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Bill Bailey is somewhat of a celebrity. His stand up, panel show and sitcom appearances have earned him a loyal following large enough to justify playing massive venues. Bailey is a unique comedian with a playful physicality and a wonderfully expressive face; these qualities helped to cement his reputation and unfortunately, these qualities were lost in an enormous arena. His straight stand up sometimes felt generic; observations about David Cameron seemed to be tossed in without any real insight (although there were some brilliantly surreal descriptions). Far more effective was his song about Nick Clegg, and his music which remains Bailey’s ace in the hole.

Although he can now seemingly pump out Wurzels and Kraftwerk-style pop parodies in his sleep, the majority of the songs in the show were simply exhilarating in their wit, verve and gobsmacking amount of talent displayed. It was impossible not to laugh at his Francophile rendition of Gary Numan’s ‘Cars’, complete with a surprise accompaniment which I won’t spoil. A knees-up number about Chas and Dave doing a deal with the Devil could only have come from Bailey; similarly the prog jazz extended computer alert (you had to be there). These moments show what a creative force he is. The absolute highlight of the show was a comparison of different renaissance paintings of St Thomas examining the wounds of the resurrected Christ. This may sound like the driest thing imaginable but the routine hit a real sweet spot between intellectual and silly, expertly augmented with some Python-style animation. The shadow cast by Jesus’ nipple has never been so funny.

Bailey said the theme of the show was doubt. By this evidence, he should cast off any doubt that leads him to play it safe and embrace the esoteric lunacy which made his name.

Brighton Centre, 9 November 2011
Rating:
Simon Plotkin

Glastonbury’s favourite lounge lizards opened with ‘Gravity Calling’, in which frontman Jesse assumed the role of a demented, Dickensian narrator, to begin a set comprised of a number of styles from glam rock to 60’s pop to scuzzy funky blues – often in the same song. Old favourite ‘Casino Rustique’ had a whiff of a sleazy bordello while the new numbers added 60’s harmonies to compliment keyboard player Joe’s frenetic fingerwork. Not many bands could produce, let alone succeed with, a song sounding like Sparks taking on a Cockney knees-up and this summed up their uniqueness and unclassifiable charm.

Latest Music Bar, 9 November
Rating:
Steve Clements

The Martlet’s Hospice has teamed up with Brighton & Hove Buses to launch an innovative Wills campaign in the City.

From November 2011 onwards, a growing number of buses will carry witty and thought provoking messages urging people to remember the Hospice in their Wills. The Martlet’s is only 29 per cent NHS funded and relies on gifts in Wills for around one quarter of its funding.

But in the last two years income from these gifts has fallen significantly. The Hospice hopes this new campaign will reverse falls in its legacy income to help ensure it will always be around to support local people into the future. The campaign encourages people to talk to their local solicitor or to email the Hospice at legacies@themartlets.org.uk for more information.

Booming bass, female vocals with chants of “maverick sabre”. The man himself was here in Brighton. London born, Irish raised Maverick Sabre, hip hop’s shining star with the voice of velvet hit the stage with furious might. Friend to Plan B and Professor Green, he kicked off his onslaught with ‘Memories’ and ‘Sometimes’. The man was a two-edged sword. Old school Hackney rapper turned into the great Sam Cooke in one beautiful song. Soul is where his heart is. ‘I Need’, the new single brought the house down, ‘I Used To Have It All’ and then he really did have it all. A slight break for the band with an acoustic couple as he returned to Ireland as a kid. The band returned with a homage to Noel Gallagher, with audience participation on ‘Wonderwall’, waving their hands in the air with the enigmatic maverick and band. The set wrapped up but not before the brilliant ‘Let Me Go’ and ‘Jungle’, which killed everyone, no survivors. The boy really can sing. His talent for playing with an audience was captivating, his energy was endemic, his tunes are speaking for his generation, and thankfully we can all have a listen, all at the tender age of 21. A star is being born and will grow. Well done Mr Sabre and thank you.

Concorde 2, 7 November
Rating:
Andy Forward