Skip to main content

The Go! Team

Mansfield Traquair, Edinburgh
3 stars
When The Go! Team’s hyperactive chanteuse and cheerleader-in-chief Ninja uses a red feather boa as a skipping rope at the end of the band’s set, it’s a perfect Go! Team moment. The Brighton based troupe’s debut album, Thunder, Lightning, Strike was a hyperactive cut n’ paste sugar-rush of playground anthems acquired from Charlie Brown cartoons and low attention-span party tunes thrown into its kitchen-sink mix.

In the flesh, the band that began life in guitarist Ian Parton’s bedroom, where Thunder, Lightning, Strike, was recorded, look like they’ve stepped straight out of an estuary-styled version of Sesame Street. Multi-cultural, multi-instrumentalist and multi-tasking, the 6-piece are a retro sound-clash riot of 70s grooves and kindergarten show tunes.

It’s a fine climax to this Smirnoff sponsored evening of Electric Cabaret, a series of shows aiming to mix and match a live light entertainment experience with weekend clubbing. With the venue formerly known as CafĂ© Graffiti somewhat self-consciously kitted out with peacock-feathered showgirls and a stage dressed up with an ornate off-kilter picture frame, we’re treated to Hula-Hooping, a human beatbox, Can-Can girls, a lady who makes sparks fly with an angle-grinder and a man who steps into a giant balloon.

What’s missing here beyond novelty value is any sense of intimacy. Where Edinburgh’s own cabaret emporiums, from Silencio to the ACME Workers Club and the just-founded Neue Liebe club, understand that small is beautiful, the atmosphere here falls somewhere between a Fresher’s ball and the Edinburgh Fringe.

The Go! Team thrive on such a mish-mash, taking on the venue’s muddy acoustics to preview new material even more over-excited than the old stuff, and ideal music to skip to, feather boas at the ready.

The Herald, April 23rd 2007

ends

Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) 1. THE STONE ROSES    Don’t Stop ( Silvertone   ORE   1989) The trip didn’t quite start here for what sounds like Waterfall played backwards on The Stone Roses’ era-defining eponymous debut album, but it sounds

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h