Frank and Walters , Agbonlahor @ Pavilion Cork

corkgigs

The Frank and Walters
with Special Guests Agbonlahor

The Pavilion
Careys Lane ,Cork

Weds 23rd December
Doors 8.30pm
Early Show

Tickets 22.50 + Booking fee from Pluggd Records
, tickets.ie and Ticketmaster.ie

Ticket includes entry to the aftershow Club Night
with Djs Ashley Keating (Franks)and Colm OSullivan(Red Fm).

Over 18s Id required


The Frank and Walters began in Cork, it was the early 90's and their mission was to spread cheer and optimism throughout the world via their music. Naming themselves after some eccentric old boys from down the road, their energetic live shows, infectious melodies and seemingly irrepressible happiness built up a loyal following and before very long, every major and independent record label was showing interest. In 1991 the Franks signed to Setanta Records.
They very quickly got down to business. First they relocated to London and released a string of critically acclaimed EP’s, filled with crafted and memorable songs - 'Fashion Crisis Hits New York', 'Michael' and 'Walter's Trip'. Choosing to earn their fame they played hundreds of gigs (becoming infamous for wearing oversized purple and orange uniforms at the slightest provocation). Initially supporting the Inspiral Carpets and Carter USM on their tours, the bands’ popularity grew and later on, as headliners, they were supported by Suede and Radiohead. Interestingly enough they also had a young man named Noel Gallagher as their roadie.
In October 1992 their first album, 'Trains, Boats and Planes' was released on GO! Discs. With indie anthems like 'Fashion Crisis Hits New York', 'Walters Trip' and 'This is not a Song' jostling for attention, critical and popular acclaim were a given. All this vast potential finally exploded in January 1993 when the Franks released their most recognisable tune - 'After All'. With it's gloriously catchy chorus and general up-beatness it was the perfect antidote to the dark winter days, and it thundered into the UK charts at number 11 – providing the band with their first appearance on ‘Top Of The Pops’.
Their second album, 'Grand Parade' unleashed their full potential and to this day remains a classic. Described at the time as "The jauntiest of melodic joys" by the NME. With tracks like 'Colours', 'Indian Ocean', 'Tony Cochrane' and 'How Can I Exist' the record propelled the band to new heights.
The band opted to relocate to New York and write another album. ‘Beauty Becomes More Than Life’ is generally recognized as a watershed album in the band's career. "Music that will change your life" was a description given by one notable industry executive. “A lost classic for the 21st century” was how the NME described it. The Franks said “It was in the shop, ye didn’t look hard enough!”
Fifteen months after 'Beauty Becomes More Than Life' the bands fourth album ‘Glass’ was released. The album represented a journey for the band where they decided to pursue an electro-pop theme and tip their hats to the music they had grown up with. The album, which was well received, has since been described as being “15 years too late and 5 years too early”, but this was by Ashley, who’s just the drummer so it doesn’t count.
In late 2002, having spent the year touring the recently released 'Best Of' the band opted to take a break from gigging and recording, choosing to recharge their artistic batteries.

In early 2005 they began writing again and signed to Fresh Indie Frontal Attack Records (www.fifarecords.com). Starting with a new double album release 'Souvenirs' in October 2005 and to be followed by a new album in April 2006 'Renewed Interest in Happiness', the band are preparing to take their rightful place as one of music’s most creative and enduring acts.

Agbonlahor Biog
Agbonlahor were the impressive recent winners of The Transmission Battle of the Bands .
They formed in early 2008; college friends Patrick and Dom finding common ground in a desire to write concise indie pop vignettes rich in inventive melody and low on self-pity. Taking their cues in equal measure from asymmetric schiz-pop (Forward Russia, early Bloc Party) and lush, bittersweet alt rock (Death Cab for Cutie, The Cure), one can also detect a knowing tip of the hat to late seventies post-punk pioneers Gang of Four and Television in the group's maiden compositions. The band's centrepiece however is undoubtedly the boy/girl vocal attack of frontpersons Muireann and Patrick; their harmony and counterpoint very much vital weapons in a diverse musical arsenal.