The official start of festival season, the long awaited return of vaguely nice weather and a whole lot of summer infused music. No doubt, it's gonna be May. (Insert everyone's favourite N*Sync meme)

ALBUMS & EPs

THE big album this month is very obviously and very unsurprisingly Paramore's fifth full length, After Laughter. Before we start this journey, I suggest you forget everything you thought you knew about the Nashville trio - they don't sound a thing like they used to. The new and improved Paramore has eighties influences all over the place - the intro to Hard Times is reminiscent to Wham!'s Club Tropicana (sue me) and there are hints of Cyndi Lauper in sound and, sometimes, in the way frontwoman extraordinaire Hayley Williams uses her voice. After Laughter is a million miles away from the pop-punk/alt-rock sound they were known for, if you make an exception for No Friend, which is extremely different from the rest of the album, sort of works as an outro for Idle Worship and confuses me a lot with all the Paramore references. (I have seen a lot of theories about what the songs are about and not one on No Friend, which leaves me even more puzzled). When you hear the first three songs, you feel like you're in a pop dream, because Hard Times into Rose-Colored Boy and its cheerleader chants into Told You So IS a pop dream, and you will think this is an upbeat album. And it is an upbeat album until you listen to the lyrics closely. The pop dream is a deceitful one. After Laughter is an extremely honest album and largely deals with Hayley Williams' depression and the tough times she went through, and sooner rather than later, you realise that the upbeat and colourful exterior is a mask to disguise deeper, darker lyrics. 

After Laughter is, overall, a very good album. The transition from alt-rock to a poppier sound Paramore had started with their self-titled record is now complete, and it's been done in such a graceful, natural way that it feels right to hear the band who once made Riot! sound the way they do in After Laughter. The songwriting is absolutely fantastic, it's relatable without being cliché, it's imaginative and vibrant, and some songs (namely Caught in the Middle) hit home a little bit too hard to my liking. 

Still, despite all its qualities and despite the fact I could see myself dancing around to its songs, I feel like After Laughter is going to be a grower. It's too new, too recent for it to have a place in my life yet, it's too fresh for me to tell the world if I love it or not. I think I can just appreciate its objective qualities, for now. (I think that's the trouble when you love a band as much as I have loved Paramore at one point).


Linkin Park's frontman Chester Bennington has made the news recently as he told pretty much the entire planet to "move the fuck on" from the band's début album Hybrid Theory. What the Americans are offering us to make the move forward is their seventh full length, One More Light. I'm okay with them not releasing another nu-metal album - I have understood that the year wasn't 2001 anymore, and if they had released Hybrid Theory seven times in a row, I would probably be bored out of my skull. Yet, I'm still not entirely on board with the new album. Some of it is really good - I liked the first single, Heavy, as I felt it showcased Bennington's unique voice really nicely. Battle Symphony is a beautiful song and almost brought me to tears. I don't mind the rapping at all, I've always liked in in their music. But I can't help feeling the final result is blander than it should be. It could be such a good album, but it falls short in too many places. (Don't get me started on the chipmunk type voices here and there, I don't want them to be trendy anymore)

I am aware that Courage My Love's Synesthesia has been released in February, but I only stumbled upon that band recently, and its been released in Europe in May, so we'll pretend it's totally acceptable that I am three months late. If you're into a nice little mix of electro-pop and pop-rock, with beautiful vocals (courtesy of twin sisters Mercedes and Phoenix Arn-Horn) today is your lucky day - Courage My Love excel at that. With Synesthesia, you get forty minutes of extremely catchy songs, songs that clearly have the potential to make this band bigger than it is at the moment. Some tracks, such as Love Hurts, Need Someone or The Year I Disappeared, even have something anthemic about them. The lyrics deal with toxic relationships and the influence of mental health issues in dealing with other people, they're very honest without being cliché, and they're written in a way that can appeal to just about everyone. There is something quite liberating and exhilarating about that band's music. More than being catchy and almost anthemic, their songs make you feel like the painful times and the confusion are lifting off.


I have only started listening to Tigers Jaw this year (I know, it was long overdue), and I have one very, very important question : where has this band been my whole life? I have just listened to spin for the very first time, and it is a beautiful treasure, the loveliest indie-rock record, tinted with emo here and there, especially when the lyrics start dealing with the perception of oneself and how to deal with pain. The first word that came to mind when opener Follows kicked in was dreamy - everything in this album is a dream. The mixture between Ben Walsh's and Brianna Collins' vocals is beautiful and adds to the loveliness spin oozes, as both voices are delicate and delightful. The stand out track of the record, for me, is June - it's just gorgeous, positive and oh so satisfyingly catchy. If my life was a movie, I would like spin to be the soundtrack to my moments of chosen solitude - and considering how much I love and value them, I think you'd understand that it is a compliment of the highest form.


Two years after the beautiful Skydancer, In Hearts Wake are back with the, well, at least equally as beautiful Ark. The album is opened by a self-titled intro full of seagulls and wave sounds, and it's the calm before the storm - because Ark is a stunning metalcore storm waiting to happen. There's always been something about the metalcore scene in Australia (Parkway Drive, The Amity Affliction, Northlane ringing any bells to you) and, thanks to their fourth full-length, In Hearts Wake are showing, if this was necessary, that they are a force to be reckoned with. Ark is wonderful because it's not a heavy record just for the sake of being heavy. Its heaviness has a purpose and it's meant to be hard-hitting ; I don't think it's a coincidence that the heaviest songs on the record are the most politically charged ones (Passage, Warcry). As always, the Australian outfit are here to remind the world we need to take care of this planet we're lucky enough to call home, thanks to their lyrics, obviously, but also thanks to the promoting campaign that surrounded the lyrics of the album. Indeed, instead of doing regular record store signings, the band has organised meet ups in the form of cleaning beaches all around Australia. (I'm honestly so up for more bands doing that in the future, let's all save the world and listen to metalcore together). While listening to Ark and while appreciating the environmental message behind many of the songs, I had a feeling all the mentions of the sea, the ocean, the coast and the Earth were a metaphor for something less literal and more personal. The stunning Frequency felt like it was about a relationship that doesn't quite work out, when Flow, a personal favourite, seems to be an uplifting track with motivational lyrics ("Move into the flow, let it all go, shed the dead weight of your shadow, be the light that you've always known"). If you've always been on board with In Hearts Wake's work, you won't be disappointed by Ark - it is a beautiful work of art, a politically engaged, yet positive record, it has great melodies and Jake Taylor's and Kyle Erich's vocals are out of this world. The band has just announced a European tour for October and I, for one, can't wait to hear how this album sounds on a stage. (Is it too early to request Flow or?)


After making a name for themselves through relentless touring (notably with the likes of Jimmy Eat World and You Me At Six), The Amazons are releasing their self-titled début album. Let me tell you, that record is indie-rock banger after indie-rock banger finished off with Palace as the heartbreaking cherry on the cake. My question is, now, could The Amazons be a breath of fresh air in a UK rock scene who is begging for it? Could they blow up the way bands like Kings of Leon or The Kooks did back in the day? Could they get themselves that legendary status? I say why the hell not - I mean, their album is already a top ten ordeal, and they're booked on every single festival you can think of. Seems plausible. Music wise, they definitely have everything in their power to get there. Their record is a collection of incredible indie-rock riffs (don't dare telling me Black Magic's intro isn't one of the best pop-rock tracks we've heard in a while), and their sound comfortably navigates from straight up rock to heavier things (In My Mind), and even has emo influences dotted here and there (Junk Food Forever). I'm now eager to see what the Amazons' next move is going to be, and as long as it includes anything as excellent as this record, I'll be along for the ride.

Mallory Knox have released the Unwired EP, a selection of songs extracted from their excellent third album Wired, but played acoustically. There's not much I can say apart from the fact that I really, really do love a bit of acoustic, and Mallory Knox do it really well.


PS : Check out Gnarwolves. You know you want to.

MY FAVOURITE ARTIST 

My favourite new artist this month is New Jersey's Best Ex, formerly known as Candy Hearts. Earlier this month, the extremely talented Mariel Loveland has announced the name change and released a new track called Girlfriend, an extremely catchy pop song that has managed to stay stuck in my head for hours on end, and that was tailor made for Loveland's delicate voice. I adore Girlfriend and am now eagerly waiting for new Best Ex material, I am delighted to know that Candy Hearts songs will still be played live, I am hoping for European shows of some sort and I think I've come to the conclusion that as long as Mariel Loveland keeps making music, everything will be alright.
(Listen to Girlfriend here)

THE PLAYLIST

• This month, we found out Chris Cornell, singer for Soundgarden and Audioslave, had passed away aged 52, and I just wanted to add an Audioslave song to this, one of my favourite songs in the world.
• Mallory Knox have covered Coldplay's classic song Yellow as part of the Torch Songs campaign, in support of the mental health charity CALM. What they have to say about it is also really cool (not to mention that the cover is just lovely). Since we're on the subject of Mallory Knox, they have also released a music video for their new single California.
• And yet another song for State Champs - Hurry Up and Wait has mad The Finer Things vibes and is part of the deluxe edition of their sophomore record Around the World and Back. Speaking of deluxe editions, the new and improved version of blink-182's California is there, and new track Wildfire is there to channel the band's Enema of the State era.
• I think we can all safely say that this month, Don Broco have become kings of creating buzz around a new project. Their offer to watch bass player Tom Doyle's wedding in Las Vegas turned out to be a gory music video for new single Pretty. Have Don Broco ever released a bad song? Absolutely never. Catch me in the pit at Slam Dunk and Alexandra Palace.
• Only a tiny month left before we get to hear Broadside's new record, Paradise. They have recently released two new songs off it : one called Hidden Colors and the album's title track, Paradise, and they might just be this month's feel good tracks. I love the fact that they aren't afraid of putting actual pop elements in their pop-punk sound, and both songs are yet another proof of this. Both tracks also come with super colourful and joyous music videos complete with frontman Oliver Baxxter's killer dance moves - what's there not to love.
• Lots of things happening in the Milk Teeth camp! The band has signed to Roadrunner Records, is going on tour in July with Wallflower and Employed to Serve, and will be releasing a new EP, Be Nice, on the 28th of July. Owning Your Okayness is the first single from it, and it's excellent (like everything else Milk Teeth ever do)
• PVRIS ARE BACK! The American trio has announced their new album, All We Know of Heaven, All We Need of Hell, out on August 4th, and there's a single called Heaven to keep us waiting. Great stuff? Great stuff.
• Tonight Alive's Jenna McDougall features on Australian rapper Illy's new single Oh My, and what can I say? I might just be on board with everything this woman does.
• At this point in time, no one really knows what the future holds for American pop band The Summer Set, which makes me deeply unhappy. Frontman Brian Dales, though, has released his first solo song this month. It's called Young for the Summer and it really, really reminds me of Bryan Adams' classic Summer of '69.
• This month was an endless game of Spot the Cha in live music videos, and I'm happy to say I made it in two of them ! I look very fascinated by Simon Neil in Biffy Clyro's Friends and Enemies (2:54), and I look utterly confused in Empire of Silence by While She Sleeps (1:58). Other live moments that do not feature my face include Take on the World by You Me At Six, recorded at their Alexandra Palace headliner and Come and Get It by I Prevail. If you need your heart broken (who doesn't), The Maine are here for you with this version of Raining in Paris, recorded during the Lovely Little Lonely tour.
• In other music videos you might have missed : Kevin Devine releases a powerful music video for the excellent Daydrunk, Greywind retrace their first year as a band in Safe Haven, Plum Island shows you life on the road with Waterparks and Courage My Love get emotional in Need Someone. Finally, because there is no such thing as too much The Winter Passing, have a look at the lovely video for Significance, maybe. 
• Neck Deep have announced a third record for August 18th. Entitled The Peace and the Panic, it includes absolute bangers Where Do We Go When We Go and Happy Judgement Day (which includes a key change, my dudes, A KEY CHANGE), and will feature Architects' Sam Carter. Someone hold me.

Two hours before the gig, I was in my living room, pale as a sheet, coughing my lungs out, stuffing my face with ibuprofene, almost passing out. My brother, looking concerned, asked me if I was sure that I wanted to go. Reasonably, I should have stayed in bed.

Apparently I'm not one for being reasonable. (Now that's what I call edgy)

When we get into La Cigale, first thing we notice is the seats on the sides, that weren't here the last time I visited. Venues get refurbs and no one tells me now? Are you really my friends? Second thing is how empty the building is. Apart from the one day with the unfortunate schedule change at Yellowcard, a couple of years ago, I've never seen La Cigale so empty and it doesn't bode well for the rest of the evening. Third thing is that local act The Earl Grey is already on stage at ten past seven when doors were supposed to be at seven.

The mass of photographers working in the (massive) pit tells me that it's still early in the Frenchies' performance, so I can sit back, relax and enjoy the rest of the ride. As I have probably said before and as anyone who's been involved in this scene long enough will tell you, The Earl Grey have a history of supporting pretty much every band that has played our town. They are a staple band, they are part of our history, they are part of who we are. What I seem to appreciate, recently, is how good they have become, how solid their stage presence is. Their dynamic, energetic pop rock goes down a treat and everyone on the floor bounces up and down when invited by frontman Alex Ragon, happily cheering and celebrating their local scene. 

As Ragon thanks the band's girlfriends, friends and the local photographers, I shed a little tear hearing my friends' names being rightfully glorified and I realise one thing. Just like Chunk! No, Captain Chunk!, extortionate pints and the sheer absence of air conditioning, The Earl Grey are home.

Second up are Reading based The Amazons. When I saw them in November, supporting Jimmy Eat World in the absolutely stunning Troxy, in London, they were still completely unknown. It's only been five months and now, they are starting to make waves. Their self-titled début album is among the most awaited releases of 2017, they are being played on daytime radio (at least across the Channel) and next summer, they will be playing the likes of Glastonbury, Latitude and Reading & Leeds. Not too shabby.

Their task tonight is to carry on the good work The Earl Grey have done and get the crowd ready for their headliners. Tough task? Not really, if I'm honest. Who could resist a boogie to such catchy tunes? Their indie-rock sound is infectious and gets inside of your brain easily - just thinking about them is enough to send the riff to Black Magic spiralling in my mind ad vitam aeternam. In La Cigale, heads are bobbing and feet are tapping on the trampoline-like wooden floor, people are dancing and jumping up and down and, considering the line of people buying merch and queuing to meet the English, it's safe to say the evening was an absolute success for The Amazons. 

Frontman Matt Thomson excitedly tells us he used to be in the crowd for You Me At Six shows, crowdsurfing and moshing back in the day, and that for the band, it's an honour playing with them in Europe.

I'd say it was an honour and a delight for us having them play.

Once I am done choking on my own breath to twenty one pilots' mega hit Stressed Out, You Me At Six take the stage of La Cigale to the title track of their most recent album, Night People. The room may not be packed and the balcony may be closed, but the crowd that has decided to spend their Friday night rocking it out with one of Britain's biggest bands is a loud one.  Old songs, new songs, everything is echoed with enthusiasm and France proves that you do not need to be a lot to make yourself heard. 

From the get go, it's easy to tell the evening is a special one, and the explanation why is given to us by frontman Josh Franceschi just before the last song : "We thought tonight was going to be shit, but this is probably the best show of the tour". 
We thought tonight was going to be shit.

I can't blame them for thinking so, I didn't have high expectations myself.

Not because of the band, Christ no.

Just because we all knew the venue was far from being sold out.

The past few times I have seen You Me At Six live, I was far away from the stage and couldn't see properly but this time, I have one of the best views in the house, I have a full view of the stage (and the band has a full view of my terrible dance moves, sorry pals) and I can see how much the five guys my age I used to adore seven years ago have grown. 

When you were a You Me At Six fan back in 2009-2010, they were all about poppy love songs and inside jokes that were iconic for the fanbase ("what's butter?", anyone?). It was a very youthful thing, a bubble of fun and happiness. They were the poster boys of the late noughties UK rock scene and we all had that red HMV poster up in our bedrooms.

It's been seven years, now, and water has gone under the bridge. My love for You Me At Six has quietened down. It's still there, and one should never be fooled when I pretend I don't care - I love these five more than many things in this world. But it's quieter, the jokes are memories and the poster is rolled up, a souvenir of times past. I don't really obsess over bands anymore, not like that. Instead, I watch them grow and I claim, a tear in my eye, that I am proud of my boys.

Last Friday night, I saw the five guys I used to adore seven, eight years ago, the ones whose faces were everywhere in my pink and orange bedroom, the ones whose interviews I could quote by heart and whose lyrics I wrote all over my notebooks. They have grown up, just like me. They have become a brilliant rock band and I am infinitely proud of them and what they have accomplished.

They are ambitious, You Me At Six, now. Just listening once to 2017's Night People shows it. They want to become a big rock band. 

And they have everything in their power to do it. Their musicianship has become truly brilliant, their sound is neat and of high quality. Franceschi's voice is now as great live as it is on record. They are a band tailor made for the stage, who make it look easy. The awkwardness of their first tours is long gone. The English are confident and ambitious, they have attitude and they have style. They know what they are doing and they are doing it well. I've never heard them sound that good before, that neat, that solid.

Josh Franceschi now knows how to speak on stage, he's grown much more confident as a frontman and a speaker. His speech about how much he loves France and its people, how attached he is to our country (he is part French, as he reminds us) and the Bataclan attacks is welcome by a loud round of applause and tears from the girl in the grey t-shirt and burgundy skirt on the left side of the room.

Their setlists are now longer, and they can go the distance, as easy as one, two, three. They cover all albums except 2008's Take Off Your Colours, which is no surprise, if you know a little bit about them. Hearing anything off it live has become a rarity, and I should probably bury my dream of hearing The Liar and the Lighter live, now. 

Everything else is being played, though. One-off The Swarm, released in 2012 for a ride in Thorpe Park, is a song I often forget about when I think of You Me At Six setlists, and everytime they start playing it, it hits me and my brain goes "Oh, now that's a tune!". Oldies Underdog and Stay With Me are echoed by an enthusiastic crowd, alongside 2011's Bite My Tongue, No One Does It Better, Loverboy or Reckless. Cold Night, the Ballad with a capital B from 2013's Cavalier Youth, sees a wonderful singalong in the audience and is the number one proof that Friday didn't need a packed venue to be loud. 

The main reason You Me At Six are touring, though, is to promote their newest record, Night People, released in January. It's only been three months, mind you. You'd feel like it's been ten years. I didn't know what to expect from the crowd on those tracks and I now know the fans have made it their own and know every word. The stunning Spell It Out is a lovely moment, Swear gets people moving and timidly moshing and Give breaks hearts all over the place. (It's totally becoming one of my favourite You Me At Six songs)

The evening that wasn't meant to be a success has become a triumph and I am in tears of joy as the band leaves the stage, Franceschi carrying a French flag ornated with the Night People logo and a big smile on his face. 

Don't ever let me fool you. 

I love You Me At Six more than the world.

Two things, though : 

a) There are way too many gigs that are being put up and then abandoned by their promoters, these days (the Wonder Years disaster at La Maroquinerie was one, With Confidence at the Espace B was another). How do we make this stop? 

b) Early on during the gig, a girl crowdsurfed and ended up on someone's shoulders towards the front, and if it hadn't been for Josh Franceschi getting a security guy to actually do his job, she could have severely injured herself. The second time someone crowdsurfed, they were pushed back into the crowd, which is extremely dangerous. Overall, security didn't have a full grasp of what they were actually meant to do and it's not the first time this happened in this venue - a memory of Architects' frontman Sam Carter calling out security because they were too rough and almost violent towards crowdsurfers springs to mind. It's about time someone cleans up their act, maybe? It's not the bands' job to instruct security on how to treat gig goers. 

The thought that in the space of, roughly, two months, my all-time favourite band played London four times and I was lucky enough to attend every single one of these shows is one of the best things that happened in 2016. I didn't even think a new album would come out this year. Four shows? It's even better than my birthday and Christmas rolled into one.