Feeder

Feeder are a great rock band. I first became aware of them when they I saw them supporting Stereophonics back in 2001 (one of my Top 10 gigs).

They've been around for a while but continue to have a good fan base of which I'm one. Some of their songs are the get up and jump around songs (or go to the mosh pit if you dare), like Buck Rogers, whilst others are melodic and a bit calmer like Pushing the Senses which was also used in a car ad on TV.

I have seen them at various venues over the years, some small like Proud Gallery, London and some larger like supporting REM at Hyde Park in 2005. They also had a sort of side project (a bit more loud and raucous in my opinion) under the name of Renegades.

Grant Nicholas, their lead singer, has recently been working on a solo album which I think will be very different from Feeder but that doesn't mean that the band are going their separate ways.

If you want to see a good rock guitar band, then I would recommend Feeder.

On the one hand, it’s easy to be tempted to think that any band best known for a cover version are probably of dubious worth creatively, but that couldn’t be further from the truth where The Futureheads are concerned; sure, the track they’re most readily associated with is Kate Bush’s ‘Hounds of Love’ after they put their own stamp on it back in 2004, but in the following decade, they’ve continued to push the envelope artistically - not least on their fifth album, Rant, which was entirely a capella, with just vocals and no conventional instrumentation of any kind. In support of the album, they toured a capella, too, playing at concert halls rather than conventional rock clubs and extending the concept to their back catalogue, reinterpreting old tracks according to the new album’s concept; the gigs met with a strong critical response. Since then, they’ve gone back to what they know, playing standard rock shows as they prepare material for album number six; they still have a fervent cult fanbase, and remain a popular festival booking, turning ‘Hounds of Love’ into an exercise in mass audience participation and defying the demise of the scene they emerged from with tight, high-energy sets.