Gigs with Ivan

Echo and the Bunnymen live in London

Echo and the Bunnymen at The Roundhouse, London on 8.3.2024 with Erica Nockalls supporting

A Bunnymen hits tour at The Roundhouse – couldn’t ignore it. A big part of my student years and album after album of great songs…to sing and learn. My Bunnymen history is expanded in the blog of my last time seeing them, in 2022. (gigswithivan)

After a relatively slow start, for me, to the gig-going year, March is blossoming and tonight is gig 9. My updates will have to be briefer for this busy period – four gigs in four days coming up. I couldn’t help it!

Supporting tonight is Erica Nockalls – she has been playing with The Wonder Stuff for nearly 20 years now and I’ve also seen Miles Hunt (Wonder Stuff) and Erica as a duo. I really like their We Came Here to Work LP that I bought in Lockdown.

The ballyhoo for The Bunnymen didn’t make this the best opportunity to absorb something new and another time perhaps.

The Songs to Sing and Learn tour badge makes this a hits tour and the result is one of the best Echo and the Bunnymen sets I can remember. Indeed, I left thinking I couldn’t recall a better Bunnies gig, and this is gig 11 on a countback that started on 9 March 1981 at Hammersmith Odeon.

My first Bunnies ticket – oh why did I write on that

So often there is a bit of I wish they did this or that. Over the years there are several occasions when I’ve been in audiences that didn’t live up to McCulloch’s expectations. He is, still is, so rock’n’roll. We still can’t understand what he says between songs but tonight he’s trying.

It’s not all about him of course – well maybe – original guitarist and songwriter Will Sergeant is stage left front, but he keeps himself to himself.

There are two Bunnymen sets of roughly equal length – different, and it’s good to have a half time break that’s just enough to do battle with the Roundhouse toilet squeeze.

In part one some early belters: All That Jazz and Rescue for instance. The best for me was All My Colours (Zimbo) – one I used to play so much on a 12″ EP in my student years. Good to hear Flowers, title track of a lesser known and later album which I think is a goodie. Part one of the set ends with Bring on the Dancing Horses – a more poppy tune.

The sound is excellent – no ear defences put in tonight – and it’s amazing how McCulloch’s talking scouse mumbling can be transformed into such clear vocals.

Part two opens with Over the Wall, another early one from the combat gear years. Nothing Lasts Forever has become one of my life anthems and I loved hearing this – it was fused into Lou Reed’s Walk on the Wild Side to create something special for the evening.

They love a backlit, shadowy and smoky set. This usually makes for silhouettes in the gloom on photos but the lighting was a bit more revealing – it looks like I was right under Ian’s nose but that’s the zoom working and weird angle going on.

Killing Moon and The Cutter to end the main set – classics – Killing Moon being the song McCulloch says is the greatest song he’s ever written. I wouldn’t argue.

Two encores – I mean they actually went off and came back twice – of Lips Like Sugar and a calming Ocean Rain, ready for me to shoot off for the late train back to my mum’s and my old suburban stomping ground.

Orchestral Manoeuvres in the Dark live in Leeds

OMD at Leeds First Direct Arena on 5.3.2024 with Walt Disco supporting

My first gig in Leeds so I thought I’d note my attendance at this one.

I first saw OMD in Battersea Park, London in 1985 as part of a Greater London Council funded festival. Those early singles – Messages, Electricity and of course Enola Gay – have always been on something of a pedestal but the latter was the only one I bought.

It wasn’t until 34 years later that I saw them again, in Bournemouth, and my blog on that and looking back can be found here: 2019 Bournemouth gig

As time has gone on, I think OMD’s place in music history has blossomed. Quite unique in the UK charts in the 80s, while paying homage to the sound of Kraftwerk – they still set up like them for part of the show.

The First Direct Arena opened in 2013 and the stated capacity is just under 14,000. Tonight, it has areas of the steep curved bank of seats blanked out with black covering, with a large standing area in front of the stage. It’s more D-shaped so you get a decent view from anywhere: not bad for an arena. Maybe it expands its floorspace for some events but this D-shape works better than the long arenas that leave too many gig-goers way back from the stage. This is a pretty big crowd for OMD to pull in despite not selling out.

It is an arena mind. Inside it’s still like an airport car park in the concourses and bar areas outside the main auditorium. It’s still a ridiculous price for a drink and eating should be seen as an expensive survival activity only.

But it’s great to be in Leeds, seeing a live show as part of our spring tour up north.

Tonight’s support band is Walt Disco. A short set, cut shorter by a stoppage for a medical incident down the front, but appealingly 80s. Yes very 80s pop, even the big trousers. I enjoyed them and would happily go and see them in a smaller venue sometime.

OMD get off to a bright start with Messages played after the opener, followed by Tesla Girls, so familiar sounds there.

Andy McCluskey is a good crowd rouser and is the only really mobile band member, bass playing for large parts of the set. Other original member Paul Humphreys does leave his synth to lead the vocals, stage front at one point. McCluskey makes reference to Leeds United’s home game possibly distracting some this evening – a murmur of cheer – but they’re here for the music.

There’s a new album: Bauhaus Staircase and I gave it some Spotify plays in anticipation – yup, sound – and seven tracks are played this evening, including the title track which I recorded and saved on my YouTube Channel here.

The setlist (link here) notably includes Joan of Arc, and Maid of Orleans. I grabbed another video of the single If You Leave , also saved on that YouTube channel.

(I tend to just record one or two, using zoom camera, and ditch if no good. Some venues just lend themselves better to do this without getting in the way, waving a device about.)

But it’s Enola Gay that is the standout OMD song to hear and see played live. With the added backdrop film and the better sense of the history now, than when it hit the charts, it’s an emotional piece.

That was the last song of the main set. They return for three encores which include Electricity. The 1979 single being the theme tune of OMD I guess. A fine way to end a really good evening and another track which is so enhanced by being clearly amplified and played loud.

Nouvelle Vague à la 1865

Nouvelle Vague live at The 1865, Southampton on 29.2.2024 with DeLaurentis supporting

My mate said how about this one. I’d never heard of them. Completely passed me by. I checked them out and realised this was a French group, or rather a concept, based around an original core which involved playing songs from my post punk and 80s records in a bossa nova style – a cabaret lounge feel.

First was the synth sound of DeLaurentis, also French. The short set had some heavy electronic sounds with at times a quite clubby sound. Well received and atmospheric.

A stage reshuffle and Nouvelle Vague open with Love Will Tear Us Apart. There’s a start eh.

Two female singers, a bassist (frequently armed with double bass), guitarist, keyboardist and drummer come intricate percussionist, but who anyone is, I don’t know. This outfit revolves the singers and always has…. I haven’t sorted out who is who on the current tour. (I have now identified Alonya!)

Both singers are excellent, playing off each other and giving a visual angle to the party.

The familiar songs in an unfamiliar style roll out: Making Plans for Nigel; Only You; Girls on Film and Cure classic A Forest (a video clip of that one saved here on my YouTube channel – the mid-song dancing has to be seen).

Cohen’s Marianne buts up against Teenage Kicks and the hits keep coming, in that sophisticated night spot way. This would be enhanced by little tables and glasses of wine.

Maybe the best of the evening was Bauhaus’ She’s in Parties. Took me a while to cotton on to the intro. Like so many of their versions there is a bit of disbelief at what emerges.

Guns of Brixton is another high spot, before an extraordinary rendition of Too Drunk to Fuck by The Dead Kennedys – the two singers sparring for their bit of stage and loving those lyrics.

Maybe Look of Love is less removed from its original feel than most songs in the set and perhaps less added value for that.

There’s a long version of The Specials’ Friday Night, Saturday Morning with some Eartha Kitt-like talky bits. Oh Terry, RIP.

The half-full 1865 enjoyed it all. A different crowd to many I find myself in. Some flamboyance in the clothing and some French students.

The encores includes Buzzcocks’ Ever Fallen in Love and Smiths’ This Charming Man, to end this wonderful jukebox in a different style.

They have a new album out, Should I Stay Or Should I Go, which features a good clutch of the evening’s featured songs, including the excellent She’s In Parties. It’s got to be worth a spin.

For more on The 1865, my updated venue blog elaborates: The 1865 venue blog.

From Southampton Engine Rooms to The London Palladium: a grey-haired gig goer’s week

The Libertines Vanilo outstore afternoon (Engine Rooms, Southampton, 12.2.2024) and ABC (London Palladium, 17.10.2024)

With my blogs, I realise there is a danger of running too many repeats, especially when delving back into a lifetime of seeing some bands live. Maybe it’s time to catch up with a few other gigs from last year in a retrospective way…. but not just yet.

Monday Afternoon at The Engine Rooms

Monday afternoon in my semi-retired, part-time working week, and I find myself in a queue in the bright daylight on a trading estate opposite IKEA, Southampton. This is the Engine Rooms (My venue blog here) and the occasion is one of these local record shop new album release promotions. This one is for The Libertines.

Queuing for The Libertines afternoon gig at The Engine Rooms

You buy or pre-order a new LP, CD etc and as a result get access to a special low-key show. Individual tickets can be bought as add-ons but the idea is to kick start the sales and bring some attention to a local record store, in this case Vanilo Record Store, Southampton. The new Libertines CD, All Quiet on the Eastern Esplanade, (I still buy vinyl but not all the time) will be with me on or after the 8 March release date.

Doors open 2pm for the 3pm start. This enables us to grab a table while we wait.

My Libertines blog reflects on my last and other previous experiences. This one now is more about the novelty of my week. This afternoon sees a half-full venue (all tickets sold) with Carl Barât and Pete Doherty playing an informal and low key 35-minute set. They are playing a full show to a sellout and full venue later, and no I didn’t have a ticket for that one.

The Libertines – Pete and Carl at the Engine Rooms this afternoon

Entertaining yes and the novelty feel was there, but it felt a little bit too short: but then what are expectations? What is the benchmark when I’ve paid £21 for a CD including a ticket (then there’s the postage adding £5.95).

Run, Run, Run was good to hear, their recent single and a selection of tracks which I couldn’t name but recognised mostly. Pete and Carl play as if round a friend’s house with some mates which has its up-close and personal appeal. Four new songs in the nine-song acoustic performance, ending with Don’t Look Back In To The Sun. Another guitarist joined them for the last few, who’s name escaped me.

Back out in the blinding sun by 3.45pm thinking I wish I was going to their main gig tonight.

Saturday Night at The London Palladium

At the end of the week my ongoing tour continues with a trip to see ABC in London. The Palladium could not be more different to The Engine Rooms. The plush West End theatre instead of the bare, but functional, Engine Rooms – give me either, both bring something to my party.

London Palladium the morning after the gig

My last ABC gig was in Bath as part of gig buddy Dave’s birthday celebrations (ABC blog here) and we are back out in our sparkly jackets tonight.

Previously I’ve seen Howard Jones here at The Palladium, and Morrisey before that. So much history here but just those few visits for me. Old variety acts, comedians, legendary crooners and the big names of pop and rock playing special nights. The myriad of framed posters, photos – I even spotted a Norman Wisdom stage outfit – remind of the history. (Bruce Forsyth’s ashes are under the stage somewhere.)

A 2,286 seated capacity with two tiers of balcony, the upper one being particularly steep I remember from the Morrissey gig – stand up and you feel like you’re going to topple out. Only the very front rows of the audience can be seen from up there.

This orchestral gig was the same set up as covered in the 2022 Bath gig – orchestral backing throughout which obviously brings a different dimension to the largely 80s pop sounds.

First half is a varied selection, before the showcasing of The Lexicon of Love, the 80s pop classic. When Smoky Sings is top of those first half pops, but The Night You Murdered Love also used to provoke some humour and pointing amongst friends at the occasional drunken early 80s student disco, so that stands out as well.

The crowd are seated mainly but in the second half many rise to Poison Arrow, up in the balconies as well – no one falls! Martin Fry changes from his white jacket, black shirt and trousers into a pale pink suit – a surprising lack of sparkles but smooth as they come.

The whole Lexicon of Love album is packed with pop gems of course but Look of Love must be the winner – so 80s, yet distinct from the other bands Fry mentions in his introductions and references to the ABC time machine. There is some wonderful sax playing.

Glazed eyes and tilted heads when I look around in All of My Heart, as that concludes the album. That’s it. What next? Time for one more indulgent and orchestrally enhanced version of Look of Love. Pop classic, with strings …and the rest.

There you go. My gig-going week. From an old industrial unit in Southampton to an iconic West End nightspot.

With a Bowie tribute band up next and a not too hectic gig-going schedule maybe I will get time look back at record some of the great gigs I missed out of my blogging last year.

Hugh Cornwell at The Cheese & Grain

Hugh Cornwell live at The Cheese & Grain, Frome, Somerset (27.1.2024) with EXTC supporting

Another trip over to Frome – something of a habit in recent years and prompting a gig venue blog for the legendary Cheese & Grain.

A reasonably convenient Hugh Cornwell live appearance will always lure me in. My last Hugh blog from Newbury covered my long running enjoyment of this former Stranglers frontman.

A few days prior to tonight’s gig, support band The Primitives had to pull out of the tour due to lead singer Tracy Tracy’s failing voice. Having booked the tickets partly on that worthwhile addition, I was disappointed but only until I discovered that EXTC were replacing them on the tour.

That is original XTC drummer, Terry Chambers, playing XTC songs with Steve Hampton (previously with The Vapors and Joe Jackson’s band) and Terry Lines on bass.

This is a band I’ve wanted to see since I knew they were an active reincarnation of XTC. I never saw XTC live before they parked their spell of art rock pop brilliance.

The audience were well educated in the tunes – XTC emerged from up the road in Swindon so were probably local heroes in their day. The singalongs got louder as the set progressed, starting with Statue of Liberty and on through gem after gem. The likes of Senses Working Overtime and Sgt.Rock (Is Going to Help Me) early on and building to the choruses of Generals and Majors. I forgot how good these songs are. “Bloody Marvellous!” was vocals and guitarist Steve Hampton’s verdict on the crowd singing.

Of course, Making Plans For Nigel was the one everyone knew. Joyous nostalgia. They finish with Life Begins at The Hop. The band seemed to have enjoyed their surprise substitution to tonight’s entertainment as much as the audience and very grateful they were, apologising several times for their presence, in the most humble way. Well worth seeking out this XTC tribute with an original heartbeat.

Now for Hugh. The venue is about two thirds full so it feels busy enough but plenty of room once back passed half way. Bit of wandering room to pop down the side for a pic.

Hugh, playing with a drummer and bassist, opens with Iwannahideinsideaya from his latest album, Moments of Madness. I held off buying the album until tonight but I’m already familiar with it through Spotify. The title track, a skanking reggae number, is one of the best on the album, and makes an appearance about 20 minutes in. Red Rose and When I was a Young Man would be my other picks.

Hugh’s vocal is clear, up front and unmistakeable on the album, as it is with the live set. The sound is good and no ear protection required. Most of the time his guitar playing is intense as he picks away, eyes down on the fretboard. Bassist and drummer add supporting vocals, helping those choruses.

A couple of stand outs from the last album, Monster (2018), are Pure Evel and Mr Leather, which Hugh introduces and explains is in tribute to Lou Reed – Hugh had arranged to meet his hero once while on tour in America but it all went wrong and he never got to see him… then he died.

I snapped a setlist afterwards from the lucky recipient – needs a bit of de-coding, adding to its interest. I did enjoy the way the old Stranglers numbers – and not always obvious ones – were weaved into the set. This was a great mix that highlighted the recent albums and also respected the Stranglers years. The title track from Totem and Taboo (2012) was another of the memorable solo material. Always a tricky balance. This worked better than the new stuff v old stuff sets in my view.

One Stranglers song aired, that had me reaching for the 1981 La Folie LP as soon as I got home, was Tramp. It is more like a Hugh solo track and one which is so familiar to me, but I hadn’t played for ages. That tour was one I saw The Stranglers twice on (Birmingham Odeon; Leicester University) so it was like finding on old favourite jacket or something.

Before that, singles Skin Deep and Strange Little Girl. Who Wants the World was my favourite Stranglers track from the main set tonight – released just before my first Stranglers gig at the London Rainbow in 1981.

This was a long enjoyable set, a good hour and three quarters in the end. The encores retained the new/ old balance with Leave Me Alone from the solo Hi-fi album (2000), Lasagne from the latest release and two more Stranglers ones. The first, Thrown Away, a bit surprising as this isn’t a track with a Hugh lead vocal. All four of The Stranglers are credited with writing it so perhaps Hugh is just underlining his claim on it.

To finish – the best for last – Hanging Around, plucked from that debut Stranglers album.

I have never enjoyed a Hugh Cornwell gig as much as this one and with the bonus support act, tonight was a successful outing. I celebrated with a copy of the latest album, Moments of Madness, in a fetching green marble vinyl, which the man himself signed for me.

Merch desk – Hugh with a ‘has he gone yet’ look.

Gig Venue: Cheese & Grain, Frome

Cheese & Grain, Market Yard, Justice Lane, Frome, BA11 1BE. Last updated 28.1.2024.

Frome is a 50-mile trip for me, by car from Poole, which takes about an hour and a half. The train isn’t a real option. But it’s always a pleasant outing in my experiences, providing I’m staying over.

The Cheese & Grain venue has put Frome firmly on my gig map. My first visit was in June 2018 to see The Skids. It seems to have grown in status over recent years – perhaps the legendary appearances of Foo Fighters and Paul MacCartney, as part of their pre-Glastonbury warm ups, have helped. Maybe I’ve just become more aware of it. (Somerset Live recalls the Foo Fighters gig.)

Amid the tribute band traffic, I have been over here to see Hugh Cornwell, The Undertones, Inspiral Carpets, The Sweet and for the special treat that was The Pretenders.

The Sweet at The Cheese & Grain November 2021

You can see from the photo that The Cheese & Grain is a practical yet attractive community hall type building in the middle of a large car park. It’s a not-for-profit organisation: a registered charity ‘for the benefit of the people of Frome’. To the rear, where you come in, is a small bar area, merch stand and often an extra pop-up bar with some interesting stuff in the fridge. There is also bar service into this entrance area, which in the day is a café – worth a stop, especially when the sun’s out and you can sit on the outdoor terrace.

The standing capacity is 850. When it’s sold out it can be difficult to manoeuvre around, as I like to do to snap a few pics, as well as for bar refills. The bar in the main room is across the back wall and service is usually quite speedy after initial overload. Very friendly bar staff.

Hugh Cornwell at The Cheese & Grain – January 2024

Pre-Gig Pint

The obvious place I find for pre-gig pint is The George, at the heart of everything on the main street, snaking down through the town. (The George was closed for major refurbishment in January 2024, due to re-open in March.) Up the hill is Italian restaurant, Castellos at 17 Palmer Street. For me, best of all, a few doors down from the Italian is Palmer Street Bottle, a craft ale bar that does a great cheese board and stunning ale selection.

With restaurants full booked when I visited on Saturday 27 January 2024 for Hugh Cornwell, a further option revealed itself: The Bath Arms Hotel. Stepping in beyond the uninviting exterior, is a very individual bar come restaurant with an extraordinarily expensive range of menu options – tapas, burgers, pizzas, fajitas and more. I was grateful.

Overnight Stop?

If staying over, The George is superbly convenient but usually books up early for gigs. I will be very interested to see what the place is like after its early 2024 refurb. The variety of rooms have provided varied experiences over the years – can be noisy on the front – but you are staying right where you need to be, with a lovely breakfast, and a good range of ales down in the bar.

Rook Lane House, just up the hill, was a very pleasant B&B experience – sitting down to breakfast in a historic room at a big table, with seven other Inspiral Carpets fans was a novelty. (It wasn’t open all week when I stayed. It is opposite an old carpet shop, as it happens.)

The usual suspect of the Premier Inn is on the edge of town so car/taxi required.

I’m interested in other Frome options that travelling gig-goers have found useful.

In January 2024, I tried The Archangel, opposite The George. Renovated in 2008, this grade II listed coaching inn dates back to the 14th century.

A quirky, rustic rabbit warren of rooms in the bar and eating areas downstairs. The creaking stairs lead up to the rooms. Five have huge roll top metal baths, including the room I was in which was elaborately decorated with huge old mirror and wall mural of an angel.

With a bit of time on your hands there is the new and second-hand record shop, Raves from the Grave, a stone’s throw from The George and well worth a visit.

Before I leave this one here, my top tip for visiting the Cheese & Grain: don’t park up overnight in the market spaces when the market is on the day after your gig. The market manager was very understanding even if a few stallholders were understandably put out. I think better signage is the answer, but didn’t push that line as he saw me out, hazard lights on!

Keep rocking Frome!

The Vaccines album launch day show – Southsea Pier

The Vaccines live at The Gaiety, South Parade Pier, Southsea on 12.1.2024

My first gig outing of 2024 and a novel start, thanks to an early tip-off that The Vaccines were playing a special gig in Southsea as part of their album launch. Their sixth album is released on the day (12.1.2024), Pick-Up Full Of Carnations. They still seem relatively new to me, grey-haired gig goer that I am, having formed in West London in 2010. They made 2011 their year with a string of awards for that first album.

The original line up has changed, with frontman Justin Hayward-Young and bassist Arni Arnason being joined by drummer Yoann Intonti and keyboardist Tim Lanham, in 2017. Original lead guitarist Freddie Cowan left in early 2023 and by the time I first saw them, at Victorious Festival in August 2023 they had Matt Hill on guitar – he is maybe just for touring and doesn’t feature on the new album sleeve.

It’s a good easy access listen, the new album. The CD purchase got us access to buy the tickets for tonight, a promotion by Pie and Vinyl in Southsea. (Friends picked up my copy as I was late into town after more leg ailments…I made it anyway.)

The Gaiety, Southsea

Part of the attraction for this gig/ meet-up with friends, was the novel and more intimate venue for a band of this notoriety.

The venue is on the South Parade Pier, a 600 standing capacity room between the amusement arcade and the fun fair, with an adjoining fish’n’chip restaurant. Queuing passed the grabber machines and racing car games, the excitement builds.

The pier has suffered serious fires in its history but having reopened after renovations, in 2017, it’s something for Southsea to be proud of again. I had a dip into its history and a string of legendary music hall performers have graced the pier. Also, in the 90s, visitors included Pulp, Blur, and The Stone Roses, and going back further we find Genesis, Status Quo, Jeff Beck and in 1972, a Mr David Bowie.

Tonight’s set up in the square, mainly standing space, sees a low stage; the bar curtained off from stage viewings down the right-hand side, and a slightly raised platform at the back where the merch stand is. A few rows of people are stood up there for the ‘across the heads’ view and there are several curved, built-in bench seats just in front of that. A relief that was as I can’t stand for long on my old legs tonight. Also a good coat pile up place for us – boiling inside and sub-zero outside.

Tonight’s Vaccines Show

No support for this special album release show and the band are on, as promised, at around 8.30pm. The place is long sold out, full but not uncomfortably so. You can get around – I managed a wander for a few snaps.

Not much room on stage for the five up there. The sound has a bit of that reverb that reminds me of an old American live TV show, and when I get to hear my copy of the album I realise this is replicated on it, not an accident of the low and shaped ceiling.

The 13-song set is a pleasing mix of the newly released album (six tracks) and older stuff, including four songs from the 2011 record, What D’You Expect From…. I was expecting the new album to get pushed right to the front but this was a great mix. I thought a lot of the set sounded familiar – this will be from radio largely as I don’t own or play much Vaccines material. Their indie rock style is heavy on the anthemic choruses which adds to their live performance. Post Break-Up Sex is a particularly good illustration of the air punching anthem. My pick of the night I guess.

Justin welcomed the crowd and celebrated the fact that the album day release gig was not in New York, London or Paris… but Portsmouth (loud cheers). Everyone is pleased with their choice.

Front man Justin is bobbing about with guitarist Matt Hill; promotional carnations on everyone’s mic stands. I think they are enjoying the novelty of the night. At 50 minutes, including the two-song encore, it is a fairly intense but brief affair. (SetList link)

Even some of the new songs had a familiar sound – maybe just their trademark sound – such that I wondered if they played more than four or five from the ‘Carnations’ album. Heartbreak Kid from the new one has been getting a lot of airplay and that’s a goody. Hard for me to make comparisons with previous albums but I think it’s a very good listen, and the band were well worth the trip tonight.

The Vaccines on the South Pier in Southsea

An enjoyable and novel gig on the pier…. the pier where David Bowie once played eh… well before it was rebuilt again. Maybe there was still some Bowie dust in the air.

The Darkness at the revamped Bristol Beacon

The Darkness live at Bristol Beacon on 14.12.2023 with Bad Nerves supporting

Bristol Beacon

My first encounter with The Darkness was at the suggestion of gig buddy Dave here at what was The Colston Hall in Bristol, six years ago to the day. Not long after, the venue shut, from 2018 to 2023 for a major refurb, dumping the Colston name, as the statue of the said slave trader was in the harbour, in favour of the new bland but inoffensive ‘Bristol Beacon’. The building was apparently on the site of a school named after Colston with no other connection.

Five years and a huge investment and it all looks very tidy, though the basic shape of the venue is the same, with a good selection of seats at the rear of the ground floor, balconies above and small side balconies on two levels which give a great view, above the standing crowd tonight. Capacity is 2100 or 1800 if all seated. This is a great facility to have back in the city, although it is a fair old drive for me, especially when returning home to Poole afterwards amid late night surprise road closures and winding cross country routes.

Previous Darkness

This return to see The Darkness came about after I stumbled on a showing at Wimborne Tivoli, for one night only, of the fascinating documentary film, ‘Welcome to The Darkness’. It really made me want to see them live again – we could have easily lost them – and a late surprise was that my gig buddy had a spare ticket for Bristol the following week. I recommend the film to get an insight into this talented, fun and often misunderstood band, particularly in light of their media image in their initial burst of success. After a year without Justin and Dan Hawkins speaking and a few health scares for the brothers, The Darkness may well have been history by now.

I did see them live in the interim in a few ‘special guest’ appearances: supporting The Hollywood Vampires in Birmingham in 2018 and at the Royal Chelsea Barracks outside in the pouring rain, supporting Toto.

All have been as rock’n’roll, glam, good humoured and entertaining as you could wish for – Justin Hawkins is such a showman, and a beautifully blunt and sweary one.

We were in for part of the soundcheck tonight and a Q&A session. Justin was annoying the band with his mini-keyboard. There was a lucky dip for someone to sing a song with the band… did we have to put in for this? The moment of fear passed and a women’s name was pulled out. She did a brilliant job. What a treat.

Bristol – grey haired gig goers with The Darkness

Tonight’s Support

Once I knew I was coming this evening, it only got better when I realised who was supporting: modern day Ramones style punks Bad Nerves. A new band that have had some good support slots across Europe and America but not toured at home that much – there’s a great first album and a live one which I have and I did catch them at a little place in Southampton, Heartbreakers (My Bad Nerves blog from Southampton.)

Bobby Nerves – Bad Nerves – Bristol Beacon

Great bonus to see them tonight – the audience warmed up as they continued. With the over stage view I grabbed a video of this one with a novel opening: Mad Mind. I love the poses; the guitars are especially Ramonesesque. Baby Drummer is my favourite – an established top tune of theirs.

As soon as they finish, I want to see them again. They offer the excitement generated by youth.

The Darkness tonight

Before the first song, Black Shuck, finishes frontman Justin Hawkins pulls up and the band clatter to a halt as humorously sweary scorn is unleashed on the odd phone wavers down the front. I slip mine sheepishly into my pocket. He’s got a point. He’s calling the shots but I enjoy taking a few pics, blogging and an occasional video. I don’t overdo it – we’re getting a bit of a balconywankers tag without adding to it.

Suffolk locals lend Justin a Lowestoft Athletic Club top

Not long before chests are revealed, allowing Justin to squeeze on a top from the local athletic club where they formed the band.

Brother Dan creates a wall of guitar sound for Justin to overlay his melodies on, while bass and drums thunder away.

This is a celebration of the 2003 Permission to Land album – their successful debut from 20 years ago. Aside from a Radiohead cover (Sweet Spirit) and some B-sides of the time it is pretty much a full salute to that classic first album, Permission to Land. Get Your Hands Off My Woman, early in the set and later gems like Friday Night and, of course, I Believe In A Thing Called Love. That one got to number 2 the UK chart and was a global smash.

The band get down to shorts and slippers – Justin playing the guitar backwards above his head, reversing hands and going walkabout through the crowd on drummer Rufus Taylor’s (Son of Roger Taylor in Queen) shoulders. What a showman. He orchestrates the crowd clapping and leans over the adoring fans as he sings, leaps and plays guitar.

The festive special, Christmas Time (Don’t Let The Bells End), is greeted with cheer…and pyrotechnics. A Christmas treat.

The encores to finish – I Love You Five Times and Love on the Rocks With No Ice. Classic rock’n’roll. Don’t let these boys end.

Double Date with Spear of Destiny

Spear of Destiny: 8.9.2021 Exeter Phoenix and 26.9.2021 The Joiners Arms, Southampton

The Spear of Destiny World Service @35 tour (planned as 35 years on from the original release and tour of that now re-recorded album) was a much delayed one, thus fuelling my eagerness to get to see it…..so I went to two dates – The Joiners, Southampton and Exeter Pheonix arts centre. My pre-tour ordered t-shirt is now a lie with old Covid-wrecked dates and the Southampton gig recently switched from The 1865. I got my first Covid jab wearing it so this will become a treasured one, to be wheeled out on the Antiques Roadshow one day eh.

My recent quasi-Lockdown socially distanced Bath Kirk Brandon solo gig is documented in these blogs, as is my last Spear of Destiny gig in Southampton and Kirk history which goes back to Theatre of Hate at Hammersmith Palais and Digbeth Civic Hall, Birmingham in the early 80s….they were for the long term.

The sets at Exeter and Southampton were pretty much identical but the venues and experience varied – so much more right in the sweat of it at little Joiners and a calmer, clearer aerial view from the front row of the balcony at the arts centre in Exeter. I enjoyed them both, obviously.

Southampton is certainly preferable on the journey from Poole front, with a reasonable train option and 40 mins by car as opposed to 2 hours and City Centre congestion in Exeter. Having just emerged from Covid nonsense, the fuel shortage was the new crisis off the press on the Sunday of the Southampton, Joiners gig.

There was a local-ish support act at Joiners: James Krumbock (an Austrian name – he’s from Winchester and the Railway Inn is his familiar stomping ground) – solo with acoustic guitar. Captivating singer songwriter stuff and an interesting cover of The Manic Street Preachers’ If You Tolerate This Your Children Will Be Next – a verse in Italian, just for the hell if it. He doesn’t speak Italian – I asked him – but just learned the one verse.

Spear of Destiny open this tour set with the title track of the remade album being toured: World Service. The drums and backdrop match, as does my t-shirt both gigs – never been one for wearing a t-shirt of the band I’m going to see but I felt it an appropriate exception for this.

Most of the set is understandably the World Service album tracks, shuffled. I’m particularly up for All My Love (Ask Nothing), (video link) a single from the album and one I had a huge poster of blu-tacked to my wall in two South Birmingham rented rooms in the mid-80s…. and I found the evidence.

Kirk Brandon – solo spot – Exeter – Harlan County

Once in Her Life Time and Rocket Ship are other upbeat faves from what is a great album but Mickey is something special. There was a long period when it didn’t get played but it was a huge favourite with the ample bouncing crowds of the 80s – a tale of injured forgotten soldiers, used and abused.

Now mama’s little boy went to ulster one day

He was lucky he didn’t get his

Legs blown away

They gave him medals for kicking front

Doors in

Now Mickey’s grown up and he

Ain’t laughing
…….

Your grand daddy fought in the 1418

Your father too in ’44

Now little Mickey’s gonna run away

And find himself a war

I wanna go home

I wanna go home
‘Mickey’ SoD

The low slung guitar playing from ex-New Model Army’s Adrian Portas is excellence in action. In Southampton it’s from the gloom (not as dark as the bass side) but visually better from the balcony of the Pheonix.

The set list can just about be made out at The Pheonix, pre-gig from the balcony but I saved it to check up later rather than give myself a spoiler.

Kirk dispenses with his guitar for some songs and gives himself a workout – less room or ventilation in Joiners. Not sure I fancy my chances of matching that effort – I’m still building up my gig standing muscles post Covid, never mind a workout.

After a break Harlan County, Solution and the surprise inclusion of a cover version of Joy Division’s Transmission – less of a surprise at Joiners of course. Cracking choice.

As we come to the end a couple of the best from the second album One Eyed Jacks: Playground of the Rich and the rousing Liberator, a great way to end.

It’s a pity more people weren’t attracted by the Exeter gig – the crowd was a bit sparse and Joiners seemed a better venue to host those sort of numbers. The band put every bit the same effort in at both and the Pheonix balcony won on visible experience – besides, my knee was knackered.

The Joiners

Through the bar and out to the quite narrow rear to the gig room. Funnel through there, passed the small mixing desk and the room opens out just in front of the stage, across its width, and only about as deep as the stage. It’s about as compact as it gets on the recognised gig circuit. I’m happy to lean on the rail next to the mixing desk – always a fascinating watch the mix desk.

The capacity is 200 but that must be a squeeze. It looks like a small old city pub on entry, with an L-shaped bar with an old ticket design on featuring bands that have played there – they’ve had some crackers over the years, not that they all feature in the formica: Green Day, Muse, Oasis, Arctic Monkeys and Radiohead. A few days after Spear of Destiny, Wolf Alice were playing as part or their small venue mini-tour.

There are car parks nearby but on street parking further down St Mary’s Street is preferable for me. Joiners is about a mile from the station. It’s not a great area to wander about in if unfamiliar.

Exeter Pheonix

This multi-use arts centre has a good outside decked seating area and decent bar.

The building is a bit of a maze to discover when hunting down the bogs. I was upstairs sat in the front row of the balcony with a recovering knee. I was pleased to see a handy disabled toilet nearby only to find it was out if action necessitating a trek down and up a few flights of stairs and journey around the entire building.

It wasn’t very busy for Spear of Destiny and the 415 standing capacity was not at all challenged. I’ve been here once before for a sell out Half Man Half Biscuit gig and when standing it’s pretty hard to get out of the gig room, especially if you stand on the right looking stagewards.

Lots of decent chain restaurants and other choices nearby – Bill’s, Turtle Bay, the Brewdog bar (shame I was driving but they did Punk IPA alcohol free) – and it’s positioned right in the middle of Exeter.

Guildhall Car Park did the job.

Two gigs on the World Service @35 tour done. Cheers Kirk. Thank you… goodnight.

Ocean Colour Scene – live in Bournemouth

Ocean Colour Scene at O2 Academy Bournemouth on 3.12.2023 with Burr Island supporting.

Another visit to the O2 Academy Bournemouth – more on the venue here in my venue blog.

Up in ‘The Gods’ at O2 Academy Bournemouth

Sunday night and it’s sold out and bustling. Both balconies open and the upstairs back bar. I start off in the top tier ‘Gods’ seats for the support band. A bit of legs preservation. Support is from folky rock Burr Island, from around Somerset somewhere originally.

A decent listen with hints of MacCartney at times. Short set. Not a great view from the seats further forward and down the side up here as the lighting rig gets in the way. It’ll be downstairs for Ocean Colour Scene.

Ocean Colour Scene

These boys from Moseley, Birmingham, started out in 1989 with the big break being the superb and decade defining Moseley Shoals album in 1996. I lived in Moseley a bit before that in the early 80s and had left the city by 1987 but I still warmed to the album marking my first home from home. I’ve never seen them play in Birmingham though.

This is my tenth OCS gig on a look back. Two Victorious Festival appearances in recent years inspiring this gig and nine others, the last of which in 2011 here in Bournemouth O2 wasn’t that good. The Ryde Ice Rink gig on the Isle of Wight was quite an event with a mini-invasion from the mainland and some over-partying. They did cover the ice over!

I have bought just about all of the 10 or so studio albums and a few other specialities. I find I can put any of their material on and enjoy it.

Tonight’s performance

The band come on after a moving playing of The Pogues’ Fairytale of New York, with a wash of emerald green lights over the stage – it’s just days after the death of Shane MacGowan.

It’s not long before they are blasting out The Circle, accompanied by a backdrop of scooters, mods and old footage from Birmingham streets – it’s a song about the bus route that goes through Moseley and in a loop right around the city. The nostalgic video backdrops that accompany many of the songs are excellent.

Great atmosphere in here tonight. It’s noisy and the drink is flowing with people pushing through trying not to lose any and failing. Certainly no rainy Sunday feeling in here and isn’t that what the escape of gigs is all about.

Better Day is another fan favourite early on in the set. Simon Fowler’s voice has remained excellent. He has an acoustic tour with drummer Oscar in 2024 but you might not recognise his current frame from that slender figure of 90s youth.

We don’t hear much from guitarist Steve Cradock but he looks as trim as ever as he dazzles with his guitar playing. I saw him earlier this summer in his usual place in Paul Weller’s band.

Simon recounts childhood visits to nearby playground of the rich, Sandbanks, as he introduces Travellers Tune. The crowd cheers loudly to the opening chords. Of course there is Riverboat Song: this is very much a greatest hits set. A real crowd pleaser.

The old videos from through the OCS years accompany some tunes – one sees the band packed into a car driving around central Birmingham and along the Aston Expressway (cutting edge road engineering of its time, with controversial flexible middle lanes) in a video reminiscent of The Specials’ Coventry Ring Road Ghost Town video. I think this was during 100 Mile High City. Then last before the break: Get Away. Such a care free song.

I wander again during the break to get a better view. Simon Fowler returns alone to play Robin Hood, from Moseley Shoals.

Building on the earlier high spots this is now building to big faves to finish and with the full band back on a raucous version of Profit in Peace. If only songs could solve anything eh. I’m nearly the back by now as the final gem from Moseley Shoals brings a great evening to an end – The Day We Caught the Train.

This is what it’s all about. Escapism on a dark and rainy Sunday night and a sellout crowd gathering to enjoy tunes they love with like-minded people.