Gigs with Ivan

Skids in Scotland

Skids at Barrowland Ballroom, Glasgow (24.4.2026) and Queen’s Hall, Edinburgh (25.4.2026), with The Au Pairs supporting.

A Scottish spring adventure for three old Skids fans – a pilgrimage with Big Gra and Plymouth Dave – to a much heralded Glasgow venue to see the Skids in their own country. This Glasgow gig will be the third time we have seen them north of the border with previous trips to Scotland Calling at the O2 Academy, Glasgow and one with Big Country in their home town of Dunfermline.

For me it was a debut fun trip up on the Caledonian Sleeper, from London, made convenient- ish by a clash of dates with a work commitment.

Me, Big Gra and Plymouth Dave..we made it

I was so pleased to have made it here after recent health problems – I couldn’t even walk upstairs in my own house a few weeks ago and my gig legs are still on test. I’ve sacrificed my usual beer drinking and so far so good.

The support band is The Au Pairs for most of this tour, another short-term early 80s favourite of mine who I saw a fair bit around London and Birmingham in a condensed period – they lived near me in Balsall Heath at one point.

Their Playing With a Different Sex 1981 LP was the focus of their brief indie and John Peel endorsed success, which emerged after the exceptional double A-side It’s Obvious/ Diet (1980).

Au Pairs – side on, down the front at Barrowlands

The set for Glasgow and Edinburgh was essentially that whole LP with one new song (In The Wrong Body). Every song is so familiar that it’s easy to warm to it all. I went down the front, left, and there was plenty of barrier leaning room. It’s a big place this ballroom (1900 capacity and it’s nearly full – no seats except for the less able). It feels like a ballroom, with its famous sprung wooden floor. It is upstairs from street level, where security was tight and the patting down intense.

There was a bit of controversy when the Au Pairs announced the comeback gig (for 1 May 2026 in Camden) late last year. After a few days it became apparent via social media that this was not the Au Pairs reforming but the main singer songwriter Lesley Woods with a new band. Just saying it as it is from the outset would have been more honest but the dust appears to have settled.

The sets were the same in Glasgow and the next night in Edinburgh – I did also see the Birmingham gig earlier on the tour (blog here). Aside from the obvious, It’s Obvious gem, Dear John was another long lasting and ingrained favourite for me. The cover of Bowie’s Repitition is another notable highlight – but as I said earlier, for me it’s a whole set of familiar tunes and beautiful scratchy indie guitar.

I thought the Glasgow performance was the best of the three I have seen on the tour this year, despite the quite loud excited audience babble, especially around the main bar area, which is in the same big room, with its slightly domed and patterned ceiling. In Edinburgh, the sound was problematic to start with and the band looked less enthused by the smaller venue.

A great bonus though, to the main event of the Skids. When it came to the main band my legs were complaining and I had a word with the security woman for the disabled area – after an explanation and a wait to ensure lots of prebooked people didn’t turn up, I was allowed in. Joy. I was so chuffed and relieved to take a chair, up on a ledge the back wall. A bit distant for any decent photos but I had a great view above the heads of the standing crowd, to take it all in. A few videos captured instead, with the luxury of the raised position and a wall behind me. (Links in text below take you to my YouTube vids of the night.)

Although the tour was billed as The Absolute Game anniversary tour, the set is not only tracks from that LP. It was the last with Stuart Adamson and Jobson writing together and the last song they wrote, Circus Games, is heralded as a special tribute to Adamson’s guitar playing. It’s a brilliant song, without the kids singing on it.

Jobson is doing his infamous dancing more vigorously than ever – this is a top crowd – a big gig. The singing along is beautiful. We are all still here and still at it, albeit I’m having to sit at the back.

Jobbo dedicates One Decree for the inmates of Barlinnie Prison, where they played a gig earlier that afternoon. It sounded like even Jobson banter may have cut no ice with the hard nuts of Glasgow.

Then a special moment. Stuart Adamson’s daughter, Kirsten Adamson, is invited onstage to join the band for Woman In Winter, playing one of her dad’s old guitars which is on loan from the current owner. We knew she was joining at some point from earlier social media posts. She returns later for Olympian. Almost overwhelming.

Before that, the subsequently ‘stolen’ (donated) The Saints are Coming was a real rabble rouser and I think then my favourite, Masquerade. I always think that, until I hear Into The Valley. The crowd goes wild.

The main set ends with Charles, the first Skids release from 1978. “Thank you my wonderful friends – until the next time” says Jobson, beaming and sweating.

They return with Of One Skin and Devil’s Decade, the ninth track off The Absolute Game. [They only left out one: The Children Saw The Shame.]

Next day it was off to Edinburgh…

A totally different venue – an old chapel, much smaller (900 capacity). From the queue, the crowd may have more sophisticated elements. We are in as the doors open. I’d emailed the venue ahead and they explained the availability of unreserved seating which had settled my mind. Just me and an ailing Dave by this point and a central downstairs pew was welcome. This layout gives choices – there’s always the seated balcony upstairs.

Another new venue for me, of course, and the contrast with Barrowlands made it all the more worthwhile. There’s a big open bar area attached to the main old chapel part if the building, with the merch stand along from it.

The bar from the mezzanine level where the toilets are

It’s a smaller gig but Jobson builds the excitement in a similar way. You go two nights running and the talk between the songs is more predictable of course – a chuckle from the more privileged crowd when Jobson mentions their night in Glasgow.

As in Glasgow, there is mention in the introduction of the single Goodbye Civilian that The Skids hardly ever played that one live. A brief apology for and performance of TV Stars and a bit of “Albert Tatlock!” chanting and merch t-towel waving.

I’m closer to the stage here in the smaller Edinburgh venue, although near the back so a chance of some better zoomed memories.

Connor Whyte – Skids guitarist these days

The Kirsten Adamson addition for Woman In Winter, Olympian and Charles was made even more special in the smaller venue that, as she said, was in what has been her home town of 20 years now. When Jobson introduced Kirsten back on stage for Olympian he mentioned it was her favourite Adamson song before suggesting that may in fact be Chance (Big Country)… “Harvest Home actually” she added, as she plugged in Stuart’s old guitar. How must Jobson feel on a night like this?

Kirsten Adamson with one of dad’s old guitars – Queen’s Hall

Jobson smiles and dances and punches the air, as ever. This is the end of a very successful tour.

Kirsten says her goodbyes after Charles, the end of the main set.

The encores have one great addition to the Glasgow set – a special cover of a song by a band that lit the fire for the Skids and so many punk and post-punk band: The Clash’s Complete Control.

So grateful to have made it up here for these two special gigs. Ahoy! Ahoy!

Suzi Quatro – last night of UK tour in Bournemouth

Suzi Quatro live at Bournemouth Pavilion Theatre (20.4.2026).

When Suzi Quatro‘s first LP was released in 1973 I was 10 years old. Top of the Pops was something I was starting to notice. Look-In magazine was something I started to buy every week. Suzi Quatro would become a regular feature of both as the 70s progressed, often dressed in her leathers.

I never bought any Suzi Quatro records back then (I picked up a vinyl hit LP last year in a bargain bin) but she was a significant part of my early years rock music appreciation, luring me in for a lifetime of live gigs, records, tapes, CDs and radio and internet listening.

I didn’t see her live until four years ago, right down the front, on the edge of the stage at The Royal Albert Hall. When the 2026 tour was announced I noticed the last date was Bournemouth – why not I thought.

Bournemouth Pavilion Theatre is a tired old place with a sense of history and some gloomy bars – outside of the winter months the Terrace Bar, downstairs and looking out over the gardens is the place to go pre-gig.

If driving, park close in the area immediately around the theatre, which I found to my cost is about £5 cheaper than the neighbouring one and the one over the road and closer to the cliff.

Tonight’s gig was all Suzi and her band. No support and two part, the second starting with some chat around her career and her achievements.

She started with The Wild One and while I am unfamiliar with her entire back catalogue, it’s all good ole rock’n’roll with plenty of radio play hits… like Mama’s Boy and the infamous 48 Crash, first half highlight.

I remember deciding that if I was going, I’d get a decent seat and there I was in row B with room for legs in the aisle, and Suzi Q towering over me from the edge of the stage. This was an eye contact seat.

Part one’s penultimate song was her cover of Neil Young’s wonderful Keep On Rockin’ In The Free World. As she points out, she will only play covers of songs featured on her albums. I’ll remember that now.

Second half and the classic leather one-piece is out. What a grand lady of rock’n’roll Suzi is. There is a no nonsense kick ass side but she seems so grounded – it’s like she has her old friends round for a party.

Early on after the break, there’s a talk section where Suzi gives a whistle stop run through her emergence on the pop/rock scene, coming to the UK and her long career highlights and some of her treasured awards.

Bad Moon Rising is another classic cover and the set it picking up. There’s an extensive bass solo and drum solo that she has a roll in and the other accomplished musicians she has gathered around her get a chance for a mini solo each as well.

Before we know it the crowd are dragging themselves up from their seats for Can The Can followed by Devilgate Drive. “Come alive yeah!”

This is an exhibition in how to grow old. What a lady…at 75 and after 62 years in the business.

Suzi Q takes a seat and slows it down for the end. An evening of reflection on a rock’n’roll icon.

Never thought I’d be here in Bournemouth in 2026 when I was reading Look-In magazine back the London suburbs in the 70s.

That’s it for the Suzi Q UK tour 2026 but on she goes into Europe shortly.

Ian McNabb live in Hove

Ian McNabb at The Brunswick (18.4.2026) at The Brunswick, Hove.

The Icicle Works have been a special band to a group of us who did a training course together many moons ago. In 1987 we travelled from our Weston-super-Mare base to see them at Bristol Bierkeller and Cardiff University and in more recent decades we caught up with them at Shepherd’s Bush (2006) Empire and Islington Assembly Rooms (2017), with Brighton Komedia in between (2016). For me, six Icicle Works gigs in all, a solo Ian McNabb gig in a Southsea pub in 2013 which didn’t go well and a support slot with Big Country at Southampton 1865 in 2024.

His solo material hits some highs, with the 2025 album If It Wasn’t For the Music being the best in my mind and the 2019 album Our Future in Space also a cracker – I bought that CD for a fiver at the merch stand after tonight’s gig.

Tonight, four of us have driven from Chichester to Hove and enjoy chicken burgers and a few drinks in the pub part of the venue beforehand – worth booking. I’m on the alcohol free, amongst the excellent craft ale and IPA selection.

When the doors to the music room open I am delighted and relieved to see chairs – knees and general leg health issues continuing. It’s set up like a jazz club with eventually 95 punters cramming in (says the organiser). What a well chosen venue.

Ian McNabb plays his set in two halves. He’s in a calm and happy mood and the hushed audience laps it all up. These are enthusiasts in tonight. No chatter during songs and one woman is led out after failing to play by this crowd’s self-devised rules. “I’m trying to do a gig here” says Ian, in his soft scouse accent, politely annoyed. The stumbling woman is helped off her makeshift seat on the speaker base, and out.

The sound is stunningly good and Ian plays mostly on his acoustic guitars, including an eye catching twelve string, with some time on the keyboards.

Some of the solo tracks that have stuck on me in recent weeks, my insight notably boosted by a Spotify playlist, make the setlist: Camaraderie from the 1996 Merseybeast album; Makin’ Silver Sing and Our Future in Space, from that LP and the title track of his most recent album If It Wasn’t For The Music. What a great song that is. One to grace a tombstone – if it wasn’t for the music indeed – where would we be.

The set was of course, laced together with old Icicle Works songs. The brilliant rendition of Out of Season was memorable. Hollow Horse a necessity I guess and the anthem that is Understanding Jane, a single I still have, is a special one – nothing to do with my first wife…honest. Evangeline, another but never related.

McNabb’s voice sounded particularly good this evening and the whole ambiance of the gig was perfect for a solo performance.

After the gig we queued at the merch stand to pick up some memories. I got myself a signed copy of the Understanding Jane lyrics, along with a CD and had a photo with our man.

A very pleasant smiley evening.

A Grey-Haired Gig Goer with Ian post show at the merch desk.

I was moved to buy the Our Future in Space CD, perhaps jolted by the great line “She wants me to wear skinny jeans – I’m 57, for fuck’s sake, please”, a song about a demanding younger girlfriend.

Ian McNabb new album is out now entitled 65.

The Damned 50th Anniversary bash

The Damned live at Wembley OVO Arena (11.4.2026) with The Loveless, Peter Hook & the Light and The Courettes supporting.

I had to get here didn’t I. A big celebration of half a century, a lifetime, of the band. My Damned gig number 14, over a 46-year period. I don’t suppose anyone yearns for a Wembley Arena gig for any band, especially for the likes of The Damned… but this worked.

The unpredictable package of support bands, the respectful pilgrimage made by so many from so far, the Saturday night party atmosphere, all made for a fitting and memorable event. As for The Damned catalogue of classics, we are old enough to remember and still young enough to enjoy it. Close run thing in some cases, and I have to count myself in that at the moment – knees recovering from latest bout of awfulness. I love steroids.

The venue: while being something of historic capital feature is not somewhere I’ve been that much – Blur, The Cure and an 80s event is pretty much it, aside from my childhood visits to see the Harlem Globetrotters and Disney on Ice. Built in 1934, this was once the ‘Empire Pool Wembley’ and was the swimming venue for the 1948 Olympics. Tonight, Captain Sensible proclaims it as a “concrete shithole…. but it’s our concrete shithole!”

There are seats down each side, and mate Dave has bagged us some front row views level with the mixing and light desk. This is a fair way back but unobstructed. Below and to the back is gently sloping low seating. Later, it looks like everyone has to stand to see from here, so the side raised seated areas are preferable.

With four bands playing, it’s a very early start – I really wouldn’t have fancied standing from 5.30pm as many had to. When The Courettes kick off, and boy don’t they, the hall is sparsely populated and I started to wonder what the 12,500 capacity space would look like – I needn’t have worried as it filled later. Some of the very back is curtained off so I’m guessing on an eventual crowd of about 8,000.

The garage rock duo are up to the challenge of filling the arena with their sound and their short set is warmly appreciated by the early arrivals.

Next it is the very much more familiar territory of Peter Hook and the Light.

A focused selection of Joy Division classics with an excellent rendition of New Order’s Ceremony. I grabbed a video of Transmission stored here on my YouTube channel.

Hooky’s short sets are something I have seen quite a lot of with his festival appearances. This was as good as any and ended with Love Will Tear Us Apart, as is common.

Hooky made reference to seeing The Damned in his youth and it’s clear from social media posts around this event that he is made up to have been asked to play at this celebration, with photos and comments about meeting his idols.

I was really impressed with The Loveless, led by Marc Almond. Rocky Almond and a selection of largely covers including Tainted Love, covered of course by Marc’s Soft Cell – there are tunes from The Yardbirds, Alice Cooper, Smokey! Sweet’s Hellraiser stirred it up more than most and I enjoyed hearing Sigue Sigue Sputnik’s Love Missile F1-11, prompted by SSS guitarist Neal X being in the band.

By this time the audience had swelled to its peak. I had topped up with painkillers and a ludicrously overloaded hot dog (I ended up wearing the evidence) and we were all set. Footballer and pundit Stuart Pearce rushed passed me as he headed down towards the front of the arena.

The Damned come on with the stage much cleared, at 9pm. The backdrop is fitting for the occasion. Historic images interspersed with varied imagery, starting with a wall of fire for the opener, Streets of Dreams (1985), moving to the eerie goth style and that beautiful black and green so familiar in Damned tour lighting. A start so good that I wonder if they might peak too early – three tracks in a row from my favourite Black Album: Wait for the Blackout; History of the World and Dr Jekyll and Mr Hyde, the latter with Dave Vanian prowling, dressed in full black with hat dipped and soon removed, twisting slowly across the stage as he sings. The Captain is in trade mark Dennis the Menace jumper and his beret.

Eloise – ‘their’ big chart hit – was a first part highlight and not forgetting the unmissable Just Can’t Be Happy Today the interval came, but not before the wonderful Smash It Up, with the full part 1 build up.

First half done and a breather for band and audience, especially the ageing moshers. Pearl and Dean music and imagery, that we all remembered, announced the selection of nostalgic TV adverts from back when the Damned started in the mid-seventies. I wonder where the stars of the Flake and the Shake and Vac ads are these days?

The second part leaned more towards the upbeat punkier tunes – a song like Fan Club illustrative of the early rawness, along with Neat Neat Neat. Of course, Love Song included. Vanian’s stage movements are more urgent, Rat Scabies drumming more ferocious.

Then the jewel of the evening: the indulgent, the magnificent, Curtain Call. My song of the night, and musical moment of the year. I have since dipped back to relive this in YouTube world (link to Curtain Call at Wembley). I remember being in awe of this 17 minute track when it first appeared on the 1980 double LP, The Black Album – had they gone prog – it was the whole of one side.

The Captain, focused and serious for once, joined Monty Oxymoron on a second set of keyboards during Curtain Call. It was all building up.

This led into a long Rat Scabies drum solo – heavy metal fans eat your hearts out. I don’t see many drum solos on my gig going. A classic showpiece.

At the end of the drum solo it’s straight into New Rose. After a few weeks of hardly being able to walk, I leapt up from my seat and punched the air, to time with that initial New Rose “AH”. A miracle cure. Still, the song sounds so fresh and on record even it sounds so live. Best punk single? Probably ( I may need to listen to Holidays in the Sun again to be sure!)

That’s it. This highly memorable party night is over. Appropriate and respectful for a great band as well as its absent members and significantly the initial writing force of Brian James.

You can’t follow New Rose.

Some previous Damned blogs of mine:

Jah Wobble Visits Wimborne

Jah Wobble and the Invaders of the Heart, live in Wimborne, Dorset (2.4.2026).

My previous Jah Wobble experience is limited to a gig in Exeter, in 2021, blogged here. My Wobble knowledge is quite shallow – incidental listening – I never did bury myself in Metal Box, in dub or out of it for that matter – but he’s here playing quite local so I go again, such is his stature in the history of post punk rock.

A few beers in ‘Spoons’ over the road before and it’s in for the 7.30pm start time. More on the venue in my Venue Blog here. Here tonight with old school and SW London suburbs mate Graham….in the front row with room to stretch out tonight’s ailing knee. (The pain goes on. I am getting somewhere though, stumbling on an unwelcome diagnosis on the way…but we rock on!)

No support tonight. The lady usherette on the door is quite clear: 90 minutes and no support and straight through with no breaks. Functional eh?

At 7.40pm the three band members come on – keyboardist, guitarist and drummer, quickly followed by Jah Wobble (JW), our bass maestro, with his added percussion input and vocals.

JW opens the set as if priming the room for a rehearsal or jam session, quickly outlining what he wants from his highly proficient musical colleagues. He comes over as a hesitant genius. The band know exactly what he wants and just look up briefly for mutual reassurance, and for the final nod to count them in.

This is a great front row opportunity – I feel totally absorbed in the performance and with of all the band. It is the same band members as were with JW in Exeter a few years back.

Unfortunately no permission for camera or phone use tonight – hey ho, it’s relaxed. The theatre is only about a third full with everyone all seated throughout – until the last goodbye anyway. Perhaps I should start doing some of those court room sketch style images at such times.

JW is wearing a latex string-plucking glove on one hand. Can’t say I’ve noticed similar before. While we’re on garments, with my knee trouble, I can’t help but admire and respect that JW is wearing slip-on Sketchers’ trainers – excellent – I can buy some and reference this muso legend’s pair should I be challenged by any passing fashion police. These are offset by some quite industrial looking trousers from the health and safety catalogue… and I can see his pants as the trousers sag below the unremarkable t-shirt. Hey buddy I’m feeling one of the gang here – I am on trend after all.

The set includes two versions of Public Image, one a more echoey and in dub version, at the end of the set. There is a long version of Visions of You, widely appreciated and a better known track from his material.

The surprising cover of Fleetwood Mac’s The Chain proved a worthwhile reworking and the cover of The Liquidator (Harry J Allstars) was another work of audio art.

The bass playing is perhaps obviously mesmerising throughout. Being supported by the distinct keyboards and guitar means all the component sounds are so clear and the light touch vocals become almost incidental.

This is intense. It is like being in a jam session, with discipline – JW looks like he needs and craves such discipline. Quite different to a lot of air punching and singalong gigs I go to. Everyone seems to be lapping it up without any undue dramatics.

Jah Wobble fans will know what to expect. Would I recommend for others? You need an open mind and to be able to readily absorb the sounds. I enjoyed this even more than the last time but I can see it may not be for everyone.

Being sat right in front of this musical play was a welcome experience.

Spring Bunnies in Bournemouth

Echo and the Bunnymen live at the O2 Academy Bournemouth (27.3.2026) with Mutant Vinyl supporting.

The Bunnymen are no spring chickens – none of us are who’ve been ‘with them’ since 1980. (2022 Bunnies blog summarises.) Ian McCulloch (now 66) has been suffering, it seems, with reports of back pain, voice problems, set breaks, stools to sit on and crowd support for singing. If I’d not read reports of Leeds gig and the Manchester cancellation, with concern, I would never have guessed there was anything wrong.

I’m 63. I needed a seat tonight. We’re getting on. The setlist (Setlist.fm) was nothing short of brilliant and no criticism of the performance from me. I loved it, viewed from the back row of the top floor balcony in this impressive old building. Sound: excellent. Lighting: typical Bunnymen dark shadows and backlighting. This maybe to minimise irritation of McCulloch’s eye condition rather than hide aging faces.

Will Sergeant (67) is the other old guard Bunnyman on duty tonight, on lead guitar. The rest of the band are touring members.

This t-shirt design is more and more appropriate

There’s a clear view through the roof supporting ironworks from our rear wall bench seat. I like it up here.

The support band is an instrumental jazz group: Mutant Vinyl (took me a while to find out who – adjusted later after tip off – thanks Mike Smith). I thought they provided a classy warm-up and backdrop, without demanding the usual attention that competes against the expectant chatter during many support bands.

As Echo and the Bunnymen open, with Going Up, from their debut LP, McCulloch appears through the darkness and not looking very agile. What pain is lurking under that big coat of his.

I can’t help but notice the huge stage floor signage and white lines, pointing the way to a safe exit. A few torches wouldn’t go amiss. It’s a bit dark for photos but I persevere.

This was billed as a ‘very best of’ tour and what staggers me is how the gems I’ve forgotten just keep coming. It helps that I must have played the key albums hundreds of times, especially the early 80s ones. More recently I have played Flowers a lot – a 2001 LP that I discovered later. Tonight they play the title track.

Will Sergeant’s guitar is striking on so many tracks with such well-defined melodies. What a juke box they have to pick from – Crocodiles and The Cutter as earlier for instances.

In the artistic darkness, I still recorded one song – Rescue – to upload on my Grey-Haired Gig-Goer channel. That opening guitar cutting through the babble…. wow.

All My Colours has always been a top pick of mine and that masterpiece is unravelled for us. That later track, Nothing Lasts Forever (from Evergreen, 1997) is now nearly thirty years old and maybe more poignant if re-released now. I can’t help thinking that we are running out of road for Bunnymen gigs as we know them but this one, for me included, provides something of a fightback.

If Mac says anything in between the songs, I can’t hear it – I don’t suppose I ever do. They just get on and play. McCulloch and Sergeant are so damned cool they don’t need to do more. They have the songs and the legacy. It’s enough. No chirpy cheerleaders or flashing wristbands here.

The latter part of the set brings the big sounds out – songs where an orchestra is not out of place (it’s been done of course). The likes of Ocean Rain, Bring on the Dancing Horses, for which there is a crowd participation chorus, and The Killing Moon, which Mac famously refers to as one of the greatest songs ever written.

The show ends with Ocean Rain, the second of two encores. A wonderful gig. No glitches. No reservations about recommending you catch them. Nothing lasts forever. Enjoy it while you can.

Rock’n’Rollers Telling Stories – the book tours

Baz Warne, Dave Rowntree, Miles Hunt, Toyah and more personal evenings, talking. February & March 2026.

I’m not sure how this happened but in the period of a month I have seen four maturing artists do solo, or near solo, gigs where they reflect on their careers with touring tales and insights into their careers – with some songs but not always. All had a book or three to sell to accompany these specialist outings in some rather delightful venues.

It started on 22 February with The Stranglers’ Baz Warne and his Convivial Tour accessed by the towering steps to the Bristol Folk House, a stone’s throw from Bristol O2 Academy and Beacon venues.

Baz was introduced by his interviewer and wine swigging compère for the evening, pointing out that they hoped nobody would be offended by some of the language used as they had been in the afternoon tea matinee show. Baz sits down. “The word, in case you’re wondering, was c@nt…and that’s because John Ellis is one!” Clearly no love lost between the two Stranglers guitar men – Ellis is long gone from the meninblack.

The two halves of the show include solo Stranglers songs from Baz with his acoustic guitar, such his favourite Goodbye Toulouse, everyone’s old favourites like Peaches and more recent classics, like The Lines, from the last LP, Dark Matters.

The section that discussed the lost Stranglers keyboard wizard Dave Greenfield was quite emotional. Clearly it cut the band up. They didn’t speak for ages afterwards but they got back on it and finished that 2021 album, with so much of Greenfield’s input that he had recorded before he died. The new keyboardist genius (Toby Hounsham) was found and we heard the tale of the refurbishment of the original Greenfield keyboard that featured on The Repair Shop TV show. Baz played And If You See Dave. A tearjerker.

There are several tour bus tales and Baz’s tour diaries feature heavily in his book: No Grass Grows on a Busy Street.

Baz was able to impart some meaningful detail behind the public images of the individual Stranglers over the last 25 years. I guess he’s the no nonsense straight talking one.

My next outing (13 March) was due to the appeal of an overnighter in Lyme Regis, at the end of a week where I had had to abandon a foreign trip due to disabling knee pain the weekend before. This was to the quaint seaside setting of The Marine Theatre, Lyme Regis to listen to Blur drummer Dave Rowntree.

No songs or instruments for this one but a totally captivating outline of the start and explosion of Blur.

The novel angle here was that in the early days no one had mobile phones and on early tours no one wanted to take photos of Blur… but Dave did. The book is a selection of his unique photos, with some commentary. The cover has a photo of the tour bus for the first US tour, which the sarcastic yet experienced driver had labelled up with a destination banner saying, ‘No One You Know’, as opposed to the band’s name.

Rowntree is a qualified solicitor and was a county councillor for several years in Norfolk, writes film scores and has other talents but this was all about Blur.

A vivid portrait of his fellow band mates was shared. I got it. The obsessive artistic genius; the musician, the cheese maker and the drummer.

His favourite gigs – the recent Wembley Blur sellouts and an early local festival. His favourite song – Tender. What band would he most like to drum for if he wasn’t in Blur – Radiohead.

Obviously, I had to get a book and it was lovely to meet the guy at the signing table.

Dave Rowntree signing books at The Marine Theatre

Next to Christchurch and The Wonder Stuff’s Miles Hunt. This was the most musical of these four talky events. There were the Wonder Stuff diaries available in three volumes on the merch desk, but not especially plugged. More a solo acoustic gig with added stories in between.

Another popular evening in a small town theatre. This is quite a rarity having someone like Miles turn up here.

A crowd pleasing selection of tunes including the excellent Ruby Horse as a stand out early one. Golden Green and Don’t Let Me Down, Gently stuck in the mind afterwards.

Tales included the near meeting with Bob Dylan in a hotel lobby, quashed by Dylan’s security men and experiences on tour in a breaking down van with Mr Cool – Wayne Hussey from The Mission.

These seated theatres with acoustic tunes and maturing audiences limit the wildness but it’s relaxed, enjoyable and nostalgic. Miles ends with Give Give Give Me, More More More – but that’s it. Goodnight. A very good night.

And lastly to Wimborne to see Toyah, in once the home of Toyah and the birthplace of her husband Robert Fripp – now enjoying new social media fame in their hugely successful Sunday Lunch YouTube videos….(a long way from his King Crimson days and playing with Bowie) and here tonight to be picked on in the second row when required.

Toyah has her book of memoirs out; a smart looking deluxe version being sold at half-time. There is mere passing reference to it, no hard sell but they were shifting.

Toyah, as always, looked so pleased to be on that stage with a genuine warmth from what was once her local audience.

She is accompanied by two guitarists and there is a screen for some classic backing videos which they play over. The mix of well-known Toyah hits and the cover of Echo Beach is just right to take her through her tales of growing up, behaving badly and her amazing career in performance – so much theatre and film work I should catch up on. I’m certainly going to watch Quadrophenia again. Great recall of her experiences filming that.

It all seems a long time since my first Toyah gig. Down on the front barrier at the London Rainbow in February 1981, aged 17. Tonight I am sat with my mate Graham from back then, and he’s still got the ticket.

That’s it. Four talky shows in a month. Maybe there will be more of this, unless I get out and see some more new bands as well. Still room for this form of more personal reflection though.

Jim Bob live in Southampton

Jim Bob at The 1865, Southampton (19.3.2026) with Interrobang supporting.

First trip to The 1865 of 2026. Drawn by an invitation from my nephews to join them for Jim Bob. It’s just over six years since the only time I had seen the ex-Carter USM front man, then supporting The Wonder Stuff at Bournemouth O2. (Link to my blog.) His witty lyrics deserved another listen.

Supporting tonight are Interrobang. A backing tape started to accompany the guitarist and up stepped a man with ‘FREE GAZA’ on the back of his jacket, turning to show the Palestinian flag painted front with matching shirt.

Interrobang – Dunstan Bruce and Stephen Griffin

Only later, as nephews Googled, did I realise I was watching Dunstan Bruce from Chumbawamba. The band are described as a trio, with Harry Hamer from Chumbawamba on drums and guitarist Stephen Griffin. Harry must have the night/tour off. The backing tape is loud but with a strong mid-80s beat sound.

Dunstan Bruce parades his protest lyrics, firmly suggesting that those who say keep politics out of music are ‘right wing w@nkers’. He certainly grabs and keeps the attention for the half hour set.

A break and Jim Bob and his band take the stage, each carrying a placard with their name on.

I have opted for a left hand wall to lean on – my knees continuing to hamper a standing gig. The view is good from the side and there’ a very well-lit stage – no shadowy backlighting. It’s busy without being full and the upstairs side balcony is closed – it’s a while since I’ve seen that open.

I am armed with a new phone and much improved camera on it, it seems. About time. Changing phones – arrrgh – my visions of losing tickets, photos and the ability to live are at last evaporating. It’s no longer that obvious which is the phone shot and which the pocket zoom.

For me, I don’t know the material enough to know which are the old Carter USM tunes – there are nine in the set apparently. The lyrics for all are clever and it’s good they are quite clear even with a full band. Let’s Get Tattoos is the first I recognise, followed by Danny From Nowhere, familiar from my pre-gig listening to both of Jim Bob’s 2025 LP releases.

Jim (James Morrison, now 65) remarks on Noel Gallagher’s recent ‘Brit Songwriter of the Year’ award, noting his lack of songs whereas Jim managed two albums. He jovially checks Noel isn’t likely to be in Southampton before calling him a c@#t, jovially, with a smile and a shrug.

With 14 albums since the six Carter USM releases, Jim Bob certainly has let the tunes and lyrics flow.

Jo’s Got Paper Cuts is a track that has stuck in my mind. I’ve been selecting that one a lot since the gig.

“Jo’s got papercuts
From reading reports about knives
Thinking of all the young lives
Made her feel ancient inside“

The Only Living Boy in New Cross is the Carter anthem awaited most I guess – it is by me anyway.

There’s solo section later in the set allowing even greater lyrical clarity and in that is the slow and sorry, Not My President Not My King – you can guess the tone.

A couple more Carter songs in the encore to complete the hour and half set – Johnny Cash and Bloodsport For All. Most of the audience are well versed devotees which makes for some loudly murmured accompaniment.

Another thoroughly good night out at The 1865.

The Rifles Live Unplugged and in Southampton

The Rifles at Papillon, Southampton (on 28.3.2026) with Owen Hackett supporting.

Great venue this. My third visit (my venue blog here gives more detail). One of my favourite places to see a band at the moment. We get in shortly after doors open and head straight for the length of bench seat that is front left against the wall, just to give the legs a rest until the main band comes on. Yes, I don’t mind admitting I am struggling…but we got here. Knee trouble.

A couple of ales on tap catch my eye, from Southampton’s Unity Brewing Company: Only the Sea and Conflux, both of which I sample before The Rifles appear.

I bump into a guy from my local record shop and he explains what a big Rifles fan he is and that he knows keyboardist Deano. I mentioned that I proposed to my wife at a London Rifles gig. Half an hour later he points Deano (Dean Mumford) in our direction and he comes over for a chat.

Support tonight is Owen Hackett, solo and also acoustic this local guy in his mid-20s is described as indie folk. Sounds good and a fitting support for tonight’s band. There is a lot of excited chatter while he’s playing. It’s not surprising I guess – not long after the doors opened and there are a lot of groups of old friends in here. Owen deserves another live listen.

The Rifles appear at about 9.30pm, in the gloom. Goodness it’s dark but hey it’s atmospheric dark … and terrible for a photo.

Three of the five Rifles make up this ‘unplugged’ version of the band: Joel Stoker, main vocals plus guitar; Lucas Crowther, main guitar plus vocals and aforementioned Deano Mumford on keyboards and back centre stage…even darker back there.

This alternative way to hear these songs has been prompted by the recent release of their Unplugged Album Volume 2, following on from their first unplugged volume in 2017. From listening to a few people outside after and in the gents, they hadn’t read the ads or someone else got their tickets, because they came for a full band show and were missing the bass and drums. Most seem delighted with what’s on offer and it really is an up close and personal gig.

The Great Escape, She’s The Only One and Robin Hood stand out in the early part of the set. The acoustic set aids the singalong approach from most of the audience down in the main front section at least.

There’s a solo slot for Deano and he delivers his version of the Madness cover, It Must Be Love, by his own admission tainted by a bottle of red wine in the pub over the road. I understand from chats that Deano plays with Suggs on Suggs’ solo tours.

Peace and Quiet is another favourite (their first official single release, 22 years ago), captured here in my rather dark video. (Link is to my YouTube channel.) The songs roll by. This is easy listening and melodic and more so as an acoustic set.

I’m a bit taken aback when Deano tells our tale of proposal to the audience at one song break, pointing in our direction – cheers Deano – he remembered the detail.

A great finish with Local Boy (surely their best song) (Official video YouTube) and Romeo and Julie. That’s it and we are off out into the rain. Glad I made it.

Gig Venue: Papillon, Southampton

Papillon, 61 Commercial Road, Southampton SO15 1GG. (Blog last updated from visit of 22.11.2025.)

What a place. Papillon is smart and inside an old church, opposite Southampton’s Mayflower Theatre, and more to the point The Mayflower Village pub….handy when waiting for the doors to open on a rainy night.

It’s a few hundred yards up right from the railway station when you exit on the opposite side to the port. If arriving by car, there are some handy on-street spaces between the venue and the station, if you get there early enough.

It’s all standing , bar some fixed seating down front left and dotted round including upstairs, but out of view of the stage. Capacity is 450.

If you get a space on the rail around the part of the balcony above the stage, there is a good view. I have been quite happy upstairs when the support band is on – sitting out of view and occasionally wandering about. There’s a bar upstairs at the back as well – variable stocks and a fabulous stained glass window backdrop.

When I visited to see Spear of Destiny I grabbed a spot on the bench seats at the front left, saving legs for when the band appeared.

For The Clause, (blog link) it was a sell-out and hence very busy, but it was still possible to move about and access the long downstairs bar. Ideally, to see well, you want to be in the main circular part of the downstairs – there are a few pillars – but I was comfortable further back for the Clause, avoiding the exuberant youths having a good night.

From the far end of the downstairs bar – balcony and mezzanine floor above

Yup – this is a lovely spot. Not a routine gig venue but more something a bit special. A place to look forward to visiting.