Stephen Evans & The Planets are one of the finest unsigned acts currently gracing Manchester’s live circuit. The quirk-laden purity of their take on 6T’s music is combined with a perceptive outlook on some of life’s sharper sides, resulting in an infectious and irresistible sound that’s hard to ignore. The key to this pure pop sound seems to lie with the fusion of simplistic beauty with a decidedly eccentric (and rather English) approach to songwriting.
W&H were able to talk to the idiosyncratic quartet shortly before they opened the show for BAUER at Manchester University’s Academy 4 – Certainly as intelligent as their songs suggest, they were able to shed some light on what gives their sentimental sound its considerable weight.
My obvious first question: Is Stephen Evans & The Planets an amalgamation of two acts? Elbows on the table, serious head screwed firmly on, Evans leans forward to study his thumbs as he explains:
“Yes. The drummer, bass player and guitarist (collectively known here as The Planets: Martin Rosco, Robert Bowes, and Michael Chadwick respectively) are all in a band called Irisnova. They weren’t actually in a band called The Planets before we got together – we just thought that would be interesting as a name. Almost going on for a 1950’s or 1960’s style”
“It was gonna be The Shoes, but….we changed it” Rob adds as an afterthought.
“No-one had shoes” adds Michael, breaking the ice quick as a flash as the laughter poured forth
Where did the idea for Stephen Evans and The Planets come from? How long have you been together?
“It’s been about 9 months” states Rob thoughtfully:
“We’ve been together since last year….Stephen had all these songs, and we wanted to get in a band and play them. We’ve also recently recorded an 8-track CD” he adds (you can find a review of that along with details on how to get it elsewhere on this site).
The band is still less than 12 months old, has there been any record company interest as yet?
Stephen fields this one: “We’re attempting to build a fan base at the minute. I think that this has to be first on the agenda before we start approaching record labels. We have posted off to a lot of radio stations and such”. He’s quick to stress this last point.
There’s a definite 60’s influence to your songs?
“Some of the songs, yes – We’ve been writing some more songs recently which have a more modern feel to them”.
Guitarist Michael Chadwick takes up the debate:
“Some of the older songs yes. Lucy Leaves definitely”. Elaborating, he gestures at the front man and continues: “Steve’s into The Kinks, Syd Barrett…….. Queen” before breaking into laughter, possibly at the absurdity of that particular combination.
Hence the Syd Barrett dedicated Queen cover you signed off with at Bar 15 earlier this year?
Amidst the laughter, Evans stresses the point “I don’t think you get too many Syd Barrett dedicated Queen numbers, do you?” he grins.
The gigs have been quite infrequent. Does this point to an outfit more comfortable in the studio, happier with the process of recording? (Talk about hit the nail on the head!).
“Well we all did a degree in Sound Engineering at Salford University – erm, perhaps I should’ve mentioned that before” laughs Evans:
“Yeah, we got a lot of recording done…” Rob remembers In fact, this is his modest way of saying that they assimilated and produced a large chunk of their recorded material as part of their final year practical. Which leaves me thinking that future success for the group could well be academic (groan).
What does the near future hold for the band?
Evans replies quickly, and it’s clear they’ve given that one constant thought: “Gigging as much as possible, trying to promote the band as much as possible, sending off our demo to promoters, press, radio stations – anything we can do really to help promote the band”
Chadwick: “You’ve got to have 20 songs together before you start to approach record labels”
Rob (Bowes): “So they can pick and choose”.
Taking to the stage as the venue filled right up, they got increasing respect, and much appreciation for their blistering half hour of incisive pop mayhem. Starting slowly, Evans’ vocal power was brought to the fore as explosive vocal cues set the scene for their bouncing delivery.
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From hereon in it was blissful chaos ‘Little Flies’ was delivered with venom, and the reminiscent feel of ‘When We Were Kings’ lit up the set with sketchy recollections set to another gorgeous melody.
“Alright, this one is dedicated to the Mossley crew” - Evans half-smiles as the cheer goes up, and they launch into the frenetic ode to intemperance they call ‘Drunk Song’. As catchy as anything you’re likely to hear, this ditty fills your heart and soul with all of the joys of pop music at it’s finest.
Sometimes clutching the mic with both hands, losing himself in the music, occasionally looking on like a foot tapping trad. jazz band leader as The Planets gathered momentum, Stephen Evans radiates an odd charisma. It sits well with the idiosyncratic drive of the music, and as such demands our full attention.
Ending with a sepia toned, part-rockabilly chunk of 100mph pop heaven in ‘Seaside Rendezvous’, this outfit brought a sure-fire buzz to the night straight away, leaving the stage to appreciative noises, nods of the head and an inevitable boost to their already sizeable fan base for good measure.
EXIT followed this with an entirely different blend of styles. Armed with two female backing singers, a fiddle player and extra tom-toms, the walls were soon taking some stick from the reverberation of their soulful ceilidh style.
Their front man came armed with an acoustic guitar, a synthesiser, and an ale-headed stream of obscenities, adding piano-led hooks to the strings already tapping into this epic sounding ray of evening sunshine. There were gentler numbers too, built around acoustic arpeggios, and drenched in modern ‘RnB’ flavour.
Thundering bass kept their soulful noise as deep as you like, with the Celtic flavours making me form aerial mental pictures of The Cliffs of Moher during the more sedate interludes. But the shifting, breathing finale switched them back into funk mode with a track called ‘Darkness’, as their warped soul intensified with a final flourish.
Manc-indie scene veterans NARCISSUS were next up. Their chorus and reverb heavy guitar sounds were left free to roam as the fast-funk basslines and pounding beats drove each tune along nicely. Falsetto vocals created tension in the deep pop sound that ensued during their solid and well-delivered set.
All of which left BAUER with an easy task of maintaining the expectant buzz coming from the crowd now swelled by their own devotees. It was no little thanks to the quality of the support that their set went down a treat, though they did showcase their own material very well indeed.
This was the second show designed to celebrate the launch of their eponymously titled debut EP. The lead track, ‘Connected’ sounded like a hit under the wobble of maximum chorus levels, and the reaction down the front was positive as a night of straight-up pop craziness drew to a close. ‘Unbreakable’ was a delicately-balanced and melodic introduction to their 80’s/early 90’s new wave-y indie stylo, as their set gathered a smouldering momentum under dry ice and subtle lighting.
It was their night, and their epic sound went down well, but full marks to the acts in support for making this a fantastic show. Bauer will play live in Manchester again on Oct 29, as part of In The City 2006, which is set to be one hell of a weekend of live music!
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