The Corporation, Sheffield
Sunday, 2nd March 2025
Empires Must Fall – Album Launch
Being an inveterate scrounger I managed to get hold of an access all areas pass for the launch concert of Ghost of the Machine’s exceptional album Empires Must Fall, I was determined to take in the whole day and, as it was a unique event, make the most of the it, and then share it all with you. My travelling companion for the day was TPA’s Chris Simmons who had been invited by the Charlie Bramald to do a promo shoot and to capture the gig.
Having an AAA wristband might have its privileges but it was more a case of me sating my curiosity rather than the chance to hobnob with rock stars and join in any orgies that might have spontaneously happened.
Arriving at the venue, almost 3 hours before the event starting, I was able to see it all and be amused, and occasionally bemused, by the sights, sounds and smells that many do not see before the rest of the audience arrive, get their drinks and take up their chosen positions in front of the stage.
Not being in a band that has a massive budget, on arrival they had unloaded their own instruments and were in the process of the last stages of setting them up. Drums were monotonously bashed, a vast bank of keyboards, virtually hiding the keyboardist, Mark Hagan from sight, were being twiddled, a bass was releasing a pounding beat that could have caused arrhythmia in anyone who was stood too close to the speakers and the two guitars were merrily taking it in turns to out play each other in what could easily be described as jazz fusion. All punctuated by Charlie Bramald walking up to the mic and testing out the vocals. Although I couldn’t hear anything wrong with any of them, there were multitudinous instructions shouted to the sound technician indicating that things (which mostly meant nothing to me) were tweaked to ensure that everything was to their satisfaction. There was lots of laughter and banter, with insults flying between drums and bass which managed to ensure that any stress or worries could dissipate and, even if I couldn’t tell the difference, the changes were made and everyone seemed to be happy with their sound and the total balance.
Once that was done they all disappeared so I did manage to have a nosy in the ‘Green Room’ where the band hung out but it wasn’t what I had hoped for. Instead of suspicious looking bags of powder, crates of booze stacked to the ceiling and scantily clad groupies, it was a small room with a sofa, some comfortable chairs, a big mirror and a kettle, which the band had taken advantage of to make themselves nice cups of tea while they ate chocolate. They were also preoccupied with signing CDs with yet more jokes and laughter but other than that there wasn’t anything that could be reported as salacious gossip in the tabloids. Maybe it is a Yorkshire thing but that seemed right for the band and, in retrospect, I’d have been surprised if it had been any other way, after all it is Prog Rock. Such indulgences are frowned upon as they could lead to dancing.
Deciding that such heady shoulder rubbing with musicians was too rich for my blood I decided to wonder off and explore the venue. And when I say explore it would possibly be more accurate to say that I got lost in the labyrinth of corridors that didn’t take me back to where I wanted to go. But, eventually I did manage to retrace my steps and get back the merchandise stand which was still being busily populated with the mandatory fan souvenirs and then back to the stage. Deserted and looking quite eerie with a pall of smoke, care of the dry ice machine, hanging around like a chapter describing a graveyard from a Victorian gothic horror novel. All accompanied by the cough inducing smell to go with frigid gas.
There are variations of it but there is a saying that wars are long periods of inactivity sprinkled with moments of action but that could also be used to describe the build up to a concert. This was the quiet before the storm and as it got closer to zero hour various members of the band seemed to appear, mess about with instruments, and then disappear again. However in one of those brief sojourns away from their private room I did manage to have a chat with Charlie. As he and I do chat on Facebook, and jokingly insult each other, I did know that, despite his ever cheerful cherub like face and optimistic demeanour, he had worries and was nervous so, once again, I enquired as to how he was feeling. With a resigned shrug and smile which displayed that he had a sanguine philosophy and was feeling confident, or as confident as he could be. He wanted to impress and accepted that there are things outside of his control but as for the music, he seemed confident that he’d not forget the lyrics, (despite me trying to plant the lyrics to Agadoo in his mind) and as the audience were by now fans and as they had already heard a couple of the songs in existing sets, they would be figuratively singing to the choir. Yes they might not have heard the whole album but they were all there to support the band so would be forgiving if there should have been any technical issues to be the fly in the wood pile.
As I made my way to the concert room to ensure a prime position I noticed a few familiar faces – Matthew Lumb (Beatrix Players), Chris Mahon (Haze/Treebeard), Tony Castle (NVRF festival), Roger Marsh (Progzilla), there were likely more as the audience had travelled far and wide to be there, Holland, Spain and the North East (UK).
DIKAJEE
Then the support act, Dikajee, arrived and the rerun of the whole cycle of instrument tuning, vocal acrobatics and shouted instructions given to the sound guy. From what I had heard so far from both acts it looked like a stunning night was on the cards. Once that sound check was over she went off to set up her merchandise, get changed and, as it turned 7.30, it was show time!
Recently I had increasingly heard the name of Dikajee, where people were saying wonderful words about her, but other than a brief appearance on a Nick Fletcher solo album, I had not heard any of her music and was eager to learn more. And what an education it was. With some voices it is hard to categorise them or give them an accurate description without making them unfairly sound generic and Dikajee falls into that group. At times she sounded like a cross between Kate Bush and Björk, at others it wouldn’t have been out of place in a smoky jazz club. Then there were stints that made me think that she’d had classical training; crystal clear tone that would have been perfect singing The Flower Duet with Maria Callas or Dame Joan Sutherland.
Powerful, yet beautifully haunting songs that had me and most of the audience eating out of the palm of her hand. I do say most as there was one person who seemed determined to have a conversation with someone stood next to him and was shouting to be heard. Thankfully his loutish behaviour was quickly resolved by a chorus of shushes from the rest of the audience who preferred to listen to her than him. Duly chastised I think he took the hint and retired to the bar where he could be as loud and boorish as he wanted to be. Then, un-phased and able to sing without interruptions she continued to spin her magical web. Moving songs punctuated with hilarious conversations and jokes with the audience. A rising star and I definitely intend to see her in concert again, when she tours later in the year.
Forest
Millions of Flashes
Friar’s Lantern
Lily of the Valley
Gloomy Flowers
Blooming
Pagan Poetry (Björk cover)
Olga Dikajee Karpova – Keyboard, Vocals
GHOST OF THE MACHINE
After a quick removal of her keyboard and the moving of mic stands it was the moment everyone had been waiting for. Intro music was played and then Ghost of the Machine were there launching into a set that was, from the very start, full of energy and making it clear that they were out to impress and would not take any prisoners in the process. Playing the full album, Empires Must Fall, they started off with Keepers of the Light and plated all six songs in order, impossible to pick a favourite as all were equally enjoyable.
The band were, as ever full of talent while Charlie provided lyrics, accompanied by stage movements that were reminiscent of a baby faced toddler who had accidentally drunk ten too many espresso coffees. Pure theatrics that ensured every nuanced facial movements or hand gestured enhanced the performance.
Then, as encore and way to give the audience more of what they were demanding, they played three more songs from their first album, Scissorgames.
All that was left, after the final bows, was for them to mingle with an appreciative audience who had definitely been entertained. Certainly my favourite concert of 2025, so far, and I already have tickets to see them again this year. And why not? You can never have too much of a good thing.
[Shortly before the album launch GOTM’s Charlie Bramald kindly agreed to talk with TPA’s Darren Walker – you can read the full interview HERE]
SETLIST
Keepers Of The Light
Days That Never Were
Panopticon
Fall Through Time
The One
After The War
~ Encore:
Mercury
January’s Child
Scissors Reprise
MUSICIANS
Charlie Bramald – Lead Vocals, Flute
Graham Garbett – Guitars, Backing Vocals
Mark Hagan – Keyboards
Stuart McAuley – Bass
Andy Milner – Drums
Scott Owens – Guitars
LINKS
Ghost Of The Machine – Website | Facebook | Bandcamp | YouTube | X | Instagram
