broad. There are nods to Rhythm Nation in both costume and dance, Wakanda, plus the vagina pants from the “Pynk” video. Her walk on music is the theme from Space Odyssey and her guitarist shreds a Prince riff. She delivers heartfelt messages about want to make memories and the need to protect one another (but we have to take her claim that it’s her favorite festival with a grain of salt when she shouts “Copenhagen!” at the crowd more than once). And while so much of her message is rooted in being American — whether or not she’s calling for the impeachment of her president — the sexual and geo politics of songs like “Screwed” extend beyond any one country.

Late in the set, Janelle pulls three audience members up on stage to dance during “I Got the Juice.” One girl is so overwhelmed that she just throws her arms around the singer and cries. Janelle hugs her and gets her to dance (and the girl does dance). All three dancers from the audience are warmly cheered by the rest of the crowd and that, more than singling people out, is what makes this segment endearing. That maybe you really can encourage people to love each other, that you can make a memory, that you can fight the power while making the people dance. 

Before Janelle can finish her set, Lizzo is on stage at Apollo echoing many of the same sentiments. The hip-hop-pop artist has built an identity around body positivity and loving yourself. She’s having an easy time of things; the masses assembled for her have already been converted to the church she wants to take them to. Chants of “Lizzo!” interrupt her between songs and lead to an impromptu singalong of Destiny’s Child’s “Say My Name.” 

Though the enthusiasm of the crowd probably helps, Lizzo herself seems like she has energy to spare. She comes out ready to toss her hair and check her nails, shimmying with her back-up dancers, getting the crowd to sing lines back to her. She knows which songs the audience has seen on YouTube, she knows what catch phrases they’re expecting of her, and just how much she can tease while espousing her mantra.

In some ways, it’s easy to see Lizzo as a next generation Janelle, that in a few years the production budgets will catch up and she’ll be on a bigger stage with more dancers and more costume changes, still owning her own juice, still telling audiences that she loves them and they should love themselves.

Converge live at Roskilde Festival 2019

A run across the main festival area gets us to an altogether different atmosphere with Massachusetts hardcore royalty Converge. It’s getting close to twenty years since their breakthrough album, Jane Doe, but if the band is looking a little long in the tooth they are showing no signs of tiring during this set. Frontman Jacob Bannon channels that manic straight-edge energy by practically flying around the stage, occasionally tripping himself with his own mic cable only to continue hollering from the floor. Bassist Nate Newton contributes his fair share to the chaos, at one point improvising an emergency backwards roll that sees him punch the air in mock celebration before getting stuck in again. Clearly drummer Ben Koller and guitarist Kurt Ballou are playing the sensible half of the outfit, balancing the anarchic energy of their bandmates with their signature math-rock and metal inflected virtuosity.

The Comet is Coming live at Roskilde Festival 2019

Contrarians that we are, we studiously avoid the Cure at Orange Stage, preferring to conclude our Roskilde experience with a set of psychedelic acts on the literal fringes of the festival. Some might be surprised to see London-based trio The Comet is Coming playing at Apollo, a stage normally devoted to dance music. After all, isn’t saxophonist Shabaka Hutchings being called “the reigning king of British jazz”? But just as the Pharoah Sanders-esque cosmic introduction to the set concludes, the stage feels more than appropriate. Drummer Betamax moves effortlessly from wild jazz intricacy to floor-stompers, aided by the synth wizardry of Danalogue, who veers between Tangerine Dream, er, dreamscapes, and absolutely filthy basslines.

There is always abandoned vibe to the last day of Roskilde, and the Comet is Coming have perfectly tapped into it, drawing a crowd to themselves, stealing ears from the Cure with this high-energy distillation of cosmic jazz and club music.

Kikagaku Moyo continue the late night spaced out theme. The Japanese band’s 60s psychedelia is cut through with some serious noise and the occasional noise-maker to add to the percussion. Ryu Kurosawa’s sitar is interesting on a conceptual level as a nod to the band’s 60s influences, but also because it is used in such a way as to not resemble a sitar at all. In Kurosawa’s hands it more closely resembles a third electric guitar in the line-up, one that allows its player to go off on different warbling tangents.

The five members of Kikagaku Moyo have clustered together in a tight circle make the stage seem big, but it adds to a sense of unity and spontaneity, as if this all just came together rather than being carefully orchestrated. The bass sits very heavily in the mix — making the drums seem light by comparison — providing a very clear anchor for each song. The shifts from chilled out jam to hard rock feel organic and keep the mood around the band relaxed, even as the energy in the crowd picks up. The band end on a high note, walking away from a cheering audience that has been vibrating along to one of their sharper songs. They then come back on a few minutes later, sheepishly announcing that they thought their set was only 45 minutes. They are orchestrated enough to pick up immediately and play for another 20. We can forgive an accidental encore.

And so, for us at least, Roskilde ends at Avalon tent again with Gaye Su Akyol and her “peace, love and rock and roll from Istanbul”. The Turkish singer is no stranger to Denmark or Roskilde, having played at the festival for the first time in 2016, and then again at Alice last November. Each time her performance becomes a little more colourful, this time with the addition of a golden cape with which to lead her band of masked players. The rest is a blur of surf-rock, 70s Anatolian psych and garage, the backing band packing serious punch when it comes to the funked up rhythm section and squealing synths. Which is far from a bad way to end a festival.

LIVE REVIEW: Roskilde Festival 2019 Day 3, 05.07.2019

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wu-tang clan live at roskilde festival

As the sun shines and gives us respite from a day of chill and damp, Aldous Harding has set out to unnerve us. She plays beautiful folk music with a throwback 60s vibe, accompanied by a band of mellow players. She mostly sings in an unearthly soprano but has the vocal dexterity to sell the flat alto beloved of Nico fans. She also spends the majority of the set pulling faces and menacing her audience. From her seat with her acoustic guitar, she sneers and leers, glowering from behind her microphone with a hard, accusing look.

Aldous Harding live at Roskilde Festival 2019

Her band are all in on the joke, staring down or blankly ahead when not playing. They’re waiting for the audience to catch up with the joke, which some do with immediate laughter. It is the most engaging set by a person sitting down playing an acoustic guitar that we’ve seen in a long time. You could argue that Aldous’s performance methods detract from the beauty of her music, but quite plainly there are enough earnest singer-songwriters out there. There will never be enough weird.

Since our encounter with Sonic Boom at Alice a month or so ago we have been eagerly awaiting seeing his former Spacemen 3 bandmate Jason Pierce with his second legendary band (seems almost unfair to be allowed more than one), Spiritualized. Where Boom was minimalist Pierce is much more a maximalist, arriving on stage with a fivepiece backing band and a gospel trio on backup vocals. What emerges from this is a cathartic wall of space rock incorporating everything from Stooges-era garage to gospel and psychedelia. The noise is undercut by the fragile figure of Pierce himself, sat down hunched over his guitar, his foot nervously trembling over a wah wah pedal. It’s a captivating combination that distills 50 years of rock history into a plaintive cry that makes grown men openly sniffle as they headbang.

Spiritualized live at Roskilde Festival

We’ve had mixed success getting into Gloria this year, so we queue up early for Yves Tumor. It proves to be a good strategy; the room is packed for the artist and his band. The set is more straightforward rock than expected, with shades of glam rock (or properly eccentric hair metal) squelching out a lot of the electronics he is more commonly associated with. There’s something very Velvet Goldmine about the performance, and through the dark lighting on the stage we can see singer Sean Bowie hopping and thrashing about, his garment flowing around him. Better lighting might give us more of the effect compared to the silhouettes, but from our perch on the bleachers we can see bodies bobbing in time, sucking energy from this short set. As a festival set, it’s good, but it makes us want to see a performance that represents the full range of Yves Tumor’s catalogue.

yves tumor live at Roskilde Festival 2019

After the warmth and darkness of Gloria, the chill in the air and the brightness of the sky on the walk to Pavilion for black midi are little disorienting. black midi are a slightly mysterious, incredibly young four-piece from the UK. Until very recently they were just a name you’d hear about from the odd music journo at the Quietus, with absolutely no music online. Today at the Pavilion stage the reason for the hype becomes immediately obvious, with a blistering set of dexterity and musical exuberance. The band themselves, young as they are, are looking considerably more serious, possibly annoyed at the mixing of the vocals, but by the end, thanks to an impromptu call-and-response with the audience, they are grinning away and feel more at one with the calculated silliness that accompanies their technical proficiency. Think Don Caballero mixed with a touch of Les Claypool and you begin to get the idea. And with their debut album so recently released, it seems inevitable that black midi are going to go far indeed.

black midi live at Roskilde festival 2019

A quick run back to Orange Stage gets us to the Wu Tang Clan, a name that promises so much, possibly too much. After the puzzling introduction of the trailer for the RZA’s new movie, it’s immediately apparent that the sound is going to be absolutely dogshit for the rest of this set. The vocals are often inaudible, the samples mixed so oddly that half the time all you can hear is kick and snare. But the songs themselves are undeniable, anything from 36 Chambers is going to sweep the floor even if the sound quality is worse than an iPhone stuck down a toilet. But not wanting to have our musical memories tainted too much, we move on.

Underworld live at Roskilde Festival 2019

We move from one set of gristled veterans to another sort. Underworld are blessed with a markedly better sound at the Arena stage, which they use to its fullest to deliver their euphoric, rather campy style of house music. The tent is jam packed, lasers are flying all over the place, and the kick is powerful enough let you forget that the two people producing all this look like retired accountants. You can’t help but feel the pressure for them to end with their monument of a song, “Born Slippy”, which they milk for all its worth and deliver the almost definitional festival experience.

The energy of one dance band into another dance pop act will keep you riding high. It’s on this wave that we float over to Robyn’s headline slot on the Orange Stage. The Swedish pop queen is an old hand at festival performances, and she knows she could come out at full force with hits. She doesn’t do this. Robyn knows how to pace a show. It’s a slow build that includes a dancer and a costume change before she blasts into full Euro pop mode. She hits her stride on “Between the Lines,” shimmying and strutting and playing off of her backing dancer. The sound isn’t quite right and her vocals are too quiet, but the audience is into it, they’re warmed up, they’re in a peak festival state of mind.

We’ve been hearing “Dancing On My Own” all day. It’s come from various sound systems, out of phones, from passing groups just singing it. In many ways, this feels like the moment the entire festival is building up to. So when the opening chords of the song stream out, the crowd predictably goes nuts. Robyn silences her band and has the audience sing back the first chorus; she looks overwhelmed by the results. 

It’s kind of Robyn to bring this song out before the 2am mark, but a sign of her artistry that she doesn’t save her biggest hit for last, but rather where it fits best. Because even though the crowd thins at a faster rate when it’s done, the emotion is heightened for those who remain. Two girls shriek with joy for “Call Your Girlfriend,” and amorous couples willfully misunderstand the lyrics. But she brings us down slowly, so that when the last band member has left the stage it feels like a natural conclusion; of course we must now all drift on our own ways.

LIVE REVIEW: Ava Luna, Pumpehuset Byhaven, 28.06.2019

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Ava Luna live

In terms of ideal concerts venues, it’s hard to beat Pumpehuset’s Byhaven on a warm summer evening. A break from the more extreme heat makes sitting outside very enticing, and New York synth-pop group Ava Luna are the perfect band for the setting. They essentially play block part music: It’s mostly dance-y, has a decent beat, but isn’t so deafeningly loud that you can’t decipher the three-part harmonies.

But maybe the setting isn’t perfect for the music. Not if you’re a performer, anyway. The perfect summer setting of Byhaven means that loads of people who aren’t especially fussed about the music are having drinks and chatting with their friends in the shade of Pumpehuset’s main building. Ava Luna start their set off unannounced, with a song so mellow it’s hard to tell initially if they’ve started to play or are still tuning up. Few people move towards the stage, even is as it becomes clear that the show is getting going.

If the band are discouraged by the inattention, they don’t let it show. Ava Luna know how to sell a song. Singers Felicia Douglass and Rebecca Kauffman have different, energetic performing styles — Douglass bops around with a fluid energy while Kauffman has more of a rigid theatricality — but the deliver every tune like the whole garden is rapt in their attention. The performance is balanced well, switching between singers and choosing key moments to play up the harmonies; leaning more into bright, vibrant synth lines; and deliberately slowing things down. It feels like the setlist has been chosen deliberately for the audience, for people who might want to get up and dance and acquiescing to those who want pleasant background music. It’s just curious that there is courtyard full of people who don’t realize what they’re missing out on.

LIVE REVIEW: Caterina Barbieri, Alice, 06.06.2019

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Caterina Barbieri live at Alice in Copenhagen

Photo by Amanda Farah

It shouldn’t be news to anyone anymore that modular synthesizers are experiencing a huge renaissance in recent years. The instrument has evolved from the exclusive preserve of a privileged caste of electronic wizards to a viable tool for composition. We’ve seen expressed most often in Terry Riley-esque psychedelic dreamscapes (notably with Kaitlyn Aurelia Smith). With her latest release, Ecstatic Computation, Caterina Barbieri’s approach to the modular synth appears to take as its reference point those 90s rave sounds so beloved of her compatriot Lorenzo Senni.

Stripped of any obvious beats, Barbieri’s music relies heavily on arpeggiation to achieve percussive effects, using generative processes to create these blissed-out emotional landscapes. As if keen to underline the literalness of this phrase, the backdrop to her set is a series of slightly warped nature scenes, at times oversaturated and at others bleakly monochrome.

On arguably her breakthrough record (at any rate the record that I happened to discover first), 2017’s Patterns of Consciousness, we hear a very cerebral, rigorous side to Barbieri. Close to minimalism, but far from its more hippieish vibes, its second side appeared to be pointing into the transposed club music we hear tonight.

The thing that really has to be stressed about the tracks on Ecstatic Computation is that they are all, without a doubt, absolutely ridiculous bangers. The fact that they have no drums is almost an afterthought, but is also key to their emotional pull: there is a yearning, borne out of the functional necessity of the styles Barbieri borrows from to reach a climax. Here the buildup is its own reward.

The five-note riff of “Bow of Perfection” blazes neon across the room and disappears, before bursting out again, and again, speeding up, the richness of its single sawtooth wave justifying the bravado of its title. Its a breathless set that speeds through work, occasionally breaking into thunderous noise and at others, for example the choral vocals on “Arrows of Time”, allowing an almost pastoral sweetness.

LIVE REVIEW: Priests, Loppen, 28.05.2019

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The band Priests live at Loppen, Copenhagen

Priests have always been an excellent specimen of where they come from: A D.C. punk band with a strong DIY ethos, political bent, and high energy live set. Their latest album, The Seduction of Kansas, shows more focused lyric writing and smoother production than their previous efforts, but thank goodness they’re still embracing the unpredictability of the unpolished live show.

While the set leans very heavily towards songs from their recently-released new album, they choose an early point in the set to introduce a cover of “Mother” by Danzig (forthcoming as a single). This is really the first moment when Katie Alice Greer’s vocal ability comes through. She really is a powerhouse, a fact that is easily downplayed on the recordings or when the reverb makes everything a little softer. 

Priests’ ability to roll with the punches also underscores their hard-won punk-professionalism. “I’m Clean” gets a stripped back performance after their drum machine breaks. It leaves drummer Daniele Daniele singing while Greer plays the drums with maracas, looking uncertain for the first and only time of the set. But there is something very authentic about saying, “our equipment is broken, but fuck it, we’re going to try anyway, but heads up it might not work” (paraphrasing, but that was the gist). And when you have a band that delivers an otherwise fully committed set, there is a strong appeal in seeing a little bit of vulnerability.

The stage lights are only working intermittently by the time they close out the set. So before the final tune, “Jesus’ Son,” Greer asks everyone to take out their phones and shine the lights at the stage. Red stage lights flash in an out, alternating between Loppen’s familiarity and a basement show feeling. Seeing the band embrace this quality, and seeing the community of the audience joining in, is just about the most punk experience there is.

Photo by Morten Aagaard Krogh.

LIVE REVIEW: Eiko Ishibashi with Joe Talia, Alice, 22.05.2019

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Eiko Ishibashi live at Alice Copenhagen

There is no disputing that Eiko Ishibashi is an experimental musician. Her compositions span electronic manipulations, found sounds, recitations of train stations. But she has also toyed with something akin to pop music, songs that are vaguely catchy and you could sing along to. Her set at Alice with Joe Talia, however, throws all conventional song structures out the window. 

She does not sing over the course of the evening. Instead she eschews beginnings and endings, creating one long, fluid movement of echoing sounds. In a predominantly electronic set, Ishibashi brings in piano and flute. The staccato piano is usually backed by Talia’s  cascading percussion while her flute lines are looped and manipulated, segueing from one suggestion of song to another. The organic/electronic elements of the set twist around one another until they are almost indistinguishable; the pitch shifting of the flute to make it sound like a French horn is as electronic as the weedy, pointedly machine-like sounds, but the flute sample feels much less digitized.

Towards the end of the set, Talia brings in a soft thudding percussion that sounds at first like thunder but later is unmistakably a muffled gunfire. The mood instantly shifts from soothing to sinister, strangely muted but still very aggressive. But as suddenly as it’s faded in, it’s faded out again, leaving only the sentiment behind.

While we went into the gig expecting to hear more familiar selections from Ishibashi’s catalogue, there’s no denying that the set did justice to her talents and creativity. So no, this isn’t necessarily what we were expecting from the evening. But it can be wonderful to be surprised.

LIVE REVIEW: Spectrum, Alice, 09.05.2019

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Pete Sonic Boom Kemper live as Spectrum at Alice in Copenhagen

Photos by Amanda Farah

It’s been a great few months to catch up with some lowkey musical legends like (This Is Not) This Heat, the Mekons, and Charlemagne Palestine, which makes the inclusion of Spectrum all the sweeter. Peter “Sonic Boom” Kember first began to stitch together the seemingly incompatible worlds of drone and pop music as guitarist in Spacemen 3, the ultimate British stoner band of the 80s, before embarking on his own solo voyages as Spectrum and Experimental Audio Research.

Tonight Kember steers a course through his more song-oriented work towards his more far-out, drone work. Although he has become known for his production work and interest in modular synths, his setup is very simple. Accompanied by a guitarist dishing out slow bluesy slide riffs, he has a couple of samplers, a Yamaha keyboard which according to my research he must have had knocking around for decades, and a strange little synth whose gentle burbling accompanies the entire evening.

For a few minutes it almost seems like the evening isn’t going to start at all, thanks to a faulty sampler. In the memoir of his one-time bandmate Will Carruthers there is a story about the performance and recording of Spacemen 3’s Dreamweapon: A Night of Contemporary Sitar Music, in which everything seems to go wrong: the gig is in the foyer of a cinema where most of the audience is just waiting to see Wings of Desire, they are under orders from Kember to play no more than a single note for the entire set, and after the ordeal, Carruthers realises his bass amp had been switched off for the entire set. Which is to say, Kember knows a thing or two about adversity, and isn’t going to let that stop him.

As the signature one-note synth riff of “Lord I Don’t Even Know My Name” begins, all is well. Even on a sampler the sound bounces straight into the diaphragm with its warm buzz, cutting through the sweet up and down of the two-chord refrain. Kember has made a career of cutting out as much as possible out of his music, but as the reaction of the crowd testifies, always to great effect.

But these days it seems like it is in the longer, instrumental pieces that Kember feels most at home, with his back to the multicoloured psychedelic light. A standout section is one that features a spoken word piece by Kember, a characteristically repetitive string of associations (“like fire, like sound, like…”), played and broken up by the sampler over a sea of his distinctive synth bubbling. I can’t find a recording anywhere, so get in touch with us if you have any leads!

INTERVIEW: Peter Hvalkof from Alice talks booking and Spectacle

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Photos by Morten Aagard Krogh

Since 2017 Alice has been the home to experimental, global and electronic music in Copenhagen, guaranteed 4 years of funding from the Arts Council and Copenhagen municipality. Half way into this project, the venue is showcasing its unique cocktail of genres this month with a two day series of concerts and talks under the banner of Spectacle.

We sat down with one half of the booking team, Peter Hvalkof, in the café of the neighbouring Union cultural center to get an idea of the work that goes into producing one of the city’s most unique cultural spaces, and to get a preview of what to expect from them in the near future.

Peter started his career in concert booking in the mid 90s working with Roskilde Festival, and by now describes himself their most senior booker. “At least I’m the one who has been there the longest!” His focus has always been on bringing acts from every part of the globe to Denmark, from Malian desert rock to Brazilian tropicalia.

His work at Alices started by way of one of its predecessors, Global. Started in 2006 in the same space now occupied by Alice, Global started out by buying bookings from Roskilde Festival. Most of these were Peter’s own bookings, which made it natural for him to team up with Global. It was a mutually beneficial arrangement: Global would be something of a scouting ground for Roskilde, and as such could attract a wider variety of acts to its own venue. “For most people it’s not just a chance to discover a new band,” Peter explains, “it’s a way to discover entire genres and cultures.” 

The delight of Roskilde Festival, and what spurred Peter to get involved in the first place, was exactly this potential for stumbling across the unknown while crossing an otherwise nondescript Danish field. We’ve experienced this ourselves in our reporting on plenty of occasions, memorably encountering the Thai band Khun Narin crossing the festival with their massive soundsystem after a set earlier in the day.

Attracting audiences to unknown bands is a much easier proposition these days of course, since even the most obscure act is only a quick search away, but you still need to earn that audience and inspire them to make that discovery. “There are so many curious people out there, who trust the programming, who instead of settling for what they already know are willing to take the risk. And for some it could be the concert of a lifetime.”

Peter Hvalkof of Alice and Roskilde Festival

“It took four years at Global to gain an audience that trusted that what we were doing was something spending the money and time on.” Of course Alice can take advantage of the same symbiotic relationship with festivals like Roskilde and the Copenhagen Jazz Festival, but that doesn’t mean it requires any less work : “we knew that when we merged Global and Jazzhouse into Alice we would have to start all over. It takes a while to build a reputation, but we are improving all the time.”

Aside from its regular audience, though, Alice has also seen shows completely sold-out by expat communities. The most notable instances recently have been Italian songwriter Vinicio Capossela and Turkish psych-star Gaye Su Akyol last autumn. Gaye, Peter is keen to point out, will be returning to Roskilde this summer. 

Between booking for Alice and Roskilde, Peter is clearly a busy man. In the last year at total of 316 acts have passed through the doors of Alice, with only a brief one-month window of reprieve in summer. The planning for Spectacle started in autumn, so with that and Roskilde booked it’s time for a short breather. Today, in fact, Peter is technically on holiday, but he has come over especially to greet the Mekons who are playing here later this evening.

We spend some time discussing the term “global music” and its older cousin “world music”, the topic in fact of one of the upcoming talks during Spectacle. “For me, when it comes to describing to someone what I do as a booker at Roskilde or Alice, at least the term ‘world music’ is something they understand.” But then what is global music? “It’s local music from ‘out there’, but that could just as easily be Jutland as Zanzibar!”

Focusing so much on acts from the most disparate parts of the world also entails a considerable amount of effort in terms of paperwork: “I spend so much time writing letters of invitation to make sure that artists from outside Europe are getting their visas.” But this is hardest on the artists themselves: in the case of one duo from Niger, this meant spending a week on the streets of Burkina Faso while applying for a Danish visa. “Then they had to spend give weeks in Accra to get their visas for Britain, can you imagine that?”

“When I travel, one thing that always makes be happy—but also a little ashamed when it comes to my culture—is the fact that whether I’m talking to an electronic producer of a metal bassist, they know so much about their own musical heritage. That’s hard to find in Danish musicians.” But certainly not impossible, since Spectacle will see—alongside international electronic and folk acts—local bands like psychedelic outfits Ipek Yolu and Klimaforandringer, as well as Copenhagen-based composers Sofie Birch and Xenia Xamanek.

“Spectacle is a way to add some more focus on what we are doing. We talked earlier about hating the term ‘world music’ and in fact we tried to avoid the world ‘festival’ too, but if you create a series of concerts and you end up naming it… well that is a festival.”

As well as being its own venue, Alice as a project reaches out into other spaces as well, from the Union Cultural Center we are currently sitting—which will house the talks that are part of Spectacle—, to the churches of Christians Kirke in Christianshavn and Brorsons Kirke in Nørrebro. There are talks of also hosting events in the neighbouring Sankt Johannes Kirke. 

Later in the summer Alice will also be home to shows from the likes of Nadah El Shazly and Girls in Airports as part of the Copenhagen Jazz Festival, and is bringing its bigger acts, such as German experimental big band Andromeda Mega Express Orchestra, to the Ofelia Plads stage in the city center. 

The Alice Spectacle will take place 26 and 27 April.

LIVE REVIEW: Cherry Glazerr, Ideal Bar, 11.04.2019

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Clementine Creevy of Cherry Glazerr live at Ideal Bar in Copenhagen

The dreams of the 90s are alive at Ideal Bar for Cherry Glazerr. The LA band, playing as a trio, are at the vanguard of 90s alt-rock revivalism. The audience are playing along, kitted out in a confusing assortment of retro fashions including but not limited to camisole dresses over t-shirts, hoop earrings in one ear, platform shoes, and pleather. 

The show was downsized from Lille Vega, which is only evident in the six-foot inflatable cherries stuffed at the back of the stage out of range of the lights. But this space feels right; there is a row of university-aged women lining the stage, losing their minds, dancing and singing throughout the set. The costuming of the audience further lends itself to the idea that this was somehow a secret, that only the kids from the counter-culture knew to come out for.

But it isn’t so esoteric as all that. Cherry Glazerr are a high energy rock band and they’re fun. Central to this fact is that frontwoman Clementine Creevy is a damn rockstar. She’s tossing her feathered blonde hair around, evoking the Runaway’s Cherie Currie. She bops and dinosaur walks around the stage throughout the set, feeding off the energy locked in around her.

The only time the band slow enough to catch their breath is to play “Grilled Cheese” and “Teenage Girl” from their debut album. While these older songs demonstrate how much tighter Creevy’s songwriting has gotten, the fact that the old songs are being played means the devotees in the front row are going crazy.

The one drawback of the evening is that Creevy’s vocals are almost non-existent. It’s not as though they dominate her albums, they are swallowed up despite the fact that the band isn’t playing especially loud. Creevy seems unbothered by this, so we can conclude that it’s a conscious if curious choice — she is, after all, a talented lyricist.

This choice does, however, work well for “Stupid Fish,” the end of the main set. The thin vocals from the album are swamped by the chugging rhythm of the song, which gets dragged out and mutated over the minutes. It’s more interesting for being a product of its environment, letting a song with heavy tone also get swept up in the fun of the evening.

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