The Bowery Presents

Terminal 5 upcoming shows

Florence And The Machine
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Let’s talk about magic. Because music, at its best, is a kind of magic that lifts you up and takes you somewhere else. “I want my music to sound like throwing yourself out of a tree, or off a tall building, or as if you’re being sucked down into the ocean and you can’t breathe,” says Florence Welch. “It’s something overwhelming and all-encompassing that fills you up, and you’re either going to explode with it, or you’re just going to disappear.”

Florence writes her best songs when she’s drunk or has a hangover, because that’s when the freedom, the feral music comes, creating itself wildly from the fragments gathered in her notebooks and in her head. “You’re lucid,” she explains, “but you’re not really there. You’re floating through your own thoughts, and you can pick out what you need. I like those weird connections in the universe. I feel that life’s like a consistent acid trip, those times when things keep coming back.”

Florence herself is a mass of contradictions: she’s tough yet she’s terrified, a bundle of nerves and passion, of darkness and pure joy. “I feel things quite intensely, which is why the music has to be so intense. I’m either really sad or really happy, I’m tired or completely manic. That’s when I’m at my most creative, but it’s also dangerous for me. I feel I could write some good songs, or break some hearts. Or tables. Or glasses.”

As a performer she can seem fearless, but she’s also far too quick to pass judgement on herself. This is the woman, after all who got into Camberwell art college by making a huge floral sign telling herself ‘You are a twat.’ She says she’s a geek, who loses all control when in love. She’s also something increasingly rare and precious in a time of karaoke pop: an artist who has found her own, authentic voice.

Her soaring, epic vocals, quirky melodies and self-contained musical world have already won her the 2009 Critics Choice Award at the Brits. Some compare her to Kate Bush. You’ll also find touches of Tom Waits and Nick Cave in her dark visions, and if you heard a little of Bjork too, she’d find it a compliment. But mainly, Florence is out on her own: an exhilarating place to be, she points out, but also a little scary.

Her debut album ‘Lungs’ is made of harps, choirs, drums, elevator shafts, bits of metal, love, death, fireworks, string quartets, stamping, sighing, strange electronic wailing, lambs, lions, sick, broken glass, blood, moon, stars, drink, coffins, teeth, water, wedding dresses.. and the silences in between. The songs are full of Gothic imagery, of fairytale flights of fantasy, and although much has been read into her lyrics, Florence says it’s usually simple. “Everything is about boys!” she laughs. “The whole album is about love – and pain. People see my lyrics as crazy, but to me it’s an honest, heartfelt album. I didn’t set out to be wacky. I just want it to be emotive.”

Florence grew up in Camberwell, south London, the oldest of three children. One of her earliest musical memories is standing on top of the trunk where her dad kept his vinyl collection, dancing with him to the Rolling Stones. She started singing along to Nina Simone and Dusty Springfield at home, expanded her vocal range with arias, then became a pre-teen skatepunk before getting lost in the Camberwell art college squat party scene. It’s an eclectic mix, but for her, the common thread is always the emotion. “Anything that has real feeling in it always excites me. Sam Cooke’s ‘A Change is Going To Come’, Eva Cassidy singing ‘Wade In The Water’, even Rhianna’s ‘Umbrella’ – I’m obsessed with music. I’ll play Beyonce, Lil Wayne, Bob Dylan’s ‘Hurricane’, Bruce Springsteen’s ‘Going Down’.

Florence found her own space by going out to clubs and pubs, by singing onstage and in her bedroom. By the time she left school, she’d already written songs like ‘Kiss With A Fist’, and knew she wanted to make music but not how to go about it. So after a year working behind a bar she went to art school, making tents under the desk to sleep off her hangovers while trying to convince her tutors she was an installation.

It wasn’t until she wrote the haunting ‘Between Two Lungs’ that it all came together. Instead of percussion, Florence pounded the studio walls with her hands. She built the melody on the piano even though it’s not an instrument she knows how to play, and recorded the backing vocals first, before writing the top line. It’s bonkers and totally unconventional, but of course it is also glorious – a strange but yearning song about losing yourself in love. “I’d found my voice, and I just felt euphoric,” she recalls. “It’s been a real process of me learning that the way I wanted to do it was actually the right way. This whole album has been about having faith in myself.”
Holy Hail
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Cat's a rapper from the dirty south who's sister sings in a "praise and worship" band, Kevin's got a one in a million cat's eye and has never been on the Internet, Michally's a preacher's daughter and Matt's a Puerto Rican Jew. Together, with Michally's driving basslines, Matt's crisp backbeats and the rapid fire co-ed vocal duo of Cat and Kevin, Holy Hail draws on the honky tonk and the old school, Southern gothic and Westward expansion. They bring politically charged lyrics to the party, leading unsuspecting audiences to dance to the unlikely pairing of quirky dance-rock and observations on both the promise of America and its sprawling dark side. Holy Hail reflects a wide range of influences: The Fall, New Order, X, Tom Tom Club, The Gossip, The Band, and Fleetwood Mac. In 2006, the band toured with the Rapture, Reverend and the Makers and the Presets. They also went into the Rare Book Room sutdio with Nicolas Verhnes (Fischerspooner, Fiery Furnaces, Les Savy Fav) and recorded a 10-song demo, Pointed Rifles to the Sky. The session spawned the European-DJ favorite "County Fair (Part Two)," released as a single in the UK on Playlouder/ Beggars in October 2006. For 2007, we've got the single Big Guns coming out on vinyl and digital release. Stay tuned for more.
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