Gigs with Ivan

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 gentley 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.

Eloise – ‘their’ big chart hit – was an 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.

Maxïmo Park – live in Bournemouth – at last

Maxïmo Park at O2 Academy Bournemouth (10.2.2026) with Art Brut supporting.

Maxïmo Park were formed in Newcastle and released their first album, A Certain Trigger, in 2005. After a further seven albums, all of which I have bought, mainly on CD (and one quite a recent cassette), I finally get to see them live on tour. Their tours haven’t reached the Bournemouth area that I can remember. I did see them at Victorious Festival on Southsea Common in 2017 and 2024 (possibly another set at Reading Festival back at their start?) but never caught one of their own gigs.

Some bands have a sound, a voice, lyrics that just click with you and they do that for me. I realise from talking to people that Maxïmo Park have passed many people by. I can see that since their first few LP chart toppers (and a first LP Mercury Prize nomination) they may not have hit those heights: maybe they are not so popular down south, perhaps they don’t clearly identify with one genre, but I get a lot of blank looks when expressing my enthusiasm.

But they are here now, at O2 Academy Bournemouth, at last (my venue blog). The standing balcony and top ‘Gods’ seated balcony are closed tonight which indicates lower ticket sales.

It’s as full as it needs to be downstairs though. We start by sitting on the edge of the bar steps – a leg saving inconvenience, just for support band Art Brut. They start with the instantly appealing Formed a Band, which I had listened to a few times when I saw they were supporting – they started out around 2005 but I wasn’t aware of them previously. I stood for that first song and went to have a look, but back to the steps for the rest. Sounded OK and with some novelty and humour, despite my lack of visuals but after a long musically accompanied monologue that followed the opener they lost me a bit. I needed to be down there in full view really. I’m wondering at what point I give up and secure a chair in the accessible area.

I survey the incoming gig-goers. A good mix. Some arty dressers and some scruffy ones. I find the steps a good place to review the footwear variety. Some lovely Doc Martens..quite a heel on the ladies’ ones.

For Maxïmo Park we go down the left and across into the centre behind some very tall young chaps – not a bad view with a bit of bobbing around. The backdrop curtains enhance the old music hall architecture, as does the frequent deep red lighting.

There are some bright lit steps leading back up to the drummer, Tom English, an original member from 2000. The steps facilitate the trademark leaps by Paul Smith – no I couldn’t catch one on camera. Smith has been the frontman since 2003 and for all the albums. Guitarist Duncan Lloyd is also an original.

I hadn’t actually clocked that the tour was in celebration of the 20th anniversary of the first album, A Certain Trigger. Hence, they played all but one track from that one but interspersed with at least something from each of the other seven albums.

It’s indie pop/rock with some poetic lyrics and a varied pace – punchy ones and relaxing ones – keyboards and guitars but with Paul Smith always the focus, always with his black hat.

Three great tracks from the second album, Our Earthly Pleasures. My pick is the softer Books From Boxes, which is saved for later, but Girls Who Play Guitars and the punchier Our Velocity were also top tracks to pick.

A defining aspect of the attraction of Maxïmo Park for me is Smith’s north east accented vocals, subtly accented. The band formed in Newcastle although Paul Smith was Stockton born, a little south. This explains his pause to mention football (always divisive to mention on stage but..) and his love of Middlesborough FC, remarking on them going top of the league in a game he was able to catch on TV, on their previous day off.

This softer vocal features on a few of my later LP faves: Versions of You and the dreamy Leave This Island. (Link to YouTube version.)

The frantic Limassol was a first album single that got a lot of play when it was released. This stirred the crowd up to end the main set along with another debut LP bouncy one, Apply Some Pressure.

I’m done and hobble off to the side for one of my wall lean stances. The short breather doesn’t last long as Books From Boxes features in the encores. I peer under the balcony overhang.

Some lovely songs in Maxïmo Park’s box. The later albums have never reached the audiences of the first few but they have got noticed and gone in high in LP charts on release. There must be a committed fan base core.

I’ll be looking for future tours – back for more. That’s always the test.

Suede live – Pompey

Suede at Portsmouth Guildhall (31.1.2026) with Bloodworm supporting.

Ahhh Suede. Somehow a band that still look and sound fresh, despite being around for over 30 years. Their first LP surfaced in 1993 and I’ve been with them all the way, as my last Suede blog testifies. The band had a seven year hiatus 2003-10 and the bassist and drummer are still the originals, along with frontman Brett Anderson.

The latest LP, Antidepressants, is a belter. The opening two tracks, Disintegrate and Dancing with the Europeans are in my mind among their top tracks, so when they open with these live, my night is made.

I’m in the balcony and it’s all a bit of a squeeze. Surely the length of my thighs hasn’t increased. In hindsight, downstairs with friends tonight would have been better – knees are behaving and legs resilient – good view mind up here. (More on the venue here in my venue blog).

We were in the large downstairs bar too long and missed most of support band Bloodworm. Another error as the two songs I heard sounded right up my street…dark indie rock/ pop. I will try again.

No camera for me tonight: just my ageing phone. Some choices to be made on that front soon. Portsmouth Guildhall prohibits cameras so I didn’t travel with my trusted pocket zoom. Do I ditch a blog on this one? No. Just a bit different. One of my mates downstairs offered me their pics to use, for which I am most grateful, to enhance the memory (Cheers G).

I took a few with my phone – such as the first few here – but they are not up to much. You get the balcony perspective though. It does hang over the stage nicely.

After the opening wonders, three tracks in all from the latest LP, it’s Trash, just about my top track, from my favoured album, Coming Up. What a start. Brett is already leaping on and off boxes . He’s 58. How can he do this? Beautifully slim of course, which must help but he’s still got it.

Brett Anderson – Suede – Portsmouth (pic G Alsop)

With the arrival of Animal Nitrate I’m starting to get concerned that the set might be a bit front ended. Of course it isn’t but very well balanced – no lulls. There is the quieter Life is Golden with Brett singing with just the piano accompanying. Even a brand new song Tribe is greeted with excitement – introduced by Brett referring to the fans as his tribe, or rather the band’s tribe.

Brett ventures down into the pit in front of the stage several times and around the barrier and into the crowd on a few wanders. He doesn’t mind the grabbing hands from the adoring ones – shirt wringing wet with sweat. It is an adoring crowd. A good mix, age and gender wise and a notable lack of idiots.

There is some trademark Anderson mic swinging if course and the microphone lead is an ever present hazard he dices with. The show just wouldn’t be the same with a radio mic.

I was pleased to see as many songs in the set from Coming Up as the new album. Filmstar and the final song, Saturday Night – part of the two song encore – were highlights from that chart topping 1996 LP. All in all an excellent mix of the new and the old in a near perfect set. As I have seen Suede state: this is not just a nostalgia trip.

Best gig of the year so far, indeed since last summer.

Thanks for the pics G 🤝

The Molotovs – A Monday Night in Southampton

The Molotovs live at The Brook, Southampton (26.1.2026) with South Street supporting.

It’s raining again. It’s dark. It’s Monday night in Portswood, Southampton and as we approach The Brook, I see the biggest queue I can remember outside this venue. The Molotovs are in town, riding on a wave of positive publicity and TV appearances. The new LP, Wasted on Youth, is out at the end of the week.

Exciting times for this teenage brother and sister duo, with a drummer, live tonight. It’s Matt (17) and Issey (19) Cartlidge and they are upstairs wandering and chatting to people before they are due on stage. Without bringing down any image of Southampton gig goers, Matt and Issey stand out a mile as they are wrapped in style…. I even found myself admiring Matt’s shoes in the bar as I sipped my Guiness Zero in one of the leather settees near the upstairs bar.

Support band, South Street, are a well selected support – mod sounds and a Jam song to finish. It is absolutely rammed in The Brook tonight and as it’s my third standing gig in five days, I sit back and listen to South Street but see nothing through the bodies at the upstairs balcony rail.

I pop down the back stairs to emerge at the back of the downstairs area. So busy. I’d left it too late. I took a few pics and had to retreat back upstairs. A 600 capacity here (capped at 550 for comfort I read). It is reassuring to see it full. Genuine excitement buzzes through the place with this new band’s visit. I say new. New to most of us but they’ve been playing live at one hell of a pace, clocking up 600 gigs I read somewhere, over recent years. This is their breakthrough – the new LP.

I was supposed to see them support Adam Ant in 2024 but Adam cancelled due to ill health and they were nowhere to be seen when he returned a year later. Then last November I caught the end of their support set with Palaye Royale in Birmingham (link to that blog here).

It’s fast and frantic from the outset – very little slow down or lull, from the off. In the first few songs Matt cuts his lip on the mic but after a brief mention realises there’s nothing to do but keep ripping through the setlist.

I do like being upstairs here. It is quite hard to get a clear full view but the sound is great and you can peer over, through and wander and certainly zoom through the railings effectively. Anyway no choice tonight as we weren’t downstairs early enough, with people packing the back downstairs near the door.

The Brook – side balcony view – The Molotovs

It is impossible not to pass over any Weller/early Jam reference. The songs have that excitement and rapid guitar strum – their sounds have their roots in mod revivalism but there’s a punky edge.

Issey’s stage movement is incredible, strutting and ducking, singing backing vocals while playing bass throughout. So much energy goes into the show from the pair of them… not to mention the drummer keeping them firing (I didn’t catch his name anywhere.)

As I write these notes, the LP, Wasted on Youth, has been out a week. It made it to no.3 in the UK Album Chart and no.1 in the UK Download Chart. There are the rewards for hard live gig work and a touch of rock’n’roll class.

They play Rhythm of Yourself early in the set. This has a slightly slower bass and drum beat, I mean slightly, and is one of my favourites from the album, and a previous 2025 single.

Bowie’s Suffragette City is the only cover in the set and I don’t doubt they have an extensive bag of 60s and 70s faves to pluck more from. Their music is soaked in the best of influences, in my ears.

The title track earns that mantle as a mid-set choice, but not sure it’s my favourite or most familiar yet. New album numbers Geraldine and the rousing More, More, More, shine – maybe I’ve just heard it more as it’s another 2025 single. The LP has a very live sound to it and playing my fresh pinky blue coloured vinyl copy brought the gig to my living room.

After an intense set the trio disappear through the little door in centre back of stage to re-emerge minutes later with two more from the album to finish, including the latest single from the album, Get A Life. Another anthem.

What is interesting about The Molotovs is they have captured a massive age range with their sound. That age range is represented here tonight. The grey haired gig goers, youth and everyone in between.

A rainy Monday January night in Southampton – and one not to be forgotten. The Molotov’s fire is burning.