Live Review

Amsterdam – The Cavern, Matthew Street

• 20th Mar 2008

The Trestles are a restless ensemble; a 4pc inc. drummer, bass-guit and 2 vox-guits, who/which emit some fast fire and water energy, and big up the star gig. A drum roll par excellence; 10/10 for attention-grabbing, from the beginning they fold-out immediate stage presence. Mark sings his heart out: All Grown Up is rock bashed with punk and a sprinkle of traditional Irish folk. Celtic Eyes has beautiful loudyness too. Come and Go has little green men jigging all over each beat. A fabulous crowd response for opening support; people have quit murmuring and have drinks in hands as heads bob to the rhythm.

A man has just stood sentry, perfectly blocking my far-from-stage view, and I courteously ask if the audacious offender minds shifting aside a bit – only to register him as a well-known local DJ’ Eeek! Ah
well, at least he was polite and obeyed my dulcet request. (TY, BB x) the set races on and Don?t Stop, belts out more of the same. Oooh, a surprise, I intensely admire the rare drummer-vox combo, Baba. Quality!

Al O’Hare, (centre-stage) is mopping his brow with one hand as he continues to play! I’m perspiring a little now, but my band-jitters’ have disappeared. Burning Soul sprints along a drum riff as lead vox snail trails. I find this an unusually creative arrangement: the rack builds and away we go, until guitar takes it back down. It’s apparent the melodic Gods spring great influence on Trestle style, and I’ll be comin’ around to watch this band again.

The Trestles are sharp, from the heart and straight to the point. Al O’Hare-Vocals/Guitars, Mark Dawson-Vocals/Guitars, Phil ‘Baba’ Bernia-Vocals/Drums and Tom Carroll-Bass

***

The Sums seem to be a more lethargic second support wrapped with bundles of clichés, but tied to occasional ribbons of melodic magic. They’re stalwart and remainder of late nineties Indie scene, now mature, and better for it! They’ve a solid fan base. Some of their tracks act aggressive, but are lightly touched with humour:’Go home and take a bath’ (lyric) and others smell of glam-rock. I’m sure I heard a ‘Jean Genie Bowie beat’ Two blonde girls have arrived on stage as backing vox with the 4pc for an atmospheric onomatopoeic start – ‘Scared of Missing Out’ falls into a soft, sleepy coma and wakes up startled, several times, it’s my favourite so far. ‘Better off living a lie’ (lyric) with its superb bass riff fastens this up
tight.

Jackets away, Sums are hot, air is sparse and drunks are creating hazards. The Cavern is closing in and Lee is asked to ‘pedestrianise the highway’ by Digsy. I think Lee complies, but I can’t be 100% certain. Jean Genie returns for ‘When you hear the rain’ (lyric) but
our crowd is impatient for the headline act. Finally ‘Who Cares’an epic, low- emo track – its powerful harmonic rings out from the stage.

Vocals/Guitar-Digsy, Bass/Vocals-Chris Mullin, Lead Guitar- Lee Watson and Drums-Bren Moore.

***

AMSTERDAM

At last, arrive to rock The Cavern!

I won’t discuss a lengthy, fascinating musical C.V., but I will confess I’m a fan of this band. The Cavern is overcrowded and tickets
have sold-out. What have you been missing from these Merseyside musicians?

Their formula Intro is a sing-along short chant; a child-like game of: ‘You Be France . . . I will be Amsterdam’ Legendary, succinct Mersey rock/folklore ensues’ ‘The Lament’ ‘take my soul, take my spirit, you’ll never understand it’ (lyric) rips the heart from this man and places it on his sleeve for all to hear.

Joe’s Kiss (from their first album: The Journey) is a tribute to Joe Strummer. Arm-in-Arm follows and is the track of the new album. I’m
swept away with the excellence of it all; the atmosphere is top-voltage and almost dicey. Ian bids the cheering and applause to a
gentle hush, to sing Hey Hilary. It?’ such a shame I had a mass of impolite, talking clientele situated behind. Interference to my super-sensitive hearing was improved by Firework from the PELE era (Ian’s previous band) ‘Get on the bus and light your own fireworks'(lyric) fantastic alliteration with a happy-holiday vibe from Kevin on
keyboard.

Love Phenomenon is about as ballad-like as the group get, and saw the
band through a slight breather with big assistance in the form of fan
participation, well done everyone! Next, another new song: Nothing’s Going Right’ no way, Amsterdam’ to quote your usual banter, ‘You’re havin a giraffe!? the violin solo was gigantic! Takin’ on the World
was tackled with aplomb and juxtaposed perfectly in set. ‘Does This Train Stop on Merseyside? It certainly rumbles underground sometimes, this is a reflective favourite of many Amsterdamsters. Home also makes me as emotional as a woman watching a weepy movie, but then, Amsterdam are a master of emotions, and flew through Raid the Palace next: a suitably anarchistic track, enjoyed by all.

The crowd behind babbled through; spoiling my attentiveness. (I wish
people would STFU sometimes. Honestly, tut-tut! Go to gigs to listen
to the music; not to shout over it about your dull lives. Grrr!) Glorious Day brought about some proper mosh-pit malarkey. Yeah, much
better!

The opening chant is repeated to close the session in sheer praise. Good on Amsterdam for ruling with the last words – Ian’s guitar is flung . . . and caught by him who is trusted. The fans call out for more music and banter, charm and smiles later You’re a Phony explodes energetic life back into the hall. Anna delivers more exquisite and lively violin for Your Name and Number with a lilting Irish temperament. Finally, Feels like Growing Up is dedicated with warmth to their fans.

Prowse, the front man, owns the front, back and upside-down of their
growing army of fans in his pockets of charm. A gig thoroughly gigged, thank you to Amsterdam, may all your tulips be perfect.

Glasswerk wishes you every success with your album, Arm in Arm.

Amsterdam are represented worldwide by [link]

IAN PROWSE vocals & guitar, JOHNNY BARLOW guitar, ANNA JENKINS violin
and vocals, PAUL HAGAN bass and KEVIN SPURGEON keyboards