There’s a reason why Ludovico Einaudi’s music is used in all sorts of TV shows and adverts – he has an undeniable knack for commanding emotive attention. What’s more incredible is that, that emotive energy is amplified live. The king of montage music had a sold out Barbican hall awed by his every note.

Minimalism, Classical or Contemporary, call his music what you want, there’s no denying the Italian maestro’s signature sound. His style teeters over so many genre boundaries, and this is reflected very much in his mixed-bag audience. From well-dressed classical fans, to trendy youngsters (including Emeli Sande who was in attendance), he has widespread appeal. Performing numbers from his latest release In a Time Lapse, the Italian dominated the room with ease.

Einaudi has a way of making the simple sound beautifully complex. The night truly showcased Einaudi’s phenomenal talent as a composer. In stark contrast to his earlier blissful works, the songs from the new album show his more experimental side with wonderfully strange ethereal sounds. Einaudi’s arrangements were mesmerizing throughout the night, and his band deserves much acclaim for really bringing the compositions to life. For a small group of musicians they sure made a powerful sound. The string ensemble was spectacular in delivering the whirlwind melodies and syncopating rhythms. The subtle percussion and electronic manipulations gave much for the ears to feast on.

The setup for the stage mirrored the music, being minimalist, yet chic. As the music fluctuated, so did the lighting – from simple reflections off of disco balls creating wonderful silhouettes, to subtle accentuating spotlights all moving beautifully in sync with the sounds. The lighting effects complemented the music perfectly, making each song’s climax feel that much more spectacular.

Einaudi’s show proved to be more than captivating. His music not only sounds sweet to the ears, but his performances are engrossingly moving. ‘I Giorni’, performed solo on the stage, was a particularly rousing highlight, which made the hairs on the back of your neck stand on edge. The emotional investment put into each performance resulted in several goosebump moments.

After a riveting performance of ‘Divenire’ and an incredibly fast-tempo version of ‘Nightbook’ he received a rapturous standing ovation. It was a wholly mesmerising and truly beautiful show, which tugged at every single heartstring.

This review was originally posted on Young & Serious.

5) Glee

Yes, those oddball teens who break out into song at any given moment are back. Although now in its fourth season, and doing considerably less well in the ratings, there is still something that draws you to the show. Though it’s not as great as it was and despite all the celebrity cameos from the likes of SJP to Kate Hudson it never quite gets back to its old pizzazz. However, the concept is still enjoyable and you cannot help getting sucked into the musical numbers and the predictable, yet oddly enjoyable storylines. You could say Glee is like a good roast dinner – it barely changes, and you know exactly what you’re going to get, but it’s safe, staple viewing.

4) Dallas

The Southfork Ranch never seems to be free of controversy. Family feuds, deceit, murder and betrayal, this series has it all. Though it could be branded as “trashy” viewing, as it seems that the writers are throwing in all the soap-opera-esque plot twists imaginably possible in desperate hopes to keep ratings flagging, yet it does make for awfully addictive viewing. The next generation Ewing brothers, played by Jesse Metcalfe and Josh Henderson, have truly proved they have what it takes to carry on the feud of their elders with just as much tenacity as their predecessors. And with this being Larry Hagman’s last ever season, this passing of the torch feels much more poignant.

3) Hawaii Five-0

The revamped Hawaii Five-O is back for its second series, with ample murders for Dan-O and McGarrett to solve. The well-matched pairing of Scott Caan and Alex O’Loughlin ensures that the show has just the right amount of humour-thriller balance. Though their buddy cop ritual packs its fair share of infectious banter, there is still some grit behind the storyline with the arrival of McGarrett’s mother whose previous circumstances arouse more than just curiosity. Though, one can only predict that we will have to wait for the climaxing season finale episode to find out more.

2) Elementary

One of the slow but residual burners in the list, Elementary took a while to sink its teeth into its own ongoing plotline. Though Sherlock Holmes has been fascinating readers and viewers since the 19^th Century, and Sir Arthur Conan Doyle’s murder mysteries have been subjected to various adaptations, none have tried to be more so different than this. Sherlock (Jonny Lee Miller) is a recovering drug addict who is supported by his sober companion Lucy Liu, as Dr Watson. The casting of a female, gives the Watson-Sherlock relationship far more dimensions than any other adaptation. With Watson soon to leave Sherlock, and guest appearances from Vinnie Jones in the pipeline, it seems this series is just getting revved up.

1) The Following

You may be reluctant to see more of Kevin Bacon on your screens after the onslaught of EE adverts that took over all commercial breaks, but this is one show that is not to be missed. As someone who is rarely affected by any scary movies, The Following has provided several instances that have made me physically jump, and for that alone it deserves the number 1 spot. With a storyline that is far more complex than any blurb can write – in a simple nutshell it is a series following a string of murders within an Edgar Allen Poe cult – but it has to be watched to be fully enthralled. It packs more than a few punches, ticks all the boxes for a gritty psychological thriller and will definitely have you following it week in week out.

Robert Glasper Experiment

“F*** whassup London?” Robert Glasper takes to the stage, taunting with egoistic bravado. Fusing hip-hop and drum ‘n’ bass beats with classical and contemporary jazz, the Robert Glasper Experiment is renowned for broadening the limits of jazz. With the help of Basement Jaxx’s Vula Malinga, and underground rapper MF Doom, the Experiment wowed the audience. Black Radio as an album does not do Glasper justice as the group take it to a whole new level in a live experience. From late night grooves, to heavy grimy bass, and the best funky grundge cover of “Smells like teen spirit” you’ve ever heard, the Robert Glasper Experiment truly provided a feast for your ears.

Phantom Limb

The distinctively country influenced Bristol based collective Phantom Limb, took to the stage one member short. With the absence of their drummer due to illness, or to put it in their own graceful terms, “he’s got it coming out of both ends”, their sound felt blissfully simplistic and serene. In many ways the lack of percussion probably allowed the band to showcase their individual talents further. The country inflections in the acoustic guitar and the melodious vocal harmonies became more vividly heard. Most ear-pleasing of all were lead singer Yolanda’s vocals, who, as the night went on, gradually unleashed her raspy growls.

Beats & Pieces meet Ensemble Denada

The stage is rammed with instruments and music stands. As a multitude of men walk on, drums create a steady beat, a funky bassline drops and the audience is aroused by a cacophony of brass. The set up for the night is very unique as not only do each of the big bands alternate segments of the show, but they also intermingle in fantastic ways. Both groups engaged in a “wife-swap” style “musical director-swap” as Ben Cottrell composed one piece for Ensemble Denada, and Helge Sunde wrote a piece for Beats & Pieces, each imitating each others styles. The show ran impressively smoothly, which with so many performers on the stage is no easy feat. But what was most enjoyable of all was to witness two incredible big bands basking in each other’s talents and making fabulous feel-good music.

Shabaka Hutchings and the BBC Concert Orchestra

One of the most unique shows billed on the London Jazz Festival programme, an evening of Classical Jazz fusion with renowned clarinetist Shabaka Hutchings and the ever prominent, BBC concert orchestra. Shabaka premiered his latest composition ‘Babylon’, written for the concert orchestra, Sons of Kemet, electronic maestro Leafcutter John, and beat boxer Jason Singh. Described by Shabaka himself, to evoke “joyous” feelings in and amongst “clean” and dirty” sounds, the piece intends to reflect the conflicting “inner workings of a city”. With often dissonant and otherwise airy sounds, it often felt as though the band and the orchestra were two clashing forces, yet at times both worked beautifully to create a unique blend. After ‘Babylon’ the crowd were treated to a dose of the Shabaka they known and love, as conductor Keith Lockhart and the BBC concert orchestra left it to Sons of Kemet to finish off the night.

Psylus

A new young collective grace the Front Room freestage at the Queen Elizabeth Hall. Psylus are a unique five piece consisting of Jamie Benzies (bass), Chibike Odukwe (drums), Zuri Jarrett-Boswell (keys), D’vo Tile Gichigi-Lipere (electronics) and the 17-year-old powerhouse sax player David Turay (sax). Infusing hip-hop beats with jazz structures, the group managed to draw and hold an unusually large crowd for the front room. The group’s free-flowing melodies, and fluctuating rhythms completely captivated the audience. One thing was for sure, although most arrived not knowing who Psylus were, the majority left unexpectedly impressed. So, the name’s Psylus, take note as they’re definitely ones to watch.

Esperanza Spalding

As the lights dim, the massive boombox radio on stage twiddles its dials and the band humorously replicate different genres with each turn. Stopping at a soulful groove, Esperanza joins the stage adorned in a sleek emerald dress. From love narratives to politically infused gospel, the setlist reads like a script, with Esperanza introducing each song with a tale. She is a sassy, charismatic and natural performer who could easily transcend the “jazz” boundary. As she closed the night with the jazzy ballad ‘Cinnamon Tree’ I could easily imagine non-jazz fans not being quick to change the dials if Esperanza came on.

Paco de Lucia

At age 64, Paco is still the leading light on flamenco guitar, and it is a testament to his ongoing dedication and sheer musical prowess. The Spanish don’t do things by halves; every single aspect of this performance was delivered with maximum ounces of passion. Unbelievably flawless singers, mesmerizing flamenco dancing, and rhythmically complex percussion, Paco’s band displayed unrelenting focus and talent. A hugely passionate performance deserves an equally passionate audience, for which Paco needed to look no further. The sold out hall is packed full of lively Paco fans wolf-whistling and yelling Spanish adulations. With such a riveting performance there is no doubt as to why the hall was worked into such frenzy, they were in the presence of a guitar god.

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The stage is adorned with palm trees and tranquil yellow lighting imitating a Caribbean sunset, setting the tone for what promises to be an evening of chilled acoustic perfection.

First up was Benjamin Francis Leftwich, the acoustic songsmith quietened the Roundhouse upon entry as he picked his way through first single ‘Pictures’. Joined soon by his full band, he provided the audience with much more of his signature simplistic bliss. With a gorgeous voice and beautiful songs, he was the perfect warmup for Miss Del Rey.

Having flown back to London, in the midst of a European tour, just to make it to the iTunes fest, Leftwich definitely knows how important this gig is. This however, seemed to be something that Lana Del Rey was uninformed about.

The New York (and H&M) Adonis took to the stage in a casual off the shoulder sweatshirt with her brown Rapunzel locks draping down one side as she sang ‘Blue Jeans’. Not showing any signs of nerves she wafted across the stage belting out numbers from her hit debut album Born to Die.  Despite all her previous reviews there were hardly any pitching problems, she seemed confident and at ease.

Accompanied only by a string quartet, acoustic guitar and grand piano, Lana treated the audience to unique renditions of her album hits. Without the drums, her songs felt unfamiliar, but were nonetheless mystifying with her reverb heavy vocals.

Her setlist comprised of nine songs, including new single ‘Body Electric’ where she portrays a self-made lineage to Elvis and Marilyn Monroe. Most of LDR’s songs are interspersed in sadness, none more so than ‘Born to Die’ which with the minimal backing felt like a beautiful eulogy. This was in drastic contrast to the more upbeat sounding (despite the name) ‘Summer Sadness’, mourning the end of a season is much easier to take in than death. Surprisingly her smashing debut ‘Video Games’ was slotted in sixth out of the nine songs, during which she traipsed down to the front row touching and holding fans, as she remarked “I needed to see my people”. Having jetted in from the States, she seemed quite at home in London and appreciative of the fact that UK fans have been loyal to her from the start.

It was after this however, that Lana started displaying her signature “diva-ish” side, turning to her piano player and speaking into the mic “I don’t feel like doing that one, just take it off the setlist” – not something an audience wants, or needs, to hear. She appeared to start negotiating the setlist with her pianist at frequent intervals in between ‘Radio’ and ‘Without You’, which generated much confusion amongst the audience, unsure about whether this was serious or playful coyness.

Introduced as ”the last song”, the guitarist sang “Money is anthem” signalling the start of the stunning track ‘National Anthem’. Images of President JFK and the American flag patriotically filled the backdrop, bringing a piece of American pastiche to London. The strings rolled, the piano followed, and Lana’s angelic vocals echoed through the Roundhouse.

Then just as the audience swooned, she left the stage. As the accompaniment died down, the cheers filled the room, this audience was expectant of more – who believes that ‘last song’ malarkey anyway! Whooping and whistling, the lights stayed down, everything pointed to the arrival of an encore, she still hadn’t sung ‘Carmen’ or her new single ‘Ride’ (for which the itunes festival would be a perfect place to debut) – surely this couldn’t be it? But then just as hopes were highest, the string section left the stage, the full lights and the familiar venue backing-track came back on, she wasn’t coming back. Members of the audience perplexingly checked their watches, only just gone 9.45pm, and in disbelief they disappointedly made their way to the exit.

Her set barely scraped 45mins, even Leftwich’s set felt more wholesome, yet no one could deny that she had the audience in the palm of her hands. Only LDR could leave her audience so satisfied and unsatisfied at the same time.

We fell in love with The Time Traveler’s Wife because it was unusual, unfathomable and wholly engrossing. In this follow-up, Niffenegger continues her perusal of the supernatural and the weird, swapping time-travel romance for ghostly familial relations.

Niffenegger entwines two stories of two sets of twins, the first Elspeth and Edie, followed by the next generation Valentina and Julia. Oddly, all four could be considered the protagonists of the novel, yet strangely, they are the characters you learn the least about, as Niffenegger maintains a sense of mystery throughout.

What starts off as a story about inheritance soon takes a twisted turn into the world of the grotesque. When Elspeth dies she leaves her fortune and her flat to her estranged sister’s twin daughters. Julia and Valentina arrive in London to a flat on the outskirts of Highgate Cemetery, where Elspeth is interred; however much to everyone’s surprise Elspeth still happens to reside in the flat with them in a ghostly form. What follows is a series of strange séance style communications where Elspeth builds a relationship with the twins.

Despite the strangeness of the situation, the plot fails to arouse the same intrigue as Niffenegger’s first novel. Part of the reason for this is because we’ve been reading ghost stories since the 19^th century, so the concept is nothing new. Although, while Dickens, James, and Poe all experimented with the notion of ghosts, two centuries later, their novels still manage to evoke a sense of displacement – something which Her Fearful Symmetry never quite achieves. Ghost stories are designed to spook and unnerve you, yet in Niffenegger’s novel, the inclusion of ghosts does not surprise the reader, and instead it all feels like an oddly natural occurrence. Although Niffenegger does her best to give it a brand new twist and create a sense of shock, it somehow never reaches the eerily affecting levels of her 19^th Century counterparts.

No matter how hard Niffenegger tries to give her story an edge, throwing in twists and turns with murders and resurrection attempts, the story still fails to lift.  In some ways, the problem is that she is trying too hard. When the plot gives way to resurrections as Elspeth begins to play with the extraction of living souls, you can’t help but scoff in disbelief and hunt for all the plot flaws – something that never occurred in The Time Traveler’s Wife, where the reader’s faith in the story was unquestionable.

Although it feels wrong to keep comparing Her Fearful Symmetry to Nifenegger’s stunning debut, you cannot help but feel more than a little disappointed when it fails to come close to her earlier standards. Niffenegger is without a doubt a talented writer, and she does make you want to read on and finish the story, all the while expectant of something more, but unfortunately even the ending feels abrupt. On a whole the novel falls short of sparkle, leaving you bereft of the same reading pleasure as her debut.

Yes Her Fearful Symmetry is unusual, and unfathomable, but perhaps too much so, it causes the reader to question its plausibility and hence lacks the wholly engrossing quality that her readers so desired more of.

Whilst its popularity bodes quite well for the sport, Beach Volleyball does also have its fair share of criticisms. Many people say that its not a serious sport, and not worthy/appropriate for Olympic standards.

It is very gimmick heavy, they really have pulled out all the attention-grabbing stops: endless clips of high energy sing-a-long songs, Mexican waves, conga lines, beach dancers during time-outs and Peter Dixon providing commentary. The atmosphere is buzzing live, with all the people on their feet, dancing and cheering. It is probably the liveliest sporting event in the Olympics, and is a far cry from the silence required in sports such as tennis and gymnastics. You certainly won’t be asked to ‘quiet please’ at the Beach Volleyball.

Although the crowd is highly revved up, sometimes the gimmicks are quite excessive and you can find yourself being deterred from the actual sporting. You end up missing points here and there because you were singing along to the ‘Wa-hooo’s’ in Blur’s Song 2. Whilst it is enjoyable, it does beg to question whether such gimmickry is actually needed.

On face value, as a sport Beach Volleyball is very compelling. In fact, I find it more compelling than the indoor Volleyball, which in comparison feels much less engaging. The simplicity of just having two players, compared with six on the indoor version, makes for more gripping viewing, as the players have to cover more of the court and equally tactically place the ball in the opponent’s half. While the six-man official indoor version of the sport excels in organisation, technique and delegation, the two-man beach version is more fast paced and seems to showcase a lot more of the tact and precision of volleyball.

Whilst the majority of the audience was full of lads keen to gawp at the female athletes, the session I attended had very little flesh on show. The Brazilian women came on covered in full body outfits ahead of their match against the Netherlands. Although this was mainly due to the fact that this was the evening session in a very chilly London, it did allow for the event to shine more for its sportsmanship. I found myself taking the event much more seriously, watching each spike and block with intent.

With regards to London 2012, I’m not sure that having an outdoor event that goes on until midnight works very well in the British summer, as the crowds thinned drastically by 10pm – and this could’ve been due to the fact that the women’s matches had finished, or because there was a great chill wind blowing over Horse Guards Parade – either way it doesn’t bode well for the sport! Don’t get me wrong, the location for the Beach Volleyball is fantastic, with the London Eye, BT Tower, and Nelson’s Column all providing a picturesque backdrop, but perhaps the event should finish at 10pm, and only the indoor sports should go on so late.

Nevertheless the sportsmanship displayed was fantastic. The Brazilian women, Antonelli and Rocha T, played with such finesse that they beat the Netherlands with ease. Even the men’s matches were just as thrilling to watch as USA took on Japan in a competition full of aces. And surprisingly, by far the most rousing match-up was the men’s Mexico vs Switzerland, in which, despite the lateness and the ever-decreasing temperatures, both teams fought a vigorously close match with Mexico just scraping a win.

Beach Volleyball does belong in the Olympics, and while the gimmicks could be toned down, you can’t deny that they inject a lot of atmosphere and make for a more well-rounded and accessible games. And strangely you could also say that it does do wonders for sport because, yes, you go there attracted by the gimmicks, but you leave there a fan of the sport.

Set in 1944, Philip Roth’s ‘Nemesis’ paints a very real portrait of the loss of one’s humanity. Littered in pain and chaos, Roth vividly captures his protagonist’s downfall.

Following Eugene ‘Bucky’ Cantor, a sprightly young man, full of prospects, living in the Weequahic district of New Jersey (where Roth himself grew up), Bucky is unable to be drafted to fight in the war because of his eyesight. Nevertheless, Bucky has his whole life planned out ahead of him, with a steady and rewarding job managing the communal playground where all the young boys look up to him, and a dotingly perfect fiancé, life would be seemingly perfect. However, even though Bucky may have been lucky, escaping the war – albeit to his disappointment – yet almost as if in penance to the fact that he missed the war, Bucky is stricken with what he could never expect to be plagued with – a polio epidemic.

Roth wastes no time in relaying the subject matter of the novel, as readers are instantly put on ‘polio alert’. With descriptions of symptoms and statistics, the opening pages of the novel almost read like a descriptive textbook. However, the listings of cases and speculative causes merely wash over the reader and do little to create much impact. While Roth may not captivate with his non-fictional-esque descriptions, his brilliance shines in actual storytelling, as it is not until the symptoms actually occur to some of the characters that the impacts of polio truly get across to the reader.

Interestingly, the polio epidemic displayed in the novel is fictional, however the events are loosely based on the New York polio epidemic of 1916. But the change of date makes for a dramatic effect as the epidemic in Bucky Cantor’s predominantly Jewish neighbourhood perfectly mirrors the horrific events of the holocaust, while avoiding any mention of the like.

For a novel set in wartime, it does much to entirely avoid the subject. War is like the big “elephant in the room” so to speak, persistently threatening Bucky Cantor’s manhood, as he was unable to fight. In an age where war was glorified, the threat of emasculation constantly pervades Bucky, and he finds himself fighting his own personal battle. Bucky is to “make a man of himself” and the only way to do so without actively being in the war is by fulfilling his duties at home, yet his masculine fulfilment is interrupted by the arrival of polio, an unbeatable opponent.

The title itself ‘Nemesis’ is thoroughly apt as Roth explores the concept in both meanings of the word. Not only is polio Bucky Cantor’s arch nemesis, and his own war, but Bucky also battles with his perceptions of polio as an act of divine intervention. The passages where Bucky contemplates the actions of God are perhaps the most striking of all. When faced with a horrific tragedy where children are dying, Bucky cannot fathom an existence of a benevolent God. Written with such believable finesse it is Roth’s portrayal of his bitter contentment that is indisputably compelling.

As my first introduction to Roth’s work, I didn’t experience much of the humour that I had heard Roth was so famed for. However, what I did encounter was a frighteningly real work of fiction that can only be achieved by exemplary writing, ‘Nemesis’ truly showcases Roth’s genuine talent and is entirely deserved of its 2011 Man Booker Prize win. It’s a masterful work of pessimism, tackling a stark subject matter to provide a hard-hitting glimpse into a (thankfully) predominantly eradicated virus, and Roth’s intelligent – yet not overbearing – writing, makes it hard for any readers not to be moved.

If there’s one thing that this movie teaches you it’s that dictators are very funny. They shouldn’t be funny, but they are. Whilst actual dictatorships should not be taken lightly, as their leadership and reign is truly horrific and brutal, but dictators themselves are also hugely eccentric and radical characters, and it is this radical quality that opens up all their actions as a sense of ridicule. Sacha Baron Cohen’s latest flick captures all that ridicule and turns it into 83minutes of grotesque comedy.

Playing General Aladeen of (fictional North African country) Wadiya, The Dictator sees Baron Cohen taking on yet another outrageous persona. However unlike his previous endeavours in Bruno and Borat where the characters were ambiguous to say the least, you always know what you’re going to get from General Aladeen.

But even though it is a predictable and expectant formula, that is not say it isn’t funny. As General Aladeen, Baron Cohen can get away with saying just about anything controversial, and yet surprisingly it’s also done in a non-offensive way. Whether he is convincing America to become a dictatorship, or making sexist comments about women, the dialogue packs several punchlines that make any offensive remarks be washed over in laughter.

What adds to the humour is the choice of soundtrack. When General Aladeen comes to America to address the United Nations, he arrives with a large entourage of girls riding a camel through the streets of New York to the soundtrack of what appears to be the familiar sounds of Snoop Dogg and Dr. Dre’s ‘The Next Episode’ only it is entirely in Arabic. The unexpectedness of this change adds to the humour. Scattered throughout the film are other unfamiliar familiarites such as REM’s ‘Everybody Hurts’ and Marvin Gaye’s classic ‘Let’s Get it On’, trust me you have to hear it to believe it.

In light of recent events, The Dictator seems perfectly timed. Without Gaddaffi, Bin Laden and Idi Amin around, it seems that just the right amount of time has passed for the world to laugh at the eccentricities of these grotesque figures. It undermines those personalities and makes the whole idea of a ‘dictator’ seem trivial. Yes, it is purely slapstick comedy but the writing is hilarious and in movies like this, that is all that counts. Whilst Borat was funny because it was a new concept and overtly crude, The Dictator packs more actual jokes, which would even be funny without the outrageous persona. The Dictator can appeal to a much wider audience than Borat or Bruno, it’s not just for the lads and teens, hence this might just be Sacha Baron Cohen’s funniest movie yet. And let’s face it, I don’t think we’re going to see another movie dedicated ‘in loving memory of Kim Jong Il’ anytime soon.

Yes, it’s another BBC vs ITV ratings battle, but this time it’s not X Factor versus Strictly, it’s Cowell’s other venture Britain’s Got Talent (BGT) against newbie The Voice.

The Voice is essentially a jazzed up and more professional X Factor, there are no exploited silly auditions for fun, all contestants are those actively pursuing careers singing. Whereas Britain’s got Talent, for those of you who have been living under a rock for the last 6 years is an unstoppable canon of a variety show, which seeks ‘talent’ to perform at the annual Royal Variety Show.

So the issue: The scheduling of Britain’s Got Talent and The Voice have overlapped in the last three weeks. The first two weeks of which included an overlap of 15/20minutes at 8pm on Saturday Nights which involved viewers missing either the ending of The Voice or the start of BGT. This week the big story involved a (petty) 3-minute overrun by the BBC – which ITV accused of foul play… but for goodness sakes in this day and age does it actually matter? Do ratings wars still count? ITV (who are losing this battle) are complaining that they’re not benefitting from the competition. But is this concern over ratings and constant rivalry between the shows actually genuine, or is it all a part of big media palaver purposely designed to generate talk?

I mean, really, what is the big deal? Let’s face it, in this day and age where most people have Sky Plus/Tivo or watch things online, if they want to watch both shows they will find a way to. For most people the 15-minute overlap only means convenience, as they can watch The Voice and record BGT and happily skip any ad breaks on ITV. So it should be no surprise that The Voice capitalised on the overlap.

But the truth of the matter is, the two shows are also quite different, yes they fall into the same entertainment reality category and both deal with ‘talent’, but their appeal is entirely unique. The Voice appears to be serious and competitive, whereas BGT is light-hearted entertainment, and offers a lot more amusement.

While both shows are undoubtedly much talked about, it is hard to distinguish whether anything is actually being missed. The big moment from The Voice where auditionee Jaz Ellington debuted and Will.i.am was brought to tears as he sang ‘Ordinary People’ is readily available on Youtube. And I don’t think there is anyone in the UK on the internet who could have escaped BGT’s now infamous “Where Me Keys? Where me phone?” skit. These clips have raked in hundreds of thousands of views on Youtube, which makes us wonder whether TV Ratings actually count in this day and age? We live in a time where things are available to watch/listen again instantly and important bits of shows rarely go un-missed – so can we really still judge which show is best just on the ratings of the night?

With Youtube, iplayer and all sorts of other mediums available it seems it’s not really the ‘now’ that counts, if it’s going to be big, it doesn’t matter how many people first see it, it’s about how much it can spread. It is the online viewers that people should be really caring about, they’re the ones who will “like” and “share” things, causing the viral success that these shows so crave.

1)   Brittany Howard – Without a doubt she is the best band front-woman of the year. She has a warm, gravelly voice that is like a cross between Robert Plant and Ruth Brown. Packed full of soul she seems to be the holding force of the band. She really seems to be even more amazing in the videos of their live performances, packing in every ounce of emotion available in her performances you can easily get lost in the music because of her sensational voice. Swiftly gravitating between smooth melodies and rough yelps, Brittany proves that powerful and emotive is a dangerously infectious vocal combination.

2)   Old school sound – There is the distinct influence of yesteryear in their sound, and not just in the style of the music it’s in the recording techniques too. Attempting to create ‘honest sonic qualities’ they have used vintage equipment and simplistic recording style, which adds a nostalgic quality throughout their tracks.

3)   Blues – Whilst the band may be slightly apprehensive of taking the title of being a ‘soul band’ and count themselves more influenced by rock, they can’t deny that they do have a solid foundation in the blues. The Black Keys have been championing this old bluesy rock sound and everyone seems to be enjoying it. Fact is: the blues are cool. The genre constantly crops up time and time again, and always produces good, emotive music, and it’s a sound that would definitely be great to hear more of on the radio.

4)   Sold Out Dates – Their first ever UK dates in London at the Brixton Academy sold out fast, which can only be a good thing. They were also on the NME Awards tour and were the first gig of the tour to sell out… clearly a promising sign.

5)   Brilliant live – Not only can Alabama Shakes cut it in the studio, but they are actually fantastic – and even supposedly better, live. They have received much praise from their peers and their critics on their live performances, it’s no wonder their tickets are selling fast.

Alex turner hailed Alabama Shakes as his favourite new band for 2012

6)  Big name tips – Although having big named artists recognise you isn’t always the best judge of talent, it sure does pose a good way of seeing how far a band can reach. Alabama Shakes seem to have grabbed the attention of a lot of big name fans. Originally tipped by Alex Turner as his favourite new band, they have fast become name-dropped by several artists ranging from Bon Iver to Adele, and even catching the eyes of Russell Crowe – this could only invite even more diverse audiences to them and explains their rapidly increasing fanbase.

7)   Image – Although image isn’t everything, they strangely have the perfect image for a rock blues band. Their image resonates with their raw talent and suits their style idyllically.

8)   Hot signing debate – Their debut tracks initially created quite a stir with several labels lining up to sign the impressive 5-piece. Finally settling with ATO (founded by Dave Matthews) and Rough Trade (of The Strokes and Jarvis Cocker fame), the band are set to do amazing things.

9)   2012 – Since being tipped at the beginning of the year as one of the bands to watch for 2012, these past three months have seen them go from strength to strength on a rollercoaster of highs. No longer just a band from Athens Alabama, they are fast becoming playlisted on radio stations and being cited as regular names on people’s ipods.

10)   ‘Boys and Girls’ – Their debut album ‘Boys and Girls’ is due out on 10^th April, and there’s a great buzz around it. With their EP receiving much praise I’d get on the bandwagon because all things point to Alabama Shakes making it big.

Check out ‘Hold on’ and a live performance of ‘You Ain’t Alone’: