All Time Low @ Southampton Guildhall, 02/02/12

Three courses of pure pop punk goodness are due to be served up at Southampton Guildhall this evening. Fans have been salivating at the doors of the venue since 10am, wrapped in duvets to protect themselves from sub-zero temperatures. As they pile inside, the hysteria mounts, with high pitched screams rippling through the building every time a roadie appears on stage.

Tonight’s starter comes in the form Poughkeepsie quintet  We Are The In Crowd. Their old school Fall Out Boy-esque sound , although lacking in much originality, perfectly whets the appetite of the eager crowd. It would be easy to compare leading lady Tay Jardine to a certain Paramore frontwoman, but truth is, the similarities are uncanny, with the two sharing an almost identical vocal style and image. However, something is missing. Tay lacks the stage presence and certain je ne sais quoi of Williams. At times she is almost inaudible as she squeaks into the microphone.

The Maine are unfortunately tonight’s main course. They  serve up a bland and over-cooked performance, choosing to mainly play their newer middle-of-the- road material. They drag on for a dull 45 minutes and, at times, it feels as if no one has told them they aren’t actually headlining this evening.

Eventually it’s time for everyone’s favourite course, dessert. All Time Low are met by a shower of bras as they take to the stage. They deliver their famous sugary sweet pop punk with a hard to ignore swagger, spooning on all their big hits such as ‘Timebomb’ and ‘I Feel Like Dancin’’. However, like most desserts, it’s all over too quickly, as frontman Alex Gaskarth announces that they will have to cut the set short. It was clear right from the start that Alex was struggling with his voice and his distress is heart breaking to watch. Jack Barakat, with a cheesy grin that could rival Elmo, does his best to boost moral, covering for his bandmate’s lack of stage banter. But Alex is determined not to disappoint and does his best to get through a solo performance of ‘Remember Sunday’, leaving the stage with fans adoringly chanting his name. Although 20 minutes early, their encore makes up for their short set, with a trio of classics; ‘Weightless’, ‘Lost In Stereo’ and ‘Dear Maria’. It may have only been a fleeting visit but All Time Low don’t depart without leaving a tip for the fans, as they announce they will be returning to the UK next summer. So get ready to book your table for what is sure to be a big festival appearance. 

Panic! At The Disco @ Southampton Guildhall, 01/02/12

A sold out Southampton Guildhall stands to attention when Australian four-piece Me burst on stage with a ginormous dramatic opening number of chants and fist pumping. However, it soon become clear that that their gigantic sound is mainly down to the over-use of echoing vocal sound effects and over-hyped guitar solos. It’s shame as lead singer Luke Ferris clearly has an interesting and powerful voice – think Brain Molko from Placebo – but it begins to feel gimmicky as over-production takes hold. The bands emo image, complete with imitation My Chemical Romance Black Parade jackets, also feels a little ‘done to death in the early 2000s’.

The real fun soon begins when Panic! At The Disco take to the stage, which is decorated in the style of a mad scientist’s workshop. Uplifting opener ‘Ready To Go’ is bouncier than Tigger on a trampoline and early tracks 'I Write Sins…' and 'The Only Difference…' seem to be given a new lease of life alongside the new material. There is a nice mixture of tracks from the first and latest album in tonight’s set, although very little from the more folky second album ‘Pretty. Odd.’ – perhaps due to its disappointing critical reception. However ‘Nine In The Afternoon’ and ‘That Green Gentleman’ do make an appearance and the crowd seem more than happy to sing along. The supurb and underrated ‘New Perspective’ – written for the soundtrack of lesbian vampire flick Jennifer’s Body - is also given an airing by the Las Vegas rockers. Brendon Urie proves himself to be a fantastic showman, with back flips off the drum riser and bizarre monologues between songs, some of which become a little cringeworthy. For example, there is evident shuffling of feet and embarrassed faces when Urie announces that ‘Lying Is The Most Fun…’ is about "fucking people you don’t know" to a crowd consisting predominantly of young teenagers supervised by their parents.

The most bizarre thing about tonight’s set though, is Brendon’s high-pitched metal screams which he throws in at various points during the night. At first they seem to be the frontman’s way of showing off his already incredible voice, however it is soon revealed that this is a warm up for their impressive cover of The Darkness’ ‘I Believe in a Thing Called Love’. Closing the set with the huge choruses of ‘Nearly Witches’, Panic! At The Disco have succeeded in providing tonight’s crowd with a good ol’ fashioned and unashamed bit of fun. 

The Darkness @ Southampton Guildhall, 17/11/11

Roll up, roll up The Darkness are in town, ready to deliver a deliciously camp and crazy spectacle. But before the main event, the members of Foxy Shazam treat the stage like a climbing frame, storming through their bizarre camp rock. Lead singer, and Noel Fielding lookalike, Eric Sean Nally behaves like he’s polished off all the pick ’n’ mix in Wilkinsons, pausing only to reel off his trippy monologues. Their exuberant, honest tracks, peppered with a few kooky Kate Bush moments, leave the crowd in a confused yet impressed silence.

The Darkness soon appear after a very dull and drawn out intro song. To the disappointment of some, frontman Justin Hawkins has opted for a rather conservative waistcoat as opposed to his usual second skin catsuit. But never fear, a costume change later on soon sees to that. Tonight’s set is peppered with a few new tracks from next year’s new release, but they noticeably fall a little flat on tonight’s crowd. It’s hard to beat the classics, with ‘Get Your Hands Of My Woman’ and ‘Love Is Only A Feeling’ leaving everyone grinning like the Cheshire cat.

The Darkness are clearly used to gracing larger stages as their impressive pyrotechnics leave the Guildhall struggling to cope with the smoke, but once it clears they give us all a festive treat. Their 2003 Christmas number one, accompanied by a snow machine, is enough to leave even the scrooge’s amongst the crowd with a warm fuzzy feeling. Justin, with his new candy cane/Dr Zeus inspired catsuit and voice that only dogs can hear, is clearly the bands greatest asset, delivering great banter with the crowd and commanding the stage like a circus ringmaster. Nevertheless, supurb guitar solos from his brother Dan are not to be ignored, in fact the whole band are gelling well together again. Looking at tonight’s expansive crowd of young and old it is clear that The Darkness are not one hit wonders, now they just need to prove they can still churn out hits. 

Interview: You Me At Six

You Me At Six frontman Josh Franceschi talks about the struggles the band faced with their new album and his brutally honest view of the music industry and fellow artists…

Sinners Never Sleep got to number three in the album charts, are you secretly a little bit bitter that Adele and James Morrison beat you?

Not really because ultimately we had the midweek number one which, within the industry, is the one that everyone looks at. Literally our manager was getting phone calls and emails from everyone saying ‘who are You Me At Six and why are they ahead of James Morrison and Adele?’ So that was really cool and what I really liked was Zane Lowe at Radio 1 and Kerrang! Radio and everyone from the rock world was really getting behind it and saying ‘lets keep a British rock band up there in the charts’. And to be honest, had we come behind someone like Ke$ha or some other pop shit, then we’d have been beaten to the post by nothing special at all. But you’re talking about two world class household names, James Morrison and Adele. If you’re gonna lose out to anyone it’s got to be someone of that stature.

You went to LA to record the new album with Garth Richardson, how was that experience?

We recorded at Sunset Sound and the Sound Factory as well. It’s a very weird experience living in LA. We lived there for just over two and a half months and we all got apartments. It was really cool because although we made a few friends we quickly discovered that LA is the kind of place where everybody wants to be famous. And so as soon as a few people found out that we were in a band, we had people who would just show up at our apartments, that we’d met once at a bar, and be like (in a bad American accent) ‘lets hang out and go get coffee!’. And I was just like ‘look I don’t really like you mate, fuck off’. But what was cool was that we just spent a lot of time with each other so in terms of our band regrouping and enjoying each others company that was really cool. 

You then got John Mitchell & Matt O’Grady to finish off the record, what sparked that decision?

It’s very hard to get a good connection with somebody, especially when you’re recording, and we’ve had that connection and vibe with them for the last four years.  We were excited to work with Garth Richardson but there was a part of me that was like ‘I don’t know if I want to, I think I want to keep working with Matt and John’. When we got back from America and sat with the album for a few days we were like ‘this is shit’. They don’t get it, they don’t get what we’re trying to do. So I called up John, when both of their studios were fully booked with bands, and I was like ‘look, you know I wouldn’t ask this of you if I didn’t think it was absolutely necessary to salvage our album’. I’m not happy that we dicked over other bands, but they told all of them that we needed two weeks to do our thing and they dropped everything. And when you’ve got someone that cares about you that much, it really shows in their work. We also learnt a few things because we sat with them and did it. They’re both some of the most talented people I know, they’re like the sixth and seventh members of You Me At Six. So I think we learnt our lesson and next time we’re just going to go to America or somewhere but record it with them because it’s just such a better vibe. But that’s not me shit-talking Garth, because Garth is a legend…but he’s no Matt O’Grady.

Oli Sykes (from Bring Me The Horizon) and Winston McCall (from Parkway Drive) feature on the album, how did that come about?

A lot of our friends are in hardcore bands. I don’t really connect with people in some of the softer, poppier bands, especially American bands because they’re all just fake, horrible people. All they care about is what they can get out of you. The first year we did Warped Tour, literally every day there was somebody with their head up our arse just trying to get on our UK tour. But then you’ll meet a band like Parkway Drive who are like the Australian version of us and again, it’s the same with Matt and John, it’s the same with all of our friends, when you meet people it shouldn’t matter from what walk of life they are. And I’ve always wanted to do something with Oli because I did ‘Fuck’ on their album and he’s always said he really want to return the favour. Then when we wrote ‘Bite My Tongue’ and the middle eight needed something that was going to make everyone realise just how pissed off this song is meant to be. Oli was in LA at the time and so he came down to the studio. And then with Winston, we had the song called ‘Time Is Money’ and at first the middle eight was completely different but it was shit. It sucked big time. He was on tour in England at the time so I did some guide vocals for him and he went from Cardiff to John Mitchell’s house in Reading for an hour, recorded it and then went back to Cardiff and literally as he arrived back at the venue went straight on stage. I don’t know many people that we’ve met in our career or any sugary pop American band that would have dropped everything to come and help out their mates. I think we’ve got quite a few similar fans as well. 

A lot of people have been saying that your new album is more mature and a lot more honest. Do you think that’s true?

I think that’s what we wanted to do. We got to a point at the end of the Hold Me Down cycle, where I wanted to end it with ‘Fireworks’ as a single because I think that could have taken our band to a slightly different audience. But our label were adamant that we had to at least try and do this collaboration with Chiddy Band. I don’t necessarily regret it because Chiddy is a good dude and actually I think ‘Rescue Me’ is a cool song that got us some attention from different worlds that we probably wouldn’t have been involved in otherwise. But I think a lot of people saw through what we were trying to do with ‘Rescue Me’. At that moment in time the charts were full of singers and rappers collaborating. So then we thought we just need to be ourselves and people will either love us for it or hate us for it. So nothing was deliberate and I think when you go for a straight up honest record they’re your best. And that is why I think Sinners Never Sleep is our best album to date. We have fans out there that were going to love it regardless, even if it was the shittest thing we’d put out they would still say they loved it because they‘ve got that attachment to us. And there were always going to be people who pick it up and think ‘nah, I’m not into this’ but then a few weeks later they’d find something within the songs that they could enjoy. Then there’s people who like Horizon or Parkway and even people who like Snow Patrol or Coldplay who realise that we’ve got songs that sound in that vein and discover that they like our band. And when you’ve got those three things together it’s a pretty cool position to be in. And I’m really happy with it so I don’t really care if anyone else likes it or not.

You’ve had a few disagreements with your label Virgin Records over this album, and ‘Time Is Money’ is about that, is everything sorted out now?

Our label are the best label we could ask for. That song is about our label, it’s about our management but in general it’s just about the music industry. There’s so many dickheads. I got to the point where I was like at the end of the day, you’re not the people who have to go out and represent this, we are, and so we have to believe in it completely. So I put a few people straight, we fired a few people. I went up to somebody who is involved in our international side and asked them what their favourite You Me At Six song was, and I don’t mean any of the singles. They couldn’t even tell me a song title. So I said ‘please, no longer have anything to do with our band, we’ll find someone else’. Bands can just become products and that was something that I just felt needed to be put to rest. And as soon as we came to the label with really clear ideas, like the album artwork was all our idea, they really helped capture that because we made everyone feel like part of the family.

You’re heading off to America for a headline tour next year, are you getting a bigger fan base out there now?

When we did Warped Tour, it was nuts. Especially on the East Coast, we did really well. Texas and other places weren’t as flattering. But I think with America, and I don’t mean this in a disrespectful way but it really is just all about touring. If you put yourself in front of them, there’s a chance you’re going to be successful there. If you look at Asking Alexandria for example, they did nothing over here but then did 18 months of solid touring in America and they now do 3000 capacity venues. And they’re not exactly the best band in the world, they’re not the worst band by any means and I love them, they’re good dudes, but I feel like if You Me At Six could do what we’ve done in England and just tour places, because that’s how we got to where we are in England, we could do well over there. I also feel like we have the advantage of the fact that we’re English, for some reason Americans are into that. 

What’s next for You Me At Six?

We’re booked up until at least this time next year. And it sucks because I just bought Arsenal season tickets. It’s funny because Dan’s never been able to see United play and he’s a big fan so we basically booked our US headlining tour around me and Dan going to the football. Then they said we were going to start our tour January 15^th and I was like ‘Arsenal are playing United on January 21^st, so shall we start January 23rd yea?’ That’s the kind of band we are.

Where do you see You Me At Six in 5 years time? What’s your ultimate goal?

Well the dream was to be able to have a ten-year anniversary gig. And we’ve been around since 2006, so we’ve hit the five-year mark. Longevity is key for us. I don’t want to be big for a year, making loads of money and then selling out and having no career. We want to keep achieving stuff that ultimately seems unrealistic. We’ve got some offers though for some UK festivals next summer that are just insane, I don’t understand why we’re getting them.

Live Review: Kids In Glass Houses @ Southampton Guildhall, 8/10/11

Kids In Glass Houses have been away far too long. In fact it’s been almost a year since they played a headline show. So tonight is a chance to show exactly what they’ve been up to. But first, they have kindly laid on a feast of British talent for tonight’s crowd.

Save Your Breath throw out some joyous pop punk, simple and honest yet hugely effective. Next up is Blitz Kids who have energy by the barrel load but a set that’s as limp as lettuce. Despite having at least a pocketful of great songs – mainly on their EP ‘Scavangers’ – they decide to play their slightly less exciting tracks from debut album Vagrants & Vagabonds. Francesca are also a little bland. Their Noah And The Whale-esqe indie rock pleases the younger fans but holds nothing special, expecially compared to tonight’s main act.

Before Kids In Glass Houses appear, their set is rolled out covered in neon. But far from being a tacky nu-rave affair, as soon as KIGH take to the stage it is transformed into a stunning post-apocalyptic dystopia.  The material from the new album really comes to life with gargantuan sing-a-longs and a supurb brass section. Old songs such as ‘Give Me What I Want’ and ‘Saturday’ are also given a new lease of life with the help of a few trumpets. Tonight’s show proves that Kids In Glass Houses can take on the mainstream, although it would have nice to hear a little more of their pop-punk roots. 

Interview: Kids In Glass Houses

Before their incredible show at Southampton Guildhall, I spoke to Kids In Glass Houses frontman Aled Phillips . It also happened to be the day he was labelled the 15^th Sexiest Man in Wales...

First off, how do you feel about being labelled the 15th Sexiest Man in Wales?

It’s just hilarious really. I don’t know if it’s a true representation of all the handsome men in Wales. I could name a hundred who should be above me. But it’s quite flattering. It keeps my ­­­mum happy anyway.

Which of the tracks from the new album has been your favourite to perform live on this tour?

The song that we’ve most enjoyed playing is probably ‘The Florist’. We’ve brought out a brass section on this tour which we’ve never done before and that’s one of the songs that I think comes across really well live. I think it’s a bit of a new direction for us. And a song called ‘Fire’ as well, because it’s quite different and really stripped back. Plus it has a sax solo which I have been waiting to do for years.

Kids In Glass Houses have toured with a lot of bands over the years, who has been your favourite to tour with?

It was always fun for us doing Lostprophets tours because they were a big inspiration for us when were fifteen. They were one of the bands that kind of shifted our musical direction I guess. They’ve always been like older brothers to us, they’ve always guided and advised us and been really nice like that. And on a personal level, it was huge to do shows with Stereophonics. They were the reason I got into rock music when I was like 10 or 11. We did Cardiff City Stadium with them and it was monumental. There’s also been loads like Fall Out Boy, Paramore, New Found Glory, those tours are crazy. It was just hysteria. It was weird because we were so new it was just really exciting for us.

You’ve chosen three British support acts to take on this tour with you, was that a conscious decision?

Our agent and out management asked us if we wanted to take an American band because kids over here obviously don’t have a lot opportunities to see them. But we think there are so many good bands in Britain that don’t always have a platform that they deserve. We’d much prefer to give our friends and local bands a chance because American bands are always given opportunities. We’ve been meaning to tour with Blitz Kids and we’ve been friends with Francesca for ages but never actually toured with them either. We’ve done Save Your Breath tours before but we love them so much we just thought we’d take them out again.

You played a gig at St Pancras station this summer, how was that?

It was strange but it was a really cool opportunity. It gets a bit tedious because we get asked to do so many acoustic things but that was awesome. We were literally in the main walkway and there were about 400 people there. It was about 5 or 6’oclock so there were loads of people coming through the station and there we announcements going on. We had to be a bit quiet and keep it down but it was really cool. We tried some new songs and they came off quite well.

How was the recording process for In Gold Blood?

It was really free and quite adventurous for everyone. We spent three weeks in Brussels in Belgium. We’d never recorded in that way before. We just sat in this big live room and mic’d everything up as if it was a live show or rehearsal, and the boys just kind of jammed I guess. We knew the songs but a few of them were not exactly 100% finished, not that our record label knew anything about that. Jason Perry, who produced ‘Dirt’ as well, was really keen on the idea of doing the whole thing live. We were using all the 80s keyboards and all the gear that they had there, creating all these really rich sounds. So as far as that was concerned it was really cool. But I never really enjoy doing vocals as such, I always find it a bit of a chore. But it was actually really fun and a lot more rewarding than the other albums. Its usually just a really stale way of doing it but when you get to do it live you actually feel like you’re achieving something.

How did it differ from the recording process for ‘Dirt’?

‘Dirt’ was a lot of fun but obviously we had a lot less time to do it. Even though, ironically, it took longer to finish. I think it took 9 days to record in El Paso. We just did it as we’d worked before. ‘Dirt’ was big stress, we had that nine days but then it took from August to December to get everything finished. But ‘In Gold Blood’ was wrapped up in about a month and a half, so it was a lot easier and a lot more relaxed.

You’ve been sporting a new look since the release of the new album, who’s decision was that?

That was me. Some of the boys weren’t happy because Ian is a devout Fred Perry fan and we had quite a nice little hook up with them because he wears it all the time. He’s always seen in it so they were happy to give us loads of new stuff. But then I told him ‘not anymore! You’re going to be wearing feathers and leather’. We had this apocalyptic theme so I thought we might as well just ham it up on stage as well. You can’t write a dramatic album and then pussy out and just wear t-shirts and jeans on stage. So we kind of dived in. To be fair everyone really worked to do it. It’s just that warriors kind of vibe, like Lord Of The Flies and this dystopian concept. It was fun, I still don’t know how most people feel about it but I have a laugh with it. It feels powerful!

How is your relationship with Roadrunner Records going after three albums?

We were a bit dubious to start because it was a metal label so we thought ‘what the fuck are we doing?’ But no, we’re quite a shy bunch of boys and we’re always a bit awkward with these business things. So for ‘Smart Casual’ we were just sort of sitting back and didn’t really know what was going on, but as the relationship grew they started to trust us a lot more. With ‘Dirt’ they let us shoot of to Texas and we barely heard anything. They’ve been really supportive of us and I think with the last album more so than ever they just let us do our thing. They let us wear feathers and rally around on bikes. Especially now when record labels are on their arse, they’re still supporting us. I don’t think many other labels would be as willing to let us get away with what we do.

You’ve never toured America before, do you have any plans to go out there?

It’s really difficult because it’s such a big territory to try and break. You need a lot of money and you need the support out there. Roadrunner do have the option to send us out there because we have an international deal with them but I think they’ve had such a hard run of attempts with bands from Britain. They tried doing Biffy Clyro a few years ago and despite the fact that they were in arenas over here, they were nowhere near that in America. So a band like us is a huge risk for them. You could easily spend about £50,000 and play to no one. So it’s just a waiting game.  We’d love to go over there, we just can’t really afford it at the moment. We just need something to happen, like if we have a song on the radio over there then we can go over there. If the right opportunity comes up, we’ll do it.  

Interview: Blitz Kids

Things are finally coming together for Blitz Kids and they’ve come a long way from their spooky beginning.

Under the name Rig Up Explosive, they formed on the night of Halloween in 2005. ‘That wasn’t planned but it just so happened that our first practice was on Halloween’ says frontman Joe James. ‘It was just me, Eddie (Hawks – drums), Billy (Evanson – guitar) and another guy on bass’. After a year went by, bassist Nic Montgomery and guitarist Jono Yates joined and the group decided it was time for a name change. ‘Everybody kept thinking I was saying ‘Big Duck Explosion’ or ‘Ripped Up Explosives’. Everyone used to spell our name wrong or wouldn’t be able to pronounce it so it felt like the right time to change it. Plus we were changing our musical style so it made sense’ says Joe.

The band are not afraid to admit that they were a little naïve when starting out. ‘Tours were fun because we didn’t really know what was going on. We just sort of rolled with it’ says Joe. ‘No one came to the shows but we thought that was what it was like for bands like us. All of five people would turn up and the promoter would be like ‘oh yea, we’re not paying you any money’ and we’d just be like ‘ok, bye!’ We just didn’t realise, but it was fun anyway.’

Blitz Kids come from Crewe & Nantwich in South Cheshie, an area where, they admit, the music scene is ‘non-existent’. ‘There’s load of bands but no one is really going for it, and they all have missive egos.’ says Billy. ‘We’re a lot different because we’re all really sound people and none of us have really got egos’ adds Jono. ‘Whereas all of these kids now who are doing it, they’re all in competition with each other. There’s no support there at all, it’s every man for himself. There’s no unity.’ In fact, Blitz Kids are probably the only ones to have made it from their hometown. ‘It’s really weird’ says Jono, ‘We’re the only band from there that ever got to this sort of level. And back home, to all these bands its like ‘oh my god!’ They think were massive and its hilarious because we’re really not.’

They may not be massive just yet but they’ve been working hard at fine tuning their sound. ‘We’ve just got better at writing songs I think, just by practising every day’ says Eddie. ‘When we first started we were put down as an experimental band when really we were only like that because we didn’t know how to write songs. It wasn’t because we wanted to be experimental. And then as time went by we just figured out how to write songs properly and make them sound a lot better. We take the bits people seem to like, which are the choruses, and do more of them and make then bigger. Then we just fill them in with some nice verses’. Joe adds; ‘We just have riffs and then stick them all together. It’s very cut and paste!’

After releasing two EPs the guys were finally ready to record their debut album 'Vagrants and Vagabonds', and according to Joe, it was a quick process. 'We went in for two days and then we were done' he exclaims. They decided to record the album 'as live', just playing through each track instead of recording the different parts and layering them together. 'The only song that took loads of attempts we didn't actually use' says Joe, who managed to do all of his vocals in just two takes. 'The most takes on the album was four, which was for 'Bye Bye Blackbird'' adds Jono. 

'Vagrants and Vagabonds' also featured guest vocals from Aled Phillips, lead singer of Kids In Glass Houses. But who approached who for the collaboration on the track 'Story'? 'Aled said 'Joe, please let me sing on that song!'' jokes the frontman. 'No, we played T In The Park the year before last and we just saw him there. At that time Kids in Glass Houses were just doing their ‘Dirt’ album which was full of key changes and was very 80s inspired. And we’d just written a song with a key change. We we’re just having a drink with him and I said ‘I’d like you to sing on a song we’ve got with a key change, I think it would be fun’. Then he said yes and it just happened.’

Now Blitz Kids are supporting Kids In Glass Houses on their UK tour. ‘It’s the best tour we’ve ever done’ says Joe. ‘The crowds have been the best, the bands have been the best and the venues have been really cool’. Today’s venue is Southampton Guildhall, and the boys have had the opportunity to get out their skateboards and explore. ‘I had a really nice frappuccino for the first time ever’ exclaims Joe. ‘And the girl behind the counter was so nice, she swapped my drink for free so I gave her guest list for tonight’s show’.

Once the UK tour is over, the band will be jetting off to LA to record with John Feldman, big time record producer and lead singer of Goldfinger. ‘It’s going to be the biggest selling album of all time ever’ jokes Joe, ‘Its going to sell 18 million copies!’ Well I guess we’ll just have to wait and see about that, but if Feldman’s work for Panic! At The Disco and The Used is anything to go by, this could just be the album to look out for in 2012. 

Live Review: Ellie Goulding 'Lights' up Southampton

Considering she was relatively unknown this time last year, Ellie Goulding has created an impressive buzz of excitement at the Southampton Guildhall this evening. The former town hall is packed with people of all ages, from those young enough to watch Blue Peter to those old enough to remember it the first time round.

Support act ‘Sunday Girl’, so called because no one knew her name when she worked in a pet shop every Sunday, takes to the stage to showcase her marvellous vocal talent. With a skilled control on her voice, some catchy synth-infused pop and a refreshing cover of club favourite ‘Tik Tok’, Jade Williams’ alias gets the crowd dancing. Unfortunately, much like at her old part-time job, Sunday Girl lacks much presence on the stage and with an unoriginal sounding voice puts on a pleasant yet unremarkable set.

The same certainly can’t be said for tonight’s main act though. Kicking off the show with a drumming session then moving on to the guitar and not to mention her iconic voice, Ellie Goulding perfectly demonstrates just how multi-talented she is.

Starting her set with some perfectly crafted electro-pop from debut album 'Lights', Ellie then seamlessly moves into some acoustic tracks. With the help of some atmospheric lighting and a carpet that screams Countdown and false teeth, the spacious venue suddenly feels more cosy as Ellie gives a rare performance of unreleased track ‘The End’ and her stunning cover of Elton John’s ‘Your Song’.

Despite a slightly cheesy MTV style promo video on the big screen of Ellie gushing about her love for her fans, the girl from Herefordshire comes across as very down to earth on stage. Letting the room in on the story behind songs such as ‘Wish I Stayed’ (about missing home during her short stay at university) plus some cheery banter with the crowd, Ellie helps to make the evening feel intimate and special for everyone in the room.

An encore of a new song from her next album gets a positive reaction but it’s the powerful rendition of chart hit ‘Starry Eyed’ - which surprisingly sounds even better live - that leaves the crowd happy in the knowledge that Miss Goulding will be sticking around for 2011.