The Stage

International Management and Agency Showcase

Published Thursday 26 November 2009 at 12:40 by Mike Martin

Compere Bernard Lewis had a tough session ahead of him. Daytime showcases are always a bit more difficult to get rolling, but Lewis did an admirable job throughout a long day. He is not a comedian, but his amiable, informative style set the scene and kept the continuity in check.

Heavy music at 11.30am in the morning is not everybody’s idea of a wake-up call, but the five-piece, all-male pop/rock band Tytania took to the stage with gusto, grabbing the attention of what was, at that time, a sparse audience. Musically tight, they wallow in the customary image of glum faces (which is supposed to look cool, of course), except for the singer, who is a bit of a showman. He looks very young but has a potentially powerful voice which is, at present, undisciplined and he often fails to hit the right notes. The key changes on the Status Quo number were effective and their Queen mega-mix worked well.

The New Retros have a good look - black hussar-style jackets a la Adam Ant and an energetic frontwoman who emulates Debbie Harry. Performing stormers like Nutbush City Limits and Walking on Sunshine, plus underlining a Blondie tribute which is a big part of their show, they are watchable and entertaining.

In contrast, the quintet Evoke did not appear to be remotely interested in their stage appearance, certainly costume-wise anyway. In fact, they looked as if they were dressed for a trip to the shops, but they have a strong, vibrant, modern sound. With two lead singers, one of whom moves onto keyboards, and between songs patter which is chirpily bright, they cruise through contemporary material by the likes of Kings of Leon.

A welcome rest from the driving band sounds appeared as Harlem Nights, three immaculately dressed guys whose nicely balanced and precise harmonies were a perfect complement to soul and Motown. Working to backing tracks, all three share the lead vocals with equal ability, enchanting the room with classics such as Burning Love and Love Train.

Topping the morning session came a truly excellent seven-piece band, Soul Steppers. I was genuinely impressed by this funky combo - first-class musicians with great feel who evoke the finest elements of the seventies. They look the part too, with Afro wigs, paisley shirts and flares. Out front, singer Shamaine Pierre has just the right voice for this kind of material, complemented by a spot-on image and authentic moves. Superstition, I Will Survive, Celebration - it is all there, presented with laid-back enthusiasm. Entertaining and musically supreme.

Following a most pleasant lunch, supplied kindly by Norman Thewlis, the afternoon session opened with another septet - Soul Funksters. It was probably just as well that we had taken a break, because this group had a hard act to follow, but they are a straightforward, no nonsense function band who deliver the goods without setting the world on fire. The lead singer goes through the motions and shuffles about a bit, but I found his rushed and garbled patter a little hard on the ear. Their repertoire includes material like Ladies Night and Curtis Mayfield’s Move On Up.

The Feds are another five-piece - male keyboard, guitar and drums and female vocalist, and also a girl bassist, who has a particularly fine touch on her instrument. Seguing through a string of numbers such as Play that Funky Music and Amy Winehouse’s Valerie, they keep things moving and look like they are enjoying themselves, even including a nod to the distant past with a lively Stuck in the Middle with You. The lead singer shone during I Want You Back, gyrating and lighting up the stage with her pretty smile.

Fronted by a genuine New Orleans-bred diva who really knows how to put across soul and Motown flavoured material was the Phinesta Taylor Band. Backed tastefully by a highly competent bunch of musos - except for when her vocals were partially drowned by some invasive keyboard effects on her second number - Taylor positively revels in the joys of Dancing in the Street and Everything’s Gonna Be Alright.

A standard line-up of musicians back singer Suzanne as she fronts the band Stak It Up. Suzanne herself is obviously an experienced performer, but I wondered why she felt it necessary to prowl the stage with her head down and face as long as a gas man’s mac. However, she possesses a deep, resonant vocal ability which really cuts the mustard and she livened up somewhat during Queen’s Don’t Stop me Now.

Girls B Loud are, surprise, surprise, a tribute toÉ guess who? Working to tracks which gave them some technical trouble, they prance about and remove white smocks to reveal more flattering attire, but their choreography is unremarkable with not a single notable voice between them. In fact, the vocals were often amiss. They are easy on the eye for a while, but interest soon flags. This was emphasized to me when I spotted an entire table of macho-looking men talking to each other and not watching the stage. Frankly, I have seen better school productions.

Trio Skin Tight livened up the proceedings again. Backed by a pair of male guitarists, the girl at the helm of this act had a better voice, plus more charisma and sex appeal, than the whole previous turn put together. Striking looking, she plays a mean saxophone too, which she used effectively on Baker Street. Versatile and real value for money.

I doubt that the surviving members of Queen would be very flattered by A Night at the Opera, which is - apparently - a tribute to their legendary talent. Visually, they look like they are about to break into comedy at any moment, but alas, they don’t. Musically they are passably authentic but the lead singer is no Freddie Mercury, although he goes for it with considerable energy. Unfortunately, he sounds like he is singing through some kind of filter and is alternately sharp and flat in many places. Not great.

Somewhat better as a tribute is Man in the Mirror, which pays homage to the late and genuinely great Michael Jackson. Supported by three fine musicians, Amir Sharma plays Jackson with obvious affection. The vocal style and moves are pretty good - no doubt the product of close study of the subject. Although not a patch on MJ himself, Sharma is a fine mover, but is too stocky in build to be totally convincing. However, he works the room well and gives his all to favourites like Thriller and Billie Jean.

Finally, we had a return visit from the five girls who had appeared earlier as Girls B Loud. This time they were the Ultimate Saturdays, another tribute to another girly group, although it may be difficult to distinguish between the two. Different dresses, but, if anything, the vocals were even weaker this time. Sorry, but this showed no discernible talent. I Just Can’t Get Enough, they sang - but I, for one, had had too much, thank you.

It was a long day, with a great deal of musical talent on show. There were odd moments of originality, but it left me thinking that the world is full of fine musicians, while true entertainers are considerably harder to find.

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