Gigs with Ivan

Suede – live in Southampton and Portsmouth 2023

Suede at O2 Guildhall Southampton 25.3 2023 & at Guildhall Portsmouth 11.12.2023

So good in March I returned for more later this year. I’ve bought the records, read the books, watched the documentaries but not seen them that much considering my long running interest, revived at various points over the last 30 years.

Birmingham Hummingbird for a sell-out gig on an early tour was my first encounter – one of the guys I was with lost his ticket and had to go home. That was the year of their first album, in the heart of the Bernard Butler years.

There are a few festival gigs at least that I can’t quite nail down – V, Reading and Pheonix (1995) but I can’t recall who I saw at the festivals, which is maybe why I didn’t see them much on tours. I didn’t see them again on a tour until Southampton Guildhall in April 2019. Victorious Festival in August 2022 saw Brett Anderson back, fit and on top form with what I thought was the best performance of that festival – shortish set but punchy. So hence the visit to Southampton Guildhall in March this year.

Southampton O2 Guildhall 25.3.2023

Brett Anderson – Suede – March 2023 Southampton Guildhall

Suede – March 2023 Southampton Guildhall

I was in the balcony, which is a fair way back, but the sound was good, as was the view. It was such a lively performance from Brett Anderson. So interactive. Sweating and pleading for involvement and getting right into the crowd, leaping from monitors, rolling and crawling. Athleticism that defied his age (then 55, now 56).

That was no total nostalgia trip. A third of the set (seven songs) were from the 2022 album Autofiction. It’s a good album, as is Blue Hour (2018) but only one track from that one. It is still the old ones that hold their top placings: Animal Nitrate, Metal Mickey and So Young from the first album and the highlights tonight fom Coming Up, my favourite album, with Trash and The Beautiful Ones.

Come on – Brett Anderson – March 2023 – Southampton

From my perch, back on the balcony, with my pocket zoom I could still get some decent pics and I captured a few videos also, available on my YouTube channel:

– Beautiful Ones

– So Young

– The Wild Ones

As Brett introduces The Wild Ones he remembers his early forays into Southampton and the legendary Joiners venue in 1992, which got a big cheer.

One of my gigs of the year, so when Suede popped up again with another gig not so far away in Portsmouth, I couldn’t resist.

Portsmouth Guildhall 11.12.2023

I was upstairs for this one as well – it is a superb view from the front of this venue’s balcony. Not much knee room but hey, it’s good and this grey-haired gig goer is saving his legs a bit at the moment.

There are also those unreserved seats downstairs at the back of the standing area if saving your legs. It’s all being done up at the moment with new toilets but this place has a great shape and structure to play with. Capacity is 2500.

I skipped the support band to catch up with friends and friends of friends beforehand in the main spacious and well-staffed bar.

By 9pm the balcony is full and the crowd are in downstairs. Excitement builds on this December Monday night,

Suede – Portsmouth Guildhall – balcony view

Brett has his same favoured black outfit, including a shirt that quickly starts to stick to him and he gets a sweat on from his leaping about, in front of the much more static band.

The set is similar to March but this is not the same tour. Only five songs differ from the March gig in Southampton. My pick of these different ones is Filmstar.

Brett crawls and rolls on the stage, ever fighting his mic lead into submission. Real passion in his singing. Again there is the solo acoustic section two thirds into the set which includes The Wild Ones. After this there is more extravagant microphone swinging – he is a master at that.

With Autofiction (2022 album) still getting top billing – seven tracks tonight – Brett refers to this as his favourite album, obviously, living in the now. The Only Way I Can Love You is my pick, having been playing that album a fair bit this year.

Anderson goes on his walkabouts, wrestling through the crowd – he really revels in it. Talk about getting to meet your fans. The set had a great finish, although it feels like it’s a brief set (actually an hour and a half) with So Young and Metal Mickey from the first album and Beautiful Ones from Coming Up, yes my favourite album.

Brett Anderson in with the Portsmouth Guildhall crowd

They leave the stage briefly: it’s Monday night and no one is going to hang about too long. That Boy on the Stage, another one from Autofiction to finish. Still, there is music from seven albums on show tonight. So much great material to select from, to integrate into another Autofiction tour date: not that it’s called that.

Two Suede dates and two top gigs in 2023. With Brett Anderson looking particularly Peter Pan-like surely there is a lot more to come from this latest version of Suede.

Ruts DC – live at The Joiners

Ruts DC live at The Joiners, Southampton on 21.12.2023 supported by The Duel

A late move of venue takes this one from the larger 1865 venue nearby here to The Joiners (Venue blog). Here tonight with early 80s gig-going school/home suburb mate who’s now in Dorset – we’re back. Neither of us have seen The Ruts/ Ruts DC on one of their tours.

I remember deciding not to go on to see Ruts DC at a nearby venue with two other school mates, after we were turned away at the doors of Hammersmith Palais when The B52s gig sold out (November 1980). Schoolboy error eh… literally.

Original frontman Malcolm Owen had died of a drug overdose by then. That’s maybe why I didn’t go on to see the then new band without him. I had bought the first few singles when they came out – In A Rut and their top 10 hit Babylon’s Burning.

At 16 years old I even remember tippexing a patch on my straightened jeans with some self-made rips. and drawing The Ruts logo on… but no I didn’t see them until 2022 a few times when they supported The Stranglers on tour. Then Rebellion Festival 2023, but never on their own tour. This is it then. To be fair the band had a 24-year break after splitting in 1983. Not that that has altered their music, attitudes and lyrical approach.

Original guitarist Paul Fox died in 2007, leaving tonight’s line up of John ‘Segs’ Jennings on main vocals/guitar, Leigh Heggarty on bass and Dave Ruffy on drums – both supporting with vocals.

Tonight’s Support

It’s The Duel supporting this evening. A duo of Tara Rez and Paul Laventhol – guitars and backing loops with punk influences – heavy ones. Tara’s been singing and playing as the duo for 20 years, previously with Andy Thierum.

This is a good lead up to the main band – the short set flies by. All sounds so late 70s punk. I’m reminded of The Slits. This could almost be a London pub gig of my youth.

Ruts DC

The reggae and ska tracks cease and the security guy leads the band through the to the stage, punters parting for the torch beam.

My recent experience is that they are a very loud trio and this is a small 200 capacity venue so I was ready to be blasted, but my ear saving inserts are only temporarily required and can be pocketed for much of the set.

The set is peppered with classics that everyone here knows. That’s what we’re here for. S.U.S. is the first of these closely followed by It Was Cold. Early songs see Segs on guitar, later reverting to his bass.

With just three in the band the sound heavily leans on the bass and drums for the distinctive Ruts sound – the reggae beat and dub style comes in to supplement the late 70s pub rock style. It’s the apparent simplicity that makes the gig a winner: classic songs we know, no frills, no gimmicks, solid sound… and what a great little venue to see them in.

2016 track Kill the Pain is introduced with reference to original Ruts, Malcolm Owen and Paul Fox. It’s about what finished them – “without those guys we wouldn’t be here”. After the bright clean guitar of West One (Shine On Me) another dedication to the departed: Despondency with a very Killing Joke style guitar intro played for Geordie of Killing Joke, who died recently.

The reggae beat pumps up for Jah Wars – I just don’t hear enough live reggae sounds these days. Benjamin Zephaniah gets a name check: another loss. We aren’t done yet with the memorials. After the urgent Was It Something That I Said we soon get to that classic early single, In A Rut. In the middle of this one drummer Duffy breaks into a few verses of The Pogues’ Dirty Old Town, paying homage to Shane MacGowan – a choker as the audience joins in.

Leigh Heggarty on guitar – Dave Ruffy on drums

The last number in this well-crafted crowd -pleasing set is Babylon’s Burning. Now and again you hear a song live that you’d happily pay the entry fee to hear on its own. This is one of those.

The Joiners stage set up means disappearing for a bit before encores is too impractical and involves wading through the crowd a few times. Hence they ask us to pretend while they just take a breather.

Three more songs complete the set, including Never Surrender, and tonight’s wonderfully simple pleasure of seeing a classic old punk band that lit up my youth, in a great little venue, full of cheerful people, with the Christmas break nearly upon us.

Death Cult’s brief return – live in Bournemouth

Death Cult at O2 Bournemouth on 16.11.2023 with Lili Refrain supporting.

A special one this. A 12-date one-off tour with Ian Astbury and Billy Duffy from this 1983-4 incarnation of the Cult trilogy: Southern Death Cult; Death Cult; The Cult. Murmurs of expensive tickets but this is on the doorstep in a decent medium sized venue. (More on the venue in my O2 Academy Bournemouth blog.)

I never saw Death Cult in that one-year window, but I did see Southern Death Cult at two memorable gigs from way back. First, supporting Theatre of Hate at the wonderful Hammersmith Palais on 4 July 1982 and then in December that year in the Golden Eagle pub near to Birmingham New Street Station. Both venues are long gone. The Golden Eagle gig audio is available on YouTube amazingly. I was probably drinking pints of mild for a quid.

These gigs were like getting caught up in a native American tribal war dance with all the hair, feathers and ripped clothing to go with it. The chicken dancers were in full swing, elbows everywhere.

It wasn’t until 2001, when The Cult, with a more conventional rock sound but still with Astbury’s unique vocals, had reformed after a four-year break, that I saw Ian Asbury live again, then with Billy Duffy, at Reading Festival. The Cult had another four-year break prior to 2006, since when they have continued.

Tonight’s Support

Support band Lili Refrain is an interesting one – different certainly.

A dark masked figure appears and proceeds to play a variety of instruments and devices including keyboards, guitar and bells in an almost ceremonial way. It creates a spiritual atmosphere, although before long the excited chatter starts to grow – only a 25 minute set but impatience sets in around me.

Her voice dipped into sounds reminiscent of The Cocteau Twins at times and a calling to prayer at others. She appreciated the broad attention with her remarks at the end that sounded like someone who’d just taken part in Eurovision, rather than her mystical stage persona.

Death Cult are on

Necks are craned as the band come on, including frontman Ian Astbury eventually. While it’s a Death Cult billing they open with a Cult song, 83rd Dream.

It’s quite dark and hard to see faces. The crowd is intently looking and listening: not that mobile though. It’s busy but not sold out. People have come see and respect this illustrious visit to Boscombe rather than go wild.

Ian Astbury and Billy Buffy – balcony view

The Death Cult songs, from that one album, dominate the early part of the set – God’s Zoo, Brothers Grimm and title track Ghost Dance for instance – but not a simple plod through the album. Horse Nation is probably my pick of the Ghost Dance songs. Astbury’s voice is still excellent and distinctive and on Horse Nation it maybe the earlier more Southern Death Cult sound that appeals.

It isn’t the mayhem I was expecting – maybe on reflection the Death Cult period wasn’t a high, just a significant stepping stone and part of the Cult story.

As The Cult songs rolled out the set lifted, in my ears. I’d had my wander around to capture some pics and the pace picked up, the crowd jostle increasing to the rockier tunes like Hollow Man and inevitably to the brilliant Spiritwalker and Rain. Hearing songs like that live are worth the ticket alone.

Rain ends the main set. Rest required but the buzz is still there and sure enough they return and this time with the Southern Death Cult classic, Moya – hard to stop your feet stomping to that one. That opening line was and still is the first thing I think of when there’s any Cult mention: ‘The kids of the Coca-Cola nation….’.

To end, it’s what really has to be the end: She Sells Sanctuary. I’m near the back by this point, hovering around the mix desk. What a belter.

Having been reacquainted live with the Ian Astbury vocals and Billy Duffy guitar, I’d go to see The Cult again soon. I wonder if they would do us a ‘Southern Death Cult’ tour.

Sleeper ‘Unplugged’ – live at The Brook

Sleeper at The Brook, 466 Portswood Road, Portswood, Southampton SO17 3DD on 10.11.2023

While Sleeper are a band I have seen a fair bit in recent years, tonight’s novel factors are the ‘unplugged’ approach and seating downstairs at the legendary old pub venue of The Brook. Hence a brief blog is in order.

My live Sleeper gigs started with their support slot for REM in July 1995 (with The Cranberries and Radiohead) and blossomed on their reformation in 2017. This trail is expanded on in my Sleeper/ Bluetones blog of August 2021.

Looking back I realise I haven’t been to The Brook since a From The Jam gig (blog link) in August 2021, but it’s certainly well established venue on my personal ongoing tour. That blog has more details and observations on the venue.

Having bought the tickets for tonight as an all-seated event I was curious to see the set up. Chairs in tight rows, with the ability to stand by the bar to the right, the merch ‘bar’ to the left or at the back, including the spacious corner near the bar. All good but getting in and out for beer or bogs in what is usually a very casual setting can create a bit of a nuisance… which I managed to do with a few pints of Blue Moon. However, seating was entirely the right environment for this ‘unplugged’ approach. The bare bricked walled stage looked good – beautifully lit.

There are seats upstairs in the balcony here anyway, which give a great view over the high stage if you get the right spot.

Tonight’s ‘unplugged’ badge is earned by, it seems to me, not having a drummer or a bassist. It’s an interesting concept where everyone is plugged in but it’s all just a bit calmer. A semi-acoustic electric guitar and an acoustic one do make an appearance but the band is mainly Jon Stewart on electric guitar and Andy Maclure, the usual drummer (and Louise’s partner) on keyboards and a bit of guitar, with Lousie Wener’s vocals at the heart of it – Louise also plays guitar in a solo section (Alice in Vain).

No support but two sets, divided by a questions and answer session and a break. The Q&A worked well – entertaining and jovial responses by all three band members to the selected written questions handed in before the show. Louise’s voice is great despite a passing cold – just a little more husky between songs.

A well-crafted mix with five or so tracks from each of the first two albums, Smart and The It Girl, making up a substantial part of the set. Two top five albums from the mid-90s Britpop years.

Great sound tonight and no bad songs, the most memorable from part one being Nice Guy Eddie and Statuesque and with part two lifting it further with Inbetweener and Sale of the Century.

The way Sleeper hit the top of the charts in the 90s and then disappeared until they reformed in 2017 has meant they still have a freshness. Throw in Covid disruption and Lockdown gig starvation, a new album and an album of rediscovered recordings and this is an oldish band with a newish feel.

… and The Brook with seats. Yup this is a good way to do it.

Rebellion Festival 2023 – a punk feast

Rebellion Festival in Blackpool Winter Gardens (3-6 August 2023)

My second trip up to this four-day punk festival. Last year had an added outdoor arena on the seafront which had the more mainstream bands. This year it was all indoors and with the added very large mainly seated space of The Opera House, with a deep balcony and standing at the front. I think in the end I was happier with this set up and this vast seated option did twist my choices a bit – we are all knocking on a bit now, given it’s a festival celebrating music and many bands originating in the late 70s.

It’s too vast to write in any depth about the whole four-day punk jamboree. Every path taken through the options on offer must be unique. Meandering through ten stages to gorge on this feast. I had a look in at all of them but only saw bands play in seven. On the Saturday afternoon, with my Rebellion brothers, Dave and Big Gra, I even strayed to a packed venue above a pub in the town, The Tache Rock Club, to see Siouxsie tribute band Lizzie and the Banshees, and excellent they were too.

Lizzie and the Banshees – Tache Rock Club

All told, I saw 28 Rebellion sets, two bands in the Tache Rock Club and five interview sessions at The Literary Stage. That’s a busy weekend. I have summarised my tour with few words and some photos in this belated blog of the experience.

I did set myself the task of picking my top three bands along with a few special mentions. This was mainly based on performance, nostalgia and raw emotion. Everyone has different views and I realise mine are more mainstream than hardcore but it’s rare I don’t enjoy seeing any band to some extent. It’s all experience and sensations.

My top picks?

It had to be Penetration as my number 1: late additions after The Damned withdrew due to a bad back in the camp. Shame that as probably the major draw for me but that cloud had a silver lining in the form of the first band I ever saw live… Penetration. (Disappointingly, The Descendants also pulled out.)

Pauline Murray of Penetration – Empress Ballroom

My number 2: The Dickies. A packed Club Casbah at 11pm on the Sunday night and just the ripping speed and youthful enthusiasm from these old guys was fantastic. All the ones I wanted to hear – Give it Back; Paranoid; You Drive Me Ape; Got it at the Store; Eve of Destruction and yes, even Banana Splits. They started with Anarchy in the UK. From then on it was fast and fantastic. What a finish to the weekend.

And my number 3: Wasted Youth. This was me reliving the melancholy guitars and dark vocals of the band I saw in London several times in the early 80s. The Opera House was not that full but I perched on the front row of the balcony and thoroughly enjoyed their late show, after 40 years. It’s only in the last few years that originals Ken Scott and Rocco Barker had reformed a band for some gigs, which I couldn’t get to.

Thursday

A hefty personal programme. That first day excitement: Oi! band Tear Up (Pavilion); The Meffs duo (Empress Ballroom); the lighter hearted jangly guitar and dancing from Peter Bentham and the Dinner Ladies (Opera House); into the Almost Acoustic Stage for Grant Sharkey, lost on me, then some, in hindsight, dry comedy gold from Max Splodge – his version of All the Leaves are Brown stayed with us all weekend and beyond.

Crisis (Opera House) were solid then US punks Pulley (Club Casbah) to follow. Both more than held my attention, despite being unfamiliar with anything but names.

The first retreat to the calm of the Literary Stage followed and Dave Robinson, founder of Stiff Records. Fascinating reflections. Skinny Lister (Opera House) introduced some ska punk pop as a change. I’d see them out again.

Then a run of goodies for me: the last four songs of a triumphant UK Subs set (packed to overflowing Empress Ballroom). Darlings of Rebellion.

My band of the weekend, Penetration, followed then back to the Opera House for The Members in dub mode (Sound of the Suburbs – forever my anthem) and Big Country who I have seen a lot and can’t resist more. Now there’s a Thursday afternoon and evening out.

Friday

A bit calmer today watching just six sets. Great start with anthemic songs about ‘football, beer and punk rock’ from Knock Off (Casbah Club) – that’s three times I’ve seen ’em and always deliver. Off to find seat in the Almost Acoustic room, very ornate, indeed weird, for Bighead Duncan Reid and then Dave Sharp once of The Alarm.

Spizz Energi next with a big crowd in the Opera House, another top pick.

The noise around The Bar Stool Preachers (Empress Ballroom) made them unmissable. Entertaining without hitting my top spots.

Bar Stool Preachers – big crowd in the Empress Ballroom

I rounded off with Dirtbox Disco, on numerous previous recommendations. Miles better and more accessible than the name suggests and yup, more good stuff.

Saturday

A quiet but interesting start today with two sessions at the Literary Stage – some humorous short stories from Paul Ragitty and an interview with Eugene Butcher, Vive Le Rock editor and frontman for rocky punk band Desperate Measures.

Off to the Opera House to see Duncan Reid and the Big Heads for my last time – just a few more gigs and he’s packing in the touring.

After our excursion to see the excellent Lizzie and the Banshees it was back for The Meteors in Club Casbah. Huge interest in this legendary psychobilly band. Another one I hadn’t seen for over 40 years.

Then it’s back to the Opera House for a supposedly acoustic Bar Stool Preachers set… near enough as wild as the last one.

So much energy. Ruts DC followed. Loud, solid and magnificent – just slipping outside my top three of the weekend. Great concise set of classics. Jam packed with people sat in the aisles in the balcony.

I stayed upstairs in the Opera House, moving forward to the front row of the balcony as it cleared a bit for the wonderful Wasted Youth and finished off with The Rezillos – faves of mine. Sound seemed a bit off tonight to me…. a few leaving after thought the same. Sound engineering this onslaught of bands must be a challenge eh.

Eugene Reynolds of The Rezillos – Opera House

Sunday

Pizzatramp kick off my day in the Club Casbah with their individual style of assault on the audience, and anything and anyone – Bono took a hit. A sweary live act to treasure – well you will never hear or see them on radio or TV.

Next a superb performance by TV Smith and band of his old Adverts material. He was really going for it. Great performance. I did catch Gary Gilmore’s Eyes on video viewable on this link to my YouTube channel.

Former Stiff Little Fingers’ songwriter, guitarist and supporting vocalist Henry Cluney drew a bumper crowd up to the Almost Acoustic Stage for a hearty singalong with SLF classics. It went down a storm. Brilliant one-man show.

Henry Cluney at the Almost Acoustic stage

Off to the Literary Stage for a rest and Saffron from Republica being interviewed. Another interesting one and shame Republica clashed with my Sunday night prize – The Dickies. It was two original members of The Dickies that were interviewed after. Witty guys and some marvellous Pearl Jam impressions and jovial slating from Leonard Graves Philipps. He’s in his 70s now and the talk is that this is the last UK tour.

Leonard Graves Phillips and Stan Lee of The Dickies being interviewed on the Literary Stage

One more band to go before that frantic and fantastic Dickies closing set in Club Casbah. It was a bit of a wild card, way off the punk radar, but I was intrigued and I enjoyed: Gay Bykers on Acid.

That’s it. Exhausting wasn’t it and you’re only reading a summary. My feet and legs were done. Industrial action on the trains next day but an early start secured me an 11 hour journey home to Poole.

What a great event. The list of bands playing I didn’t get to see could fill another four days.

Blogs from Rebellion Festival 2022:

Part 1 – Thursday Friday

Part 2 – Saturday Sunday

Me, Dave and Big Gra – gig buddies – at the Winter Gardens’ Morecambe & Wise statue

Rediscovering Wreckless Eric – live in a Poole coffee shop

Wreckless Eric at Boheme Coffee Lounge and Bar, 307 Ashley Road, Poole BH14 9DZ on 31.10.2023

This is novel. I never knew this little coffee place in Upper Parkstone, Poole had live music. I’ve been in once before while at the second hand record shop up the road.

It’s a sell out – the windows are dark with blinds down on this rainy night and I wondered if it was even open. Inside it’s the sort of place that looks over busy if 10 people are in. By the time Eric appears I count 21 people. I’ve been to small gigs before (thinking in particular of The Winchester Arms, Salisbury for The Ramonas and The Railway, Winchester for Kirk Brandon acoustic) and badly attended gigs – now there’s conversation starter – but not sell out gigs for 21 people.

With an old school mate tonight, from early 80s gig-going days, and we grab two comfy seats and a few bottles of ale, pretty much in front of the corner of the lounge that is the stage.

Wreckless Eric came to my attention in 1977 when he was on the Live Stiffs Tour with the likes of Nick Lowe, Elvis Costello and Ian Dury (not that I saw it). An album with highlights of that tour was released in 1978, which I still have – that included Wreckless Eric’s Semaphore Signals and Reconnez Cherie. Later in 1979 I bought his Hit and Miss Judy EP, my young mind maybe wooed by the 12″ orange vinyl. Then, nothing: my radar was blank and I never went looking.

When I saw he was going on tour I looked for a possible date – he is one of the few artists I have bought records by, still playing, that I hadn’t seen live. Nothing doing, until I got a message from a mate who’d seen a Poole date added….in this coffee bar. Unmissable.

So here I am, waiting for a 69-year-old Wreckless Eric, having been doing some gig revision with his 2023 Leisureland album – this includes the track Standing Water, my favourite, which he plays tonight.

The small venue concentrates minds and brings intensity. This is overlaid with Eric’s humour and commentary – between song explanations that are often quite poetic and run in and out of the tracks, enhancing the lyrics.

Sometimes he doesn’t stop for applause but uses his intricate guitar riffs to join the songs.

He’s been playing live throughout the decades – largely in America and with many different and unfamiliar bands to me (I always thought he sounded American). His 2015 album AmERICa is worth a listen… well they all are.

Born in Newhaven, East Sussex he went to Hull to art college – this was a source of his inspirarion for his irony laden song, Gateway to Europe, about the Humber Bridge, which he explains was the bridge to nowhere. Then they all wanted out of Europe up round there anyway he chortles hopelessly.

Up close and personal – Wreckless Eric (cheers for the pic GA)

Of course, he plays a huge, well crafted version of his best known song, from 1977, Whole Wide World to finish. Loved it. A really engaging and relaxed evening amongst respectful and curious music enthusiasts.

A grey-haired gig goer’ evening with Wreckless Eric

I bought a copy of his Construction Time & Demolition album, which includes Gateway to Europe and of course got the opportunity, in this intimate environment, to get it signed.

As I said, a novel one and hopefully I will be back here and catch Eric again somewhere. It’s been a while but he’s back on my radar.

Victorious Festival 2023

25/26/27 August 2023 at Southsea Common, Portsmouth

My blog has been quiet for a while. No lack of gigs, almost the opposite and OK enjoying covering some old ground, such as The UK Subs and The Undertones. Given up work and started a new job part-time and amid some summer travel just a bit of blog downtime. There are a few special ones to revisit sometime soon, such at Siouxsie Sioux, Devo and The Beat tour with Bow Wow Wow.

But the return to posting starts with a pictorial wander through the Victorious Festival that rounds off the summer: now an annual pleasure that I have survived for the last 10 years.

Every festival wander must be unique. The friends I was with all take their own carefully selected or rather more random routes through the three-day musical feast. I wonder if anyone went the same route as me – impossible surely.

Friday

The first ever full Friday line-up using all the stages. I made straight to the second of the main stages, the Castle Stage, for Crystal Tides, local indie rock and very guitary outfit. The revelation of the weekend, playing three sets and I went back for another later. Here they are doing Courtney Love.(My YouTube channel)

Back over to the Common Stage, the main arena, for wife Sally’s favourites: Blossoms doing a lunchtime special guest slot to get everyone in early. Top pop rock as ever and frontman Tom Ogden looking as rock star as ever.

Then on my way over to the Castle Stage I found The Bottom Line. I hadn’t seen they were playing but saw them at Teddy Rocks Festival earlier this year, with Tom Newton, one of that festival’s organisers on guitar. Power punk pop. Excellent.

The Charlatans next up on The Common Stage. Tim Burgess loving the afternoon slot in the sun – one of my favourites and a very good wide-ranging set. I really like their more recent albums as well as the early stuff.

Bit of meandering and some expensive fish and chips from a wagon. Then it was Jake Bugg on the Castle Stage. I saw him also at Teddy Rocks Festival earlier in the year and his rockier more mature stance got me over to see him and he didn’t disappoint.

Dark by the time he finished and weather coming in. We stopped at the small and homely, Portsmouth Creates Stage and watched RU40, a tribute act for you know who.

It’s pissing down now – a mist of rain gradually soaking in. We thought we’d try Newton Faulkner but we couldn’t see him due to the crowd and decided to call it a day after a bit. Two more days to go after all.

Newton Faulkner is down there on the Acoustic Stage somewhere

The heavens opened and we trudged passed the depleting crowd watching Jamiroquai.

Saturday

I thought I’d check on McFly first. Sneaked over to the Castle Stage and everyone was over there. It was rammed. Bit of nostalgic fun. Not too much screaming, not from me anyway.

I was spotted by friends leaving and I had to confess. I grabbed a distant video of All About You.

I headed back for another bite of Crystal Tides. Another cracker in the car park that was the Beats and Swing Stage.

One of the weekend’s highlights, Pale Waves next. A mid-afternoon rock star performance.

Getting the steps in today – back to The Castle Stage for the wonderful Hammond organ sounds of The Inspiral Carpets. Love it. Second Carpets gig of the year for me. Clint Boon on the organ is the main man. His son is in the band as well now. The frontman Stephen Holt is the original, pre-dating Tom Hingley who is the lead singer most will be familiar with.

Back once again to The Common Stage for Belle and Sebastian. Interesting. Bit surprised as I thought I’d like them but totally lost on me I’m afraid.

Everyone on stage for a Belle and Sebastian finale

Next, I nip back as crowds gather for my festival highlight: from Oz, it’s Amyl and the Sniffers.

I place myself just behind the moshpit when they come on. This is like the early days waiting for The Undertones or The Ramones. On come the band, then Amy Taylor. It goes wild. A fantastic set. Hot air pumping from the ground as the mosh pit leaps. Gotta see them again on their tour. That’s two brilliant festival performances to go with the classic last album: Comfort to Me.

I took a video to capture the moment – Security (links to my YouTube channel).

That’s enough excitement for me for the Saturday. My legs are buggered. Rest needed.

Sunday

The main stage is opened by Courting. I’d been listening since some guys recommended them in a pub before a Future Island gig in Southampton. Enjoyable start to Sunday and here is a link to my video of them playing Famous.

The ‘Staines massive’ gravitate to the front of the Common Stage for Hard-Fi. Been wanting to see them again since they announced their re-emergence. A wonderful set with tracks plucked across their three albums (2005-2011).

After revelling in a bit of my Staines history it was over to the Castle Stage to have some of my Coventry years – ‘ave it indeed. Tom Clarke spits out the songs with anger and passion. A lovely, contained riot of a set. Another weekend highlight.

Several options now. Plenty of well-known bands I just didn’t want to see. I decided I would have a look at some of the smaller stages, demolish some unhealthy food, have a few beers and tactical wines and watch The Vaccines. Good move.

I hung around, determined to get a good spot for Johnny F Marr and that paid off. Central, relatively close position for a selection of Marr solo material and some beautiful Smiths songs. Choruses from teary-eyed grey and no haired gig-goers. Marr is the light that never goes out.

Top finish to another great festival….and I dodged Mumford and Sons.

Johnny Marr rounds off at the Castle Stage

All done. Booked for next year already and looking forward to it.

Rock on.

The Wonder Stuff – live in Southampton

The Wondertuff at The 1865, Southampton 26.7.2023 with Ian Prowse supporting

Arrived late for this one due to a bad back – the creaking grey-haired gig goer eh – and preparation for camping trip (!) next day, but got in to catch the last few Ian Prowse songs. I’ve seen him before supporting Elvis Costello in Bath and glad I got to hear the excellent Does This Train Stop on Merseyside again. (Link is to my Elvis blog).

I’ve always enjoyed Wonder Stuff gigs – mine go back a long way to that first album tour (1988) but there was a big gap. (Previous Wonder Stuff gig blog has more details.) Not all my fault as they split up after the release of the fourth LP which they are showcasing tonight – it’s 30 years since release of Construction for the Modern Idiot. It’s the first one I didn’t buy (cassettes at that stage). To save my back I sit down upstairs wondering if I should be here.

The upstairs balcony at The 1865, up and round beyond the raised rear bar, has some upholstered benches around the walls but unless you get a standing spot at the rail you can’t see anything. You can hear it fine so as the penny dropped that they were playing whole of an album that I didn’t know, at all, I saved myself for the second set.

Miles Hunt – peeping through bodies from The 1865 balcony

It’s not that I mind hearing all new stuff: I’ve seen main man Miles Hunt solo and bought the 2017 album (We Came Here to Work) with violin playing Erica Nockalls, after listening to some of his sanity saving Lockdown livestreams. It is largely that my back was killing me that kept me seated (my wife Sally was no better.)

The violin was lifting the better songs in the first set tonight – what a great musician she is.

I had started watching where we’d got to on the LP and at the end I thought Miles was joking when he said they were going to do a couple of b-sides to round off this first section. He wasn’t.

At the break we made our way downstairs. It was rammed but recent sell outs have seen us find room down near the left hand wall. No good if you want to be making visits to the bar and bogs but fine otherwise once you get there.

Wonder Stuff – back bar zoomed shot – The 1865

The second set was what I needed. Heavy on The Eight Legged Groove Machine album. For me A Wish Away was the winner. Jumping up and down 80s music with guitars getting a full on go. Give, Give, Give, More, More, More has a similar appeal – that one ends the second set.

There are other nuggets in there – Golden Green – more prominent violin – No for the 13th Time and Caught in My Shadow. Size of a Cow is introduced as a ‘the most ridiculous song we ever wrote’ but it is catchy and probably isn’t.

This second set restores my faith although I pledge to go and listen to that fourth LP again, now I have that much maligned Spotify luxury.

They come back for two more: Unbearable and later ‘Eight Legged’ extra track Ten Trenches Deep. Well and truly a gig of two halves. I am sure I will be back again for more, more, more, as long as Miles Hunt (now a youthful looking 57) is up for it.

My Britpop Week – Blur & Pulp revived

Blur live at Wembley Stadium 7.7.2023 with Self Esteem, Sleaford Mods and Jockstrap supporting; Pulp live at Cardiff International Arena 11.7.2023 with Baxter Dury supporting.

A wonderful week. My 37th and 39th gigs of 2023 which I rank as the best two this year to date. Two Britpop essential bands returning after a time and taking different approaches.

Blur, the original line up and Pulp with Jarvis Cocker as the sole original. Blur in the massive 90,000 Wembley Stadium and Pulp in the 7,500 capacity, nearly all standing, Cardiff International Arena.

Saturday’s Blur support bands were to my ears just awful and inappropriate. I have seen the Sleaford Mods on tour and I was absorbed then. I get it. I walked away from their Victorious Festival set and Wembley? Bonkers. The other two acts: I just fail to see how they made the bill – Jockstrap (knob twiddling electronica with light vocals) and Self Esteem, who seem(s) to be have been eaten up and swallowed by an adoring London media. I just don’t get it or maybe I can see through these Emperor’s new clothes. On Sunday it was Paul Weller and Selecter and that date went on sale much later.

Pulp meanwhile had Dexter Dury supporting. Fascinating and I thoroughly enjoyed him and his band. A selection of albums to choose from. Surprised I haven’t seen him before – son of Ian Dury.

As regards the main acts – both brilliant. Both loved by participative audiences. Pulp, notably Jarvis, feeding off the atmosphere and tension created and Blur overcoming the echoing vastness of Wembley Stadium with their celebration of the return and their achievement in getting there.

Both bands delivered the crowd pleasing sets that the audiences deserved and had turned up for. Blur had more work to do on such an enormous gathering but they did it.

I saw Blur first almost by chance, back on 3 May 1991 at Coventry Tic Toc Club, before the first album Leisure had been released.

It was the indoor Wembley in December 1999 before I saw them again – a singles set – and then on 12 December 2003 at Bournemouth International Centre for a quiet gig, heavy with the then recently released Think Tank album.

This Wembley performance topped those other times. Damon was so overtly happy to be there and to be back. Although the new Blur album was due out the set drew from the back catalogue. I’d been singing Tracy Jacks to myself for days beforehand and it duly appeared early on. Beetlebum soon after with its slow grinding start that draws everyone in.

We are a long way back but pleased to be enjoying front of block unobstructed seats. Camera on full zoom to see what was going on.

Stereotypes and Country House, from the number one Great Escape LP, were the chart topping hits – I had thought they might avoid such celebrated pop but not tonight – Damon even put his deer stalker on for Country House.

Under the Westway was a quieter special moment – as London a song as they could muster. The quality of the playing just about conquers the overchallenging stadium sound but oh to hear that one in the Cardiff venue where Pulp played a few days later.

A quieter acoustic moment – Damon Albarn

Parklife was the centrepiece of this Blur party. Phil Daniels emerged from one of those work man’s tents to deliver. Magnificent. Yes nostalgic.

Song 2 another top song before the break for encores. After the break another goody, Girls and Boys.

As Tender was playing I made the misjudgement of thinking it was the last song. On came the gospel choir and as we contemplated the crowds and tube station mayhem, we thought let’s beat the inevitable. We did…and escaped back out to Ruislip and the car but missed the last few songs unfortunately. An awful place to see a band but what a wonderful performance.

And four days later it was Britpop nostalgia round two and on to Cardiff International Arena (what was the Motorpoint Arena).

A giant moon appeared on the backdrop and slowly a rising silhouette of Jarvis appeared to crowd roars. The tour is tagged ‘This is what we do for an encore…’ and the gig started like it was an encore, with an announcement to welcome Pulp back on, after years away in the wings. What an atmosphere.

Much more intimate this experience – 7500 but yes intimate. Jarvis talks nicely to the audience. No shouting.

I’m was with gig buddy Dave (DPi) and we found a spot adjacent to the mixing desk barriers – something to lean on eh. You can get a decent view from anywhere in here – not many seats in the balcony at all here.

The set drew heavily on the wonderful 1995 album Different Class, with eight songs performed from that. It started with I-Spy and then, playing along with the encore idea, Disco 2000. Yup second song. Tickertape blasted into the air like a finale to start. Woodchip wallpaper on the backdrop.

I remember woodchip on my Coventry walls back then. I first saw Pulp on 22 February 1996 at the NEC Forum Birmingham. By then I had got married and already split up so I was a bit ahead of those anthemic lyrics. Quite a night that gig was – it followed the Jarvis invading the stage and mooning moment while Michael Jackson was performing at an awards do. I haven’t seen them on tour since.

Very much the Jarvis show. All eyes on him. The band on the right of the stage and something of an orchestral input from the left: Jarvis, all the while, centre stage.

Pink Glove saw a few devout fans wearing one: Jarvis asked to see them in the air after. Do You Remember the First Time sounded as bouncy and fresh as ever.

The expected highlight came: Common People, building beautifully until the floor erupts. Jarvis succeeded in making a big hall feel like a cosy little venue. Perhaps Pulp will have a crack at Wembley Stadium – NOOO! Don’t do it!

Two hugely enjoyable gigs. The experiences all the better for the fact these bands hadn’t played for so long. Not just any old favourite band but bands that defined the 90s.

All photos from my trusty TZ90 Panasonic pocket zoom.

Iron Maiden – live in Birmingham

Iron Maiden at the Utilita Arena Birmingham on 4.7.2023 with Lord of the Lost supporting

Iron Maiden eh? Another deviation into the world of heavy metal, in particular that NWOBHM (New Wave of British Heavy Metal) as it was back when I was at school, and buying Sounds every week.

I bought the Running Free single when it came out in 1980 – I just may have been influenced by their allegiance to West Ham United. That was and is the sum total of my investment in their records but I have listened a lot (my school mate Rich T has a lot to answer for). In recent years I have seen Weymouth based tribute band Ironed Maiden three times. In Covid Lockdown two sparsely attended seated gigs saved my sanity during the gig desert. Tonight it’s the real thing.

The line-up is from the early 80s, although back in 1981 Bruce Dickenson was the new boy, having taken over front original frontman Paul Di’Anno.

Bruce Dickenson on stage tonight in Birmingham

On arrival into Brum I see Iron Maiden t-shirt clad fans everywhere, the clan gathering in numbers the closer I get to Broad Street and the Utilita Arena. (I now have such a t-shirt as an accessory for any future metal excursions.)

Chis Harms – Lord of the Lost – supporting

Lord of the Lost open the evening. They were Germany’s entry in this year’s Eurovision Song Contest. Most un-Eurovision. A decent heavy rock noise for starters.

The lights dim and UFO’s Doctor Doctor starts playing. This is their chosen build up music and it goes down a storm – even I have this EP – then a bit of Blade Runner soundtrack and they’re on, with a small backdrop to give a smaller gig feel than the 15,800 venue that it is. It opens out shortly after with a huge backscreen, but the basic shape doesn’t change, with the drummer tucked in his own cubby hole.

The setlist draws heavily on two albums: the latest release, Senjutsu (I’ve been listening and it stands up there) and the 1986 album Somewhere in Time, with five tracks from each of those. The first one I know well is The Prisoner, complete with Portmeirion backdrop (I visited several times in the 90s with my Coventry mates), from the classic album Number of the Beast (saw that title track video so many times in the 80s).

Dickenson still has a great rock voice. He wanders the limits of the stage, up behind the band as they work sway intensely at their art. Three guitars and a bass make for a wonderful wall of guitar sound. I’m enjoying my heavy metal outing. The guitar swinging stage right is jaw dropping.

The next song I must have been exposed to a lot is Can I Play With Madness, Dickenson’s rock voice at its high-pitched best.

I am still focused on Hammers supporting bassist Steve Harris – he writes a lot of the material apparently…but there is the distraction of a bit of metal stage show stuff. Almost a token gesture I think but that suits me – it’s about the music.

The show escalates with some belters. The end of the main set is Fear of the Dark, maybe my pick of the night and then that very early track Iron Maiden which I will always count as a privilege to hear live.

The encores included The Trooper (I like that ale – Iron Maiden linked) which was a biggy, good ‘un that – and Wasted Years. This experience was high on heavy metal quality and limited on pomp and posing. Iron Maiden are category winner in my life Oscars awards. They were the NWOBHM.