As in the film ‘High Fidelity’, everything in life can be reduced into a ‘Top 5’ but…here are my top 3 moments, bands and albums of 2009.

I have been aware of this band for a year or so, but they have really come into their own this year. The Airborne Toxic Event are one of the most visually encapsulating live acts around at the moment, and after catching them at the Anson Rooms in Bristol this November, my enthusiasm for their music and their shows was propelled to new heights.

After seeing them on the slightly shitty (but charming) stage at The Cooler in Bristol in 2008, the audience of nine and I were certain that the five piece outfit from California were definitely playing on a stage far smaller than those that they were used to. This was confirmed after a brief meeting with the band post-set, when they revealed to me that they had spent most of the year supporting bands like The Fratellis over in the states.

This November, they proved to be bigger than the ten or so of us had believed the year before. Their 200th show of the year was a mind blowing spectacle of black and white multi-level staging; simple, intelligent lighting; cleverly chosen and well edited video; and more winkle pickers than Russel Brand’s personal wardrobe. The music itself was impeccable and encapsulating – it was hard to believe that the year before no one in the room knew who they were. Now, the sell out crowd hung onto every word – from the crooning, laconic melodies of “Sometime Around Midnight” to the upbeat blasting of “Missy”. Their connection with the audience was unmistakably genuine – there was even a mention of the ten of us who had been there at the start, with a brief “thank you” form singer Mikell Jollett. Few bands have the charisma to carry their effective formula from studio to stage, but The Airborne Toxic Event have earned their place as one of the top bands to keep an eye on for the coming years.

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Q: What do you get if you cross Bob Marley, thrash metal and a loveable Welshman in a bomber jacket, sunglasses and ex-Chinese military cap?

A: Skindred.

There is only one word that can describe any Skindred recording or performance: insane. Whoever came up with the idea of mixing Reggae vocals and dub beats with a post-hardcore backdrop was a genius. There isn’t a single album by Skindred that doesn’t warrant a legal download. From their debut album “Babylon” to their latest LP “Shark bites and Dog Fights”, Skindred maintain a sound that is more original and captivating than almost anything else around at the moment.

My first encounter came in 2007 when they supported Gogol Bordello on their tour of the UK. It was an instant success – the ‘raggapunks’ tore a void through the Bristol Academy so wide, that even the mighty Gogol Bordello struggled to keep the crowd enthused. I have since had the privilege of seeing them twice – once on the Eastpak Antidote tour with Flogging Molly in November 2008 and then on their own headline tour in October 2009.

And my God have they grown.

It was clear when seeing them as a support act that they were destined for bigger things. The charisma and talent of frontman Benji Webbe pulls you in immediately. His bounce and vibrancy take the music at a pace you don’t hear on the records. The rest of the group are tighter than any other act I’ve seen – either classical or contemporary. The execution in their performance is not just perfect – it’s almost sublime.

Who would have though a Welsh Ragga metal outfit would work on any level? When you look into Skindred’s past, it doesn’t take long to see why they’re so goddam tight – they’ve been together for over 10 years. The band was formed out of a host of other deteriorating projects in 1998. Now, the experience of playing together to crowds ranging from 7 to 70000 has paid off, and they are by far one of the most entertaining, talented and interesting acts in the world today.

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Bat For Lashes

Natasha Kahn: Primary School teacher meets prog-folk goddess.

There’s something about live music that just makes sense. It realises what you hear on a record. Bat For Lashes are a prime example of why live music is more fulfilling than listening to a record. Although their albums (Fur and Gold and Two Suns) are beautifully crafted, the live sound is edgier, purer and ultimately more poignant.

After catching one of their performances in Bristol in April 2009, I was hooked. Clad in a boiler suit and a Jacobean ruff, frontwoman Natasha Kahn took absolute control. Her quirky mannerisms (howling at the audience; hanging prayer bells round her neck etc.) only added to the slightly bizarre nature of the performance. Surrounded by old TVs, glowing angels and stuffed woodland creatures, it was like looking into an Indie-Narnia.

Ex Ash guitarist Charlotte Hatherly took her place on Bass and Guitars; Sarah Jones of New Young Pony Club fame took a seat behind the drums; and syth-maestro Ben Christophers joined on electronics and whatever else he could find. Together with Natasha, they recreated the sounds of the two albums with an added dimension – one that made you realise Kahn’s dream extends far beyond what goes on in the studio.

Of course, not everything is perfect. And Bat For Lashes’ consistency is one such thing. After rebooking to see them later in the year, I was eager to see how they could fill a larger stage. They didn’t. In the six months between the two gigs had seen a surge in popularity – one which seemed to make the band feel particularly uncomfortable. Natasha received several calls from the crowd and crumbled under the attention. An awkward smile was all she could muster, occasionally throwing a half-hearted ‘thank you’. It seems that being appreciated as a performer and creator means far more to her than being a star. Or maybe she’s just tired.

Nevertheless, Bat For Lashes remain one of the finer live acts to see this year. If you can, see them in a pokey club on a backstreet of some small city. Festivals and 1000+ venues just don’t quite do this band justice. And that’s no bad thing.

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