Gigs with Ivan

Victorious Festival 2022: Friday

Victorious Festival 26 27 28 August 2022 at Southsea Common, Portsmouth UK: Day 1

This event has been a regular in my calendar since 2014. There was a break for Covid in 2020 and I haven’t always been on the Friday but otherwise I’ve always made it. It started in 2013 but that passed me by.

It’s only an hour and half drive from home; the urban location makes hotels – anything you can find (I have taken in a range) – an obvious way to do it if you don’t live local; it’s in a lovely seafront location and the selection of bands is sympathetic to a grey-haired gig goer, while also offering new bands, a wide range of stages and a chance for local bands to get a look in. It has always been great value. Invariably I have booked ‘early bird’ tickets without knowing who is playing and never been disappointed. 2023 early bird tickets total £145 for all three days. Camping is a separate and distant arrangement and there is a reasonably priced premium bolt-on to ease any festival negatives.

View from the raised platform in the premium area – nothing is plain sailing😁

The food selection is good and varied (Paella👍Falafel wraps👍Stuffed Crepes👍 all winners…ok and the chips and curry sauce). Last year, queues got awful but all better this year. Bar queues not an issue this year either as the drinks were so bloody expensive it slowed people up a bit I guess. (£6.90 for a pint of my choice of Brixton Pale Ale. Same for Amstel or Strongbow. The ‘fast bars’ selling 330ml cans of Brixton Pale and larger cans of the rest for the same price. That’s my only negative from this year.)

The aim was to park and drop bags at our hotel near Southsea Common and get wristbands and in for the first band Primal Scream. A few delays sorting out parking and a later start meant I failed on that one. We lounged around in the shaded tent of the premier area with a few beers – well quite a few beers and bottles of wine, listening to the main stage (Common Stage) and emerged for James.

James are band I have seen supporting and at festivals and have a few CDs by, but have never gone out of my way to see. Hard not to like in the sun this afternoon.

Frontman Tim Booth ventures down the central fenced off divide that leads to the mixing desk, then goes over the top halfway along for a crowd surf. Impressive.

Ten songs, including Ring the Bells, Born of Frustration and naturally: Sit Down.

“This the last song we have… we have another 300 over the last 14 years” announces Tim before they play Sound to end – the megaphone is out.

I stayed out for Bombay Bicycle Club – sound – I don’t know their stuff much. I gather they’ve had hiatus and comeback so maybe that’s why I haven’t noticed them overly. One CD in the cupboard – it’s a big cupboard that one – and I saw them once at Reading Festival. Enjoyable and kept us on our feet – quite up the poppy end of indie rock.

There are a couple of the smaller stages open today but I haven’t made the most of what’s on offer. Easing myself in.

Next The Stereophonics. They always seem better than I expect and that’s the way tonight as they round up the evening as the Friday headliner.

Kelly Jones – Stereophonics at Victorious 22

I have seen them 5-10 times now: first time at Leeds V97 Festival and all these years later I am still punching the air tonight to The Bartender and The Thief – still my favourite track. So many to choose from these days. The set highlights include Mr Writer, Have a Nice Day, Maybe Tomorrow and those wonderful, chanted lines from A Thousand Trees:

“Picture gathers dust in the bar in the Lounge it takes one tree to make…

A thousand matches
Only takes one match to burn
A thousand trees
A thousand trees”

Kelly Jones never gets that excited – a few quiet words and he lets the songs do the business, yet again. Dakota to end, with a few fireworks. Ahhhh.

First day over. Taking it easy. Three bands. Poor show really – I can’t count the ones I heard from the bar tent – but caught up with friends and the Brixton Pale Ale. Legs saved for another day….two more days to come.

The Gaslight Anthem – live in Birmingham

The Gaslight Anthem at O2 Academy Birmingham 21.8.2022 with Chris Farren supporting

After a bit of a post-Rebellion Festival breather in this hectic gig-going year, stretched by the tube, bus and rail strikes scuppering a Brixton Bauhaus gig, I’m back on the road to see The Gaslight Anthem.

O2 Academy Birmingham

Located at the top of the main Bristol Road, on the intersection with the inner ring road on the south side of the city centre is the O2 Academy. A half mile walk from New Street station. When I lived up here it was known at The Night Out and then The Dome. I never went there in those days – a bit flash for a student. I did get to the O2 Academy once in June 2018 to see Billy Idol and The Professionals when I returned to Brum with gig buddy Dave on our 8 gigs in 8 days tour. (Here with Dave again tonight – we were both students up here in the early 80s.)

There are two smaller venues here but the main one we are in this evening has a 3009 capacity, with 600 of those being in the balcony – a quite shallow sloped balcony around three sides of the square shaped dancefloor downstairs. It’s that balcony we are in tonight. We are in soon after the doors open which allows choice of front row seats which are unreserved. Great view.

Usual O2 drinks offering with the Shipyard Ale doing the job for me. Yes it’s bit pricey but getting in early to the balcony pays its own dividends.

Chris Farren supporting

Chris Farren is a singer songwriter playing electric, at times eccentric, guitar. I presume he doesn’t expect to be taken seriously – why else would the words ‘guitar solo’ appear on a screen behind him when he does one.

From Florida, three albums and a bit of comedy in there. He passes the time – there is one amusing song with video animation behind on the makeshift small screen. It’s about quitting your job, Domain Lapse, with images of bodies falling from clouds. That was the height of the short set for me.

A lot of echo being used and his fast talking American voice is not that audible. I can’t really understand the audience’s enthusiasm for the set. Even with the jokey makeshift screen powerpoint reminding me of his acheivement in the ‘summing up’ I remain unconvinced – bemused even, but then post-Covid support acts have seen a lot of lower risk one-person acts or no support at all.

The Gaslight Anthem

The Gaslight Anthem come on around 9.15pm: a practical undramatic entrance. They plug in and they’re off. It’s a full and solid sound with four guitars including the bass, plus the drums and keyboards. The keyboardist and one of the guitarists are touring additions to the four-piece band.

Frontman Brian Fallon is the talker as well as the main singer and lyricist. He had a three year break as a solo artist 2019-21. There haven’t been any new Gaslight albums since an earlier break in proceedings in 2016-17 so material comes from their five albums released 2007-2014. My pick is Handwritten (2012) and seven of the 21 song setlist are from that album which is welcome, the best being the title track which second song in.

A few songs later, Fallon stops and stares and he waits for the band to get ready: “we can just stand here and stare at you – it cuts both ways you know – stick that on Instagram, freaks!” All in good humour. He toys with a couple in the balcony who don’t look that close and keeps returning to them for amusement.

Frontman Brian Fallon at 02 Academy Birmingham

They’re sound is from New Jersey. It gets a few labels but it’s American rock – Homeland rock – a hint of Springsteen, a friendly Kings of Leon, early REM, essence of Pearl Jam.

Not much by way of introduction to many songs and no pomp. They just get on and play their great sounds. The set rocks along with high points, the odd crowd surfer and they wrap up with 45 and the excellent ‘59 Sound…..captured and saved to my YouTube channel.

No encores. Job done and off they go. Time for a new album maybe. It’s been a while.

Rebellion Festival – my wander through it – Part 2

Rebellion Festival and R-Fest in Blackpool 4-7 August 2022 (Days 3 & 4)

Saturday morning. Arrgh. We went too early and sprinted on day 2 of this marathon. I can hardly stand up first thing. Legs swollen and generally in a mess after yesterday. I had to dip out of the morning excursion with my Rebellion gig buddies to find the blue plaque to mark the tram killing of Coronation Street’s Alan Bradley. They succeeded. I had to make do with a WhatsApped photo while I watched the Commonwealth Games on TV for several hours.

Pic sent from my gig buddies who went exploring

I started plotting how I could make today a bit easier than the previous two days (summarised in my previous blog).

Saturday

I got the tram up to North Pier (nice little spot for a mooch about – a quiet coffee – Sooty started his first gigs here) and dropped down through the irritating zig zag queue barriers to the outdoor, seafront R-Fest stage for the bag search and pat down just in time for The Primitives – a 2.30pm kick-off. I plonked myself down on the floor near front, to the left, against a barrier. The crowd was spaced enough that I could see pretty well so I just got up for a few songs and to take some pics.

I have the first few Primitives albums on pre-recorded cassettes – every play is a risk these days but they still work. I saw them at Birmingham Powerhouse back when Crash came out – great single that.

There was quite a lot of faffing about on stage and they stopped at one point to sort things out. They were good though and the set was stuff I knew well but had left behind decades ago, so good to be reacquainted.

After that I thought I’d try a first beer of the day – it was busier on Saturday so the only bar selling ale had an offputtingly long queue, while the big bars, strangley free of proper beer, remained untroubled. Cider time….and yes a picnic table seat. Heaven. That was me sorted and I watched The Wedding Present from a distance, popping up to snap the odd pic on zoom.

I couldn’t stay back there for Spear of Destiny mind. I caught up with my mates and went for a side barrier position, front left. Good leaning spot.

Another case of a band playing to a much bigger crowd than they do on tour these days – a few hundred at the last two SoD gigs I was at – on the World Service album delayed 35th anniversary tour – and the thousands watching here.

A wonderful rendition of the World Service title track graced the set (which I captured here on my YouTube channel). Old favourite Mickey got an airing, and Spear of Destiny’s only top 20 single: You’ll Never Take Me Alive. Liberator to finish. That was lively. Time to head inside.

On a mission next as I made my way into the Winter Gardens and the Almost Acoustic Stage to find Pauline Murray, and a chair…ahhhh. Pauline Murray’s Penetration was the first band I ever saw live – I have all the albums and the solo albums so this held some significance. She played solo material and a few Penetration songs. She seemed unduly nervous but it all worked out. What an opportunity. I was sat right near the front.

Pauline introduced one of the songs – Dark Clouds – from her 2020 album, referring to depression and hinting at her experiences. Quiet hard hitting – bit of a choker.

After that treat I made my way back across the tram tracks to see Peter Hook and the Light. By this time on Saturday there mood was getting jolly. The tram tracks had increaded safety measures. Men in high vis jackets walked in front of trams slowly passing the R-Fest crossing point, while others marshalled the cavalier crossers.

Hooky and the boys delivered a classic Joy Division set – just that early New Order single Ceremony creeping in near the end – finishing with Transmission and Love With Tear Us Apart. Hooky always delivers.

I retreated further back after a bit, in search of seats, ageing legs ruined by the previous day, and sat on the floor for a bit with a cider mid-set. A relaxing sunny evening. Sound still good. Hooky’s bass rumbling.

Back across the tracks and into the Winter Gardens. I was intent on seeing Cock Sparrer. Who were these longstanding Oi legends? No free seats anywhere in the Empress Ballroom so I sat on the floor upstairs – lined up against a side wall with some skinheads stripped to the waist – them not me – it was boiling. The place was heaving. I made a move when the band came on but just couldn’t get a look in anywhere. First few songs sounded great but I had to give up trying to peer over and round pillars and people. I wandered down to the Pavilion area.

An incredible amount of t-shirts, records and badges was on sale on the stalls around the Pavilion in the day. The Rezillos played in the stage those surrounded. Quiet a small stage for them I thought and I couldn’t get a decent view. I didn’t want to use up my last hour of legs by standing yet so I headed with enthusiam for another chair luxury at the Almost Acoustic Stage….and of course The Ramonas who obliged with a Ramones singalong.

I had saved myself for one more today…. The Godfathers in The Pavilion. So glad I did. I saw them twice back around 1989, after the classic 1988 album Birth, School, Work, Death but never since. A really aggressive, loud set – a real caldron of sweat. Yes, they played the title track (my clip). A wildly appreciative crowd and band by the end. New album coming soon. Got to be worth a listen.

That was me done for Saturday. I got back to our hotel to find my gig buddies had retired even earlier. More training required.

Sunday

Last day. I was always going to take it easy on the last day but I didn’t think I would end up spending so long in the Literary Stage. It was a fascinating spot.

But my first target was Altered Images on the R-Fest Stage at 2.30pm and I was in just in time to find the others around our familiar front right spot. Altered Images were loads better than when I saw them recently in Southampton – I think that was just having a bigger better crowd – Clare Grogan was her same cheery self. Dead Pop Stars remains my favourite. It surely would have got up the charts were it not for the grossly unfortunate timing of the release and John Lennon’s murder.

I hung around a bit for Buzzcocks but I didn’t have much interest in seeing them without Pete Shelley – they were fine and everything moves on. Hearing Steve Diggle interviewed (well talking) later that afternoon I felt a bit guilty about that. I do see – he has to carry on and he has earned that right.

A few of us left early to go and see Chelsea in the Empress Ballroom. Gene October still at the helm. We sat up at the back. I appreciated both the seats and the performance. I can’t believe I’ve never seen these punk legends before – I missed them by a day once in Granada, Spain. I sat staring at that logo thinking where have the years gone.

After that we gorged on the Literary Stage. A round table, comfy chairs, dark and air conditioned room and a few bottles of Blue Moon. Maybe this was our day four surrender… no no it was really addictive. Fascinating.

First Alvin Gibbs of the UK Subs. I knew he had returned to the Subs but didn’t realise where he’d been. A World tour playing with Iggy Pop and all the stuff that goes with that. A real wow. Then listening to life returning to touring with Charlie Harper again with the Subs after other band adventures.

Great seats. I was staying put. Steve Diggle came over from his earlier Buzzcocks set. The impact here came from his recollections of punk hitting Manchester and the early gigs with The Sex Pistols: “It was chaos…. It was beautiful.”

He talked about Pete Shelley dying and the decision to carry on. I can see now…..he just has to. That is what he knows. Why wouldn’t he. He convinced me Pete would approve. Good luck to him.

As a Hammers fan and Stranglers nut, the Stuart Pearce ‘show’ was always something I wanted to come and find. The place was packed. All seats full and standing round the sides. A great raconteur of life with England and Brian Clough at Forest in particular. He spoke of his trips out to see punk bands and Gazza’s antics when he roomed with him. He got a huge cheer and I collared him after.

The end was nigh. Time for one last gig to round off this four day extravaganza. I headed down to the Club Casbah to see Kirk again… this time with Stan Stammers for the Theatre of Hate performance. I caught a bit of Gro-Mags when I got down there and nabbed a picnic bench towards the back while waiting and for the first bit of the set.

Kirk and Stan back together – Theatre of Hate

The set was quite short – starting late – but I thought this was a magnificent performance. The Theatre of Hate sound is markedly distinct from Spear of Destiny. More mystery, more edge, more aggression. The sound was excellent – the band seemed to be concentrating. No joviality. They started with Westworld and finished with Original Sin. The set was a masterpiece and it certainly crowned my Sunday.

I was done. I got a t-shirt from the ToH merch stand and headed in search of chips and a tram. What a great four days. My first Rebellion – last? I very much doubt it. OK I screwed up a bit by going for it on day 2 but all was not lost. We made it.

My Flickr album of Rebellion band pics over the 4 days here.

Rebellion Festival 2022 – my wander through it – Part 1

Rebellion Festival and R-Fest in Blackpool 4-7 August 2022 (Days 1 & 2)

My first trip to Rebellion or any of its other earlier incarnations. The line-up was irresistible. I had to do it once and so this was the year, aged 59, that I headed north, very north, for my debut and to meet up with gig buddy Dave and Big Gra.

As it takes a day of expensive and failing trains to get there we arrived on the Wednesday night to dodge wrist band queues and not arrive wrecked. Already a sense that this was to be a marathon not a sprint. In the end I think I managed the four days as a leisurely stroll, a stagger, one long sprint and a gentle wander, not in that order.

Everyone’s wander through the four days must be unique. So much choice – bit of exploring but I probably played a bit safe on many band choices: maybe a bit heavy on the R-Fest, the separate and less punky outdoor section of the festival, on the seafront and about 10 minutes walk from the huge complex of venues in The Winter Gardens.

Hard to do justice to it all I know so I have gone for the wander through, in order, approach. There were eight venues and a cinema – I missed a couple of them.

Thursday

Into the Winter Gardens to get our bearings. A pint in Club Casbah watching Litterbug before heading to see Pizzatramp in the beautifully ornate Empress Ballroom, largest of the indoor venues with three rows of seats up at the back of the balcony – those balcony seats were to become very sought after by day four.

Hard to remember seeing a band who give less of a sh*t about anything. Short blasts of song, some confrontational chat and amusing from the South Wales trio. “Who can afford £190? You can’t be real punks!” says Jimmy. “This one goes out to all those people at the other stages: I hope you f*cking die!” He introduces another very short blast of song called There’s Been a Murder, based on the TV series Taggart. He said he felt obliged to watch all the episodes and was annoyed to find that Taggart never uses the phrase once.

He mellows to call his 6-year-old son on his birthday and the crowd sing Happy Birthday. Jimmy crouches and is lost in emotion, blubbing. “I’ve got sweat in my eyes you English c*nts!” Pizzatramp: well worth the watch.

Off to look at The Literary Stage with Tim Satchell talking about his books about Clash albums, followed by TV Smith, once of The Adverts.

The Literary Stage was a lovely cool, dark and smart rest area to hear a wide variety of interviewees. Nearby were the best toilets in the place and a bar with bottles beers and no queues. More of a work conference feel than a punk festival.

More music next with one of the bands of the day: Knock Off in the Club Casbah.

Andy Town – Knock Off at the Club Casbah (all pics in this blog snapped by me at Rebellion)

Uncomplicated anthems – played fast – played with passion and punch – such as 1980; Football, Beer and Punk Rock and the wonderful This is Who We Are, This is What We Do. Charlie Harper is in for a look – Charlie is everywhere this weekend. What a legend.

Then down to check out the R-Fest, how far it was and how long it took to get in. The queues to get in there varied massively over the four days. Main hazard getting there and back was the tram lines and no one fancied ‘doing an Al Bradley’ (Coronation Street reference – a tram killed the rotter).

Had a quick look at Dreadzone with their buzzing bass notes before returning to the Almost Acoustic Stage for the quirky indie pop of Peter Bentham and the Dinner Ladies. Unusual room with model villages up in the ceiling.

Peter Bentham and the Dinner Ladies – Almost Acoustic Stage

I felt I should go and see Anti-Flag next, in the Empress Ballroom – recommended (PCu). I knew of them but can’t say I’d listened. Exciting stuff. Full-on American punk. They don’t seem that old but they’ve been going since 1988 and frontman Justin Sane, an original member, only 10 years younger than me.

After the band of day one I guess it was a nip back to the Club Casbah for me to catch the last three songs from Spizzenergi, including of course Where’s Captain Kirk? I say of course, but Spizz introduces the last song as Clocks are Big, Machines are Heavy, sings a few lines… and then Where‘s Captain Kirk starts.

After that I was back out to the seafront R-Fest to see Hawkwind.… yup Hawkwind. Well I had to. An interesting inclusion and respectful nod to these psychedelic rockers. It felt more 70s Glastonbury than 2020 Rebellion but I was happy – I didn’t know any of the songs and they didn’t play Silver Machine.

After that, I popped back to the Winter Gardens and watched a bit of The Boys at the Casbah for a few songs before heading off to see the added set by The Skids in the Empress Ballroom.

They played the same set I had seen several weeks back in Southampton but that didn’t matter…same stories even. This was a big crowd compared to usual tour venues they are playing and that made it that bit better.

After that I was keen on seeing The Bar Stool Preachers, but the queue at the entrance to the Casbah was large and not moving. I had to concede. I settled for sitting in the Acoustic Stage with a pint, while members of Anti-Flag chatted to a few fans after their acoustic set. That was me done for Day 1. What a day eh?

Friday

Today was less wandering: much more standing, more sun and much more beer. Today was the day I ruined myself – my legs mainly – but it was a fun way to do it. We did start the day with a trip up Blackpool Tower – a must if you’re in town.

We watched the first five bands at R-Fest on the seafront. These started with The Vapors. A decent start and a set including News at Ten and Turning Japanese.

Jilted John was next. I wasn’t interested really. I sat on the floor, front right, by the barrier. Bit of a novelty but a novelty I think I had my fill of by the beginning of the 80s. Yes, the Jilted John song was still good to hear I suppose and there was smiling with the singing.

Then Toyah bounded on to the R-Fest stage – sparkly and happy. Maybe a bit Marmite but I’ve always loved Marmite. I was down the front at the London Rainbow in 1981 with Harrington jacket with Toyah on the back so yes I have a bias.

A few covers included that went down well: Echo Beach and Rebel Yell (I wonder if she will do that one when she supports Billy Idol later in the year). This set had a bit of more zest and the sun came out.

From the Jam kick off with Down in the Tube Station at Midnight – fantastic start. A one hour set packed with great songs.

Russell Hastings, looking up at the Tower above, commented that he hadn’t played Blackpool for many years. (He was also the only artist that mentioned the tramway death of Coronation Street’s Alan Bradley…which got a cheer from three of us anyway.)

Even though I’d seen them recently this was still irresistible, although a safe choice. They finished with That’d Entertainment and Start.

….and on to The Skids… again. I wasn’t going watch them again this weekend but we were here and didn’t to move. Lazy enjoyment of the same set as last night. I did wonder if I would miss out on any different inclusions in the set but Jobson pointed out that they had quite a new bassist, as well as drummer, and they’d learned the songs for the tour, so repeats it was.

Richard Jobson back for more on the R-Fest stage

After all that outdoor excitement I had a special visit to make to the Almost Acoustic Stage indoors. Lesley Woods, former singer-songwriter and guitarist from The Au Pairs was playing a solo set. I can’t recall seeing her play live at all since she left music behind for a career as a human rights barrister, so I had to witness this. I saw the Au Pairs several times in London back around 1980 and that brilliant first album, Playing With a Different Sex. When I moved to Birmingham as a student I saw them around there as well and found then living nearby when I lived in Balsall Heath.

These are short half-hour showcases. A few Au Pairs songs and some new ones. Extraordinary to be watching an artist I followed so strongly 40 years ago but haven’t heard since. I really appreciated that chance and would like to see another gig.

Back over to the seafront for The Stranglers. It’s busy but I’m back in time. The band of day – and the weekend I’d say. I would say I suppose – 36 Stranglers gigs now so I will be biased.

Jean-Jacques Burnel – nearly on the beaches at Blackpool

I loved the setlist, starting with Toiler on the Sea and finishing with Tank and No More Heroes. A crowd pleasing set with just one new one from the excellent Dark Matters album. Relentless from the Suite XVI gets better and better and so has established itself as one if the more modern (2006) faves – the first album with just JJ and Baz Warne on lead vocals. (My vid clip of that one.)

Baz Warne and new keyboardist Toby Hounsham at R-Fest

A lot of Stranglers t-shirts in for this. Maybe day tickets swelled the numbers so this was a partyinblack. I got swept along eh. Beer flowed. Another top sounding Stranglers live performance with all the variety their back catalogue can bring. I was pretty much done for the day…. but The Ramonas were just starting in theEmpress Ballroom. Hey ho… Let’s Go!

It was brilliant to see them playing to the big full hall of the Empress Ballroom. A chaotic loud frenzy of Ramones nostalgia – the air punching, the guitar stances, the Gabba Gabba Hey sign.. the lot. (Pinhead on my YouTube channel.) Loved it.

That was me well and truly done for Friday… how did we do two more days of this? Have I blown it? There is a sequel.

The Beat live at The Cavern Club

The Beat at Cavern Club, Liverpool 21.7.2022 with The Skapones supporting

A few nights in Liverpool to absorb some Beatlemania and a Beat gig to take in while we were there (a trip with wife Sally and gig buddies Dave and Ann.) Originally the gig was set for the Central Hall in Liverpool but it has closed for good it seems and we had an apologetic message to say the gig had been moved to The Cavern Club, yes THE Cavern Club.

Great place The Cavern Club. I went for the first time last December when I came up to see Big Country at the Central Hall. Yes, it’s a rebuild and it’s a tourist attraction but a top place to soak up some history – live music all day, decent beer, loads of framed photos and signed memorabilia and it’s rebuilt almost on the site of the original legendary club.

This is The Beat with Dave Wakeling, the original lead singer and songwriter, that we are seeing.

After The Beat split up in 1983, another incarnation of The Beat appeared later, with Ranking Roger heading it up. That wasn’t straight away – there was General Public with Dave and Ranking Roger, and others from Dexys Midnight Runners (Mickey Billingham and Stoker), The Specials (Horace Panter) and Mick Jones from The Clash for some gigs. I saw General Public in June 1984 at a student union event at Birmingham University, billed as Aftermath and looking at the old programme/ticket it looks like Mick Jones didn’t play with them then.

Ticket/programme for General Public – Birmingham University 1984

I saw The Beat before that at the long gone Tower Ballroom near the reservoir up in a north corner of Edgbaston, Birmingham (The Set supporting) – must have been around 1982/3. After the split and the General Public years, Dave went to live in America where he went on to tour with his own band as The English Beat while out there. I saw them decades later in July 2017 at Mr Kyps in Poole, another lost venue. Perhaps it is that limited exposure to them that has kept them fresh for me… a bit like The Selecter.

There are two main areas in The Cavern Club where bands play. There’s a central arch in the more traditional looking area as you enter, having come down the spiral steps from Matthew Street.

The other gig space in a rear section, where The Beat are playing tonight, is called The Live Lounge and holds 350 people packed in and standing. The ceiling is low. It’s hot and sweaty as soon as we’re in. This is a sell out.

Cavern Live Lounge during the day of my December visit

The support tonight is The Skapones, a two-tone ska sound from Darlington. They do their own stuff and covers and seem have some travelling support – full of energy and get the dance floor going.

We get a reasonable view from the left hand side, raised a few steps from the dance floor that’s in front of the stage. There is a large tv screen to the left that shows the stage and it isn’t so packed that I couldn’t get to the front or to the back of the dance floor for a better view.

I spied Eddie Lundon of China Crisis in the crowd early on and he was game for a pic.

Eddie Lundon (China Crisis) stops for a pic with my wife Sally

The sound is loud but good – no ear buddies required even at the front. It was hard to get much by way of photos but that’s not what it’s about tonight. This is a bit of a party. Drinks are flowing.

As soon as The Beat get going the dance floor is bouncing. So many familiar tunes – their own and covers they have made their own over the years, like Can’t Get Used to Losing You and Tears of a Clown.

There are seven of them packed into the stage and the ‘toaster’ Antonee First Class could do with a bit more room.

Hands Off She’s Mine and Save it for Later are my early faves. Somehow the passion is still there for Stand Down Margaret – 30 years after she eventually got forced out.

Dave Wakeling – The Beat in the Cavern Club

I went down for dance and to have some beer spilled on me – irresistible. Right at the front but able to retreat to our side table base.

The tunes keep coming: Best Friend; Too Nice To Talk To. Dave Wakeling seem very happy – it is the last night of the UK tour so a celebratory feel from the stage as well.

Toaster Antonee gets to do a few of his solo numbers before the final run in and the floor keeps bouncing.

Saving the best until the end it has to be Mirror in the Bathroom. What a cracking single that is: their highest charting single at no.4, released in 1980.

Mirror in the bathroom
Please talk free
The door is locked
Just you and me
Can I take you to a restaurant
That’s got glass tables
You can watch yourself
While you are eating
Dave Wakeling and The Beat 1980

This gig was right up there on the gig list for the year so far – a lot of fun and a special venue.

The Skids live – Southampton

The Skids at 1865 Southampton 16.7.2022 with The Postmen supporting

After trips to see The Skids all over in recent years – Belfast, Dunfermline, Minehead, Glasgow, London – it’s good to have a more local gig.

The 1865 is improving with each visit and holds more appeal for me as I get to know it. Great beer choices, good viewing options. Last visit was for China Crisis but there’s more background in my Spear of Destiny blog a few years ago.

Looking to the back of the venue with raised bar area to the rear

The main change from then is the removal of the odd indoor fake tiled roof down one side. The unusual but handy raised rear level where the main bar is, remains. Tonight it’s busy without being rammed: we can pick our way through the high tables and chairs to get to a space nearer the front. The right hand pillars are a good leaning option or route to a stage side view if it’s busy.

The Postmen are a lively and very watchable support. Southampton based but the frontman is a scouser – there’s humour in the songs and banter. A bit of Boris baiting – with masks – amid the jangly indie rock sounds. They went down well, finishing with a Depeche Mode cover, which didn’t fit that obviously with the rest of the set.

I bumped into the singer of The Postman at the recent China Crisis gig here. I was hanging around the merch stand chatting to him and mentioned I’d just seen The Skids and he said “if your coming to see them here we’re supporting”. Well I made it.

Skids time. Not much hanging about.

The place was pretty hot and sweaty. It had been quite a scorcher that day. A great set that was quite compact. Their Clash Complete Control cover is tops and they threw in a bit of Pistols Pretty Vacant after the TV Stars‘ Albert Tatlock chant..and more Boris baiting.

Jobson introduced The Saints are Coming, noting the U2 success with it, but no acknowledgement of the fact it is a Southampton FC song round here – maybe it didn’t click. What a rousing version and crowd reaction. Perfect place to play that one.

I’m starting to wonder how long the Skids revival will continue. The band continues to change, with another new drummer to add to the replacement of Bill Simpson on bass. The Big Country boys – Bruce and Jamie – continue to give the band that Stuart Adamson guitar sound. And now Gil Allen on bass is also playing with Big Country and The Skids.

Yes it was another great night out with The Skids. It helped it being a sunny Saturday.

As we filed out to the fresh air Jobbo was by the door to see us all out. An obligatory pic, with wife Sally, my old mate Andy and a grey-haired gig goer.

Duran Duran live in Hyde Park

Duran Duran in Hyde Park 10.7.2022 with Nike Rodgers and Chic; Aurora; Laura Mvula and Rozzi

Back in October 1980 I stumbled upon what was one of Duran Duran’s first gigs outside their native Birmingham. I went to the Lyceum, just off The Strand, to see Pauline Murray and the Invisible Girls – it was a double headline with both Pauline Murray and John Cooper Clarke being backed by the Invisible Girls. The Durutti Column were the named support – we were in early to lean on the front barrier. (I was with two mates from school Wayne and Paul).

But first… who’s this? They look a bit like Japan. Flamboyant clothes and powdered faces and a bit of eyeliner. “Ladies and gentlemen – give a big London welcome to Duran Duran.” They sounded alright. Quite poppy. Months later, in February 1981, they released Planet Earth and then they hit Top of the Pops – jaws dropped, “we’ve seen that lot”.

My ticket for one of Duran Duran’s first appearances outside Birmingham – fourth on the bill at The Lyceum

Later that year I found myself in Birmingham as a student, a city I stayed in for seven years, and where Duran Duran songs began to infiltrate my mind. The hits kept coming. They were played everywhere: nightclubs, pub juke boxes, 80s discos. (No they weren’t actually called 80s discos in the 80s – they just were.)

I even went to the legendary Duran Duran hangout, The Rum Runner on Broad Street – only once that I recall. It was packed and the erotic film Caligula was playing on tv screens throughout the club. It was knocked down in 1987, the year I left the city.

That was it. I never bought any records. I never saw them, or even contemplated it, but the Duran Duran boys were a classic 80s backdrop sound. Nearly 42 years since that first chance gig I’m here in Hyde Park after taking gig buddy Dave up on an offer of some tickets bought a few years ago, before we were locked down. Here in the garden area to the side of the stage with access to stage front. It is bloody hot mind. Everyone is flocking together under any available shade.

Singer songwriter Rozzi, 19 and from San Francisco sounded pretty good from the shaded bar area and I should have shifted earlier into the burning sun at the front of the stage. I was moved to see Laura Mvula while a lot of the audience, especially the front section, were keeping out of the way in the shade. This is a bit of a problem with the divided ticketed areas and Laura commented wondering where everyone was. I found myself stood just back from previous act Rozzi to watch.

A reminder of who is on next from the t-shirt in front and next up that is Aurora.

Aurora is Norwegian. Intensely Norwegian I’d say. A fairytale appearance and a Bjork-like high singing voice (and a squeaky speaking voice). I watched open mouthed I suspect.

All this is passing the time pleasantly but not much more than that. I started to wish I’d come out to see Rozzi first.

The interest cranks up a notch when Nile Rodgers takes to the stage with Chic – whoever Chic are these days . The crowds pile in from the bar areas. I caught the end of Nile Rodgers at Victorious Festival last year and thought I’d missed something.

I’m no Chic boogie man but I was intrigued to see this set. It started with a string of Chic songs including Everybody Dance and I Want Your Love and then Nile Rodgers started to talk about and play some of the songs he wrote for and with others: I’m Coming Out (Diana Ross); The Greatest Dancer and one I really do like We Are Family (Sister Sledge) and on to some Madonna with Like a Virgin and Material Girl. I didn’t know he wrote all this stuff. Interesting intros and explanations.

Everyone enjoyed this live juke box performance in the sun. A few Bowie songs: Modern Love and Let’s Dance and the alarmingly catchy song written with Daft Punk, Get Lucky.

The Nile Rodgers boogie in the Hyde Park sun

Yes they/he did do the Chic trade mark number Le Freak. I enjoyed this expansion of my musical education.

And on to the main event – Duran Duran, some 42 years after my first sighting. I was surprised. I didn’t know what to expect. Simon Le Bon didn’t come out of the Queen’s Jubilee concert very well – his voice sounded weak at that. But what was delivered here could not have been better, I don’t think.

I really don’t know any of their album material. The singles though have got engrained in me over four decades, so playing those was always going to be the winning bit for me.

The chant of Wild Boys to start and they’re off. Top start. My pick would have been their Bond film song, View to a Kill. Great song. Other top early half choices were Union of the Snake and Hungry Like the Wolf (which I nearly missed as I had sloped off to grab some food ironically).

Nile Rodgers came on to help out on a few, including Notorious (he produced and played on that album) and Pressure Off (which he co-wrote and co-produced).

Singles Reflex and Planet Earth, that first breakthrough chart hit, helped the build up to the encores of Save a Prayer and, of course, Rio.

I can’t imagine seeing Duran Duran better than that. My curiosity, after 42 years, is satisfied. I don’t need to see them again. That was just great.

(I have now acquired a greatest hits album for 50p from a local charity shop.)

From the Jam + The Selecter, live in Bournemouth

From the Jam at O2 Academy Bournemouth 9.7.2022 with special guests, The Selecter

My fourth From the Jam gig. No, I never saw the Jam: only Weller. I will be brief as my last FTJ blog put them in personal context. That was at The Brook in 2021, an acoustic show.

A familiar local venue for me as well, so extensive details on that are updated from my visits here in my O2 Academy Bournemouth blog.

The Selecter – tonight’s special guests

What a bonus eh? I’ve always liked those first two albums, Too Much Pressure (1979), Celebrate the Bullet (1980) but I didn’t go beyond that. My appreciation was aided I guess by living in Coventry for many years, their 2-Tone hometown. I didn’t see them live back in 79/80 and have had to content myself with buying the live vinyl album of a Coventry gig of that time, at what is now the library (a recent Record Store Day special).

It wasn’t until 2016 at Victorious Festival I saw them live. By this point it was originals Pauline Black and Arthur ‘Gaps’ Hendrickson remaining.

Victorious Festival 2017 – The Selecter – main stage

On a few years and we turned up early doors for their gig at The Wedgewood Rooms in Southsea (me and now wife Sally). I bought Pauline Black’s excellent autobiography ‘Black by Design’ and had a chat. Later, she dedicated a song to me which was one hell of a surprise mid-set.

Wedgewood Rooms 2019 – pre-show at the merch stand with Pauline Black

The Selecter – Wedgewood Rooms, Southsea 2019

So on to tonight and we are down the front, early in, a row behind the barrier. 8pm and the place is still filling during their set. (Here with wife Sally and bro-in-law Rich tonight.)

Pauline Black – The Selecter – O2 Academy Bournemouth 2022

After the introductory Avengers Theme, the bouncy 3 Minute Hero. Hard to keep still. An enthusiastic start.

The band look to be having a party and it rubs off. Some great sax and organ sounds accompany the guitars and a returned original drummer, all providing the rich ska backdrop for Pauline and Gaps to vocalise onto. Lots to watch. I find myself mesmerized by their dancing feet. Smart variations of Doc Marten footwear.

Arthur ‘Gaps’ Hendrickson – The Selecter – Bournemouth 2022

Missing Words was always going to be a top one for me, mid-set. That’s followed by the ska anthem cover Last Train to Skaville. The Selecter get a 13-song set, only one less than From the Jam so it is a double header effectively.

Before what was their biggest single, On My Radio (it reached number 8 in the UK chart), Pauline says “put your phones away – no one needs to see another video of this one.” Guess not. Just enjoy it.

To finish: Too Much Pressure, merging into another classic cover, Pressure Drop. An encore maybe? No, that’s it.

Pauline Black in Bournemouth – more than a three minute hero

From the Jam tonight

This is a Sound Effects tour, celebrating that album. They dodge the idea of playing all the songs from that one, in order, opting instead for seven tracks from it, starting with Pretty Green.

Russell Hastings – From the Jam – Bournemouth

I particulary enjoy Start, Man in the Cornershop and the wonderful That’s Entertainment.

Russell Hastings tells of his recent heart attack and stent fitting. Scary stuff. He checks his wrist monitoring device and says he’s already exceeding the limit after just a few songs, but on he goes. Jam original Bruce Foxton has had his own medical problems and procedures so these boys have had a worrying year. You wouldn’t think it looking at them performing tonight.

Russell Hastings’ voice is amazingly similar to a younger Weller – shut your eyes and yoù get your own time machine.

Leaving Sound Effects behind, the set shifts into top gear: Strange Town – with a reminder as to what an A-Z Guide Book was – David Watts, Town Called Malice and A-Bomb in Wardour Street.

The magnificent Eton Rifles ends the main set. Can it get better? Yup…one of the greatest songs written in my lifetime, in my nostalgic mind: Down in the Tubestation at Midnight. Weller has left us with all this but it’s so hard to squeeze a Jam track out if him these days From the Jam are the best shout for a Jam fan’s night out. To end Heatwave. Great night.

The Rolling Stones live in Hyde Park

The Rolling Stones at British Summer Time Hyde Park 3.7.2022 with Sam Fender, Courtney Barnett and The Dinner Party supporting

This is a big one. My third gig in London this weekend with gig buddy Dave. Really looking forward to it. I have seen the Stones once before, in Cardiff in 2018. That was before I had properly explored their back catalogue – I only knew what I had heard on the radio.

It was the first of a 2018 eight gigs in eight days extravaganza that was a miracle of logistics and good fortune that my gig buddy Dave engineered (he went on to a ninth gig in nine afterwards!)

That first gig was a real eye opener for me: seeing these legends at close quarters and appreciating the highly mobile and energetic Jagger. It was also here that I took one of my favourite ever gig photos – with the trusty pocket zoom I still use.

Jagger right in front of me – Cardiff 2018 – one of my favourite snaps

Moving on to the gigless grinding boredom of the 2020 Summer Lockdown and I found myself working through a list of the top 100 albums of all time (Rolling Stone Magazine’s take on it anyway). Several things emerged from this: a rapidly induced obsession with Bob Dylan; Revolver was by a fair margin my favourite Beatles album (not Sgt Pepper as I’d imagined); I really didn’t get the Bat Out of Hell thing, even when Meatloaf died; and the Rolling Stones old stuff was a goldmine I had failed to tap into. It started with Sticky Fingers and after playing that for several weeks I started to take remote recommendations from my mate Al, which led me to Let it Bleed, Some Girls and a timely remastered re-release of Goat Head Soup (in which we find Angie).

So now, still a relative novice, I am in a better place to appreciate The Stones live.

A beautiful sunny day in one of the most wonderful urban green spaces there can be, Hyde Park: the far eastern end of it, north east of the Serpentine. I’ve been to several of these British Summer Time (BST) concerts now: Taylor Swift 🤪; The Cure; Green Day; The Killers and Bob Dylan/ Neil Young. You need to be in a premium price front section if you can – easy said I know but back behind the front barriers of the general admission area, on the flat as it is, is pretty frustrating and faced with that again I would try for another venue to see someone. It is divisive and for some bands the usual enthusiasm of ‘down the front’ is distant with an unhealthy infiltration of less interested corporates and media darlings stage front. Support bands can get a particularly raw deal with a patchy crowd in front of them while the buzz is in the garden drinky area to the side.

….and there I was, sat in the garden bar area along with the rest of them for the first few support acts: The Dinner Party and Courtney Barnett, who was worth a better look. I was saving my aging legs, honest, while a miraculous supply of beers kept arriving via friends John (The Dove) and Jeanette 😁. (Here with them, gig buddy Dave and our wives Ann and Sally, wary of repeating the recent Killers gig waywardness.)

You can see the bands on the stage side big screen but I just had to go into the arena for Sam Fender. This the third time I’ve seen him, once here with Neil Young/Dylan and recently his great Glastonbury set, with songs from his excellent new Seventeen Going Under album – belter. A singer songwriter with some edge and a proper band to play live with. Everyone’s noticing him now after a stuttering few years since his first album, Covid hiatus and some other gig cancellations followed. So much to come.

Sam Fender at Hyde Park supporting The Stones

Even Sam Fender was a bit under supported given the magnitude of today’s headliners. The arena stage front paddock quickly fills as the Stones start time approaches. It is still so bright; a lovely warm glowing bright, but any lighting is a bit lost until much later. It’s exciting. Old rockers peer eagerly stagewards.

No sooner is Jagger on than he is off down the walkway, his walkway into the crowd. His body seems to absorb the music and move like a cartoon to it, effortlessly. The trade mark rounded arm hand claps, the pouting lips and side to side head wobble. What a front man and he’s done this for decades – still looks as fit as hell.

He dedicates the gig to the recently departed drummer Charlie Watts, Charlie’s face having been up on the pre-show backdrop.

I’ve taken the precaution, Stones relative novice that I am, of creating a Spotify playlist of recent tour dates. It is a crowd pleasing set and that tactic still pays off. (Subsequent reviews five star.) The addition I hadn’t anticipated was Angie, from Goats Head Soup. Probably my favourite Stones song. Brilliant. All a bit emotional such is the hugeness of the moment.

Ronnie Wood’s illustrated setlist, print available from his website for £80

You Can’t Always Get What You Want is the earworm that stays with me for days. It’s a good response to all manner of situations. Dylan’s Like a Rolling Stone is a celebratory cover thrown in: I could almost detect a pause before the ‘self-mentioning’ chorus.

There is a Wood-Richards led pair of songs during which they progress up the walkway a bit, but this is Jagger’s territory. The Stones guitar engine room generally seems happy to stick to the task: playing rock’n’roll. The whole gig is playing what people have come for, and in a way they want to hear it. No fancy nonsense.

Paint it Black : more classic history. In front of 60,000 people out in the park, they manage to give it raw uncluttered sound of a small club. There is a sense that this is a band returning to celebrate in their home city, after all they’ve done. Sixty years. It is amazing. I’m lapping it up. It’s my 49th and best gig of the year: the performance; the set; the nostalgia; the weather; the company; the boys are back in town thing. Tops.

I gave up with my camera after a bit – enough for the memory jolter when I’m sat in a home one day. I will beat the Stones to it at this rate.

The run in from Paint it Black escalated beautifully. There was a polite break for a play at the encore game and while the more predictable Satisfaction was the last, Sympathy for the Devil a preferred gem. That’s where I am heading next: the Beggars Banquet album to continue my belated education.

Guns N’ Roses live at Tottenham Hotspur Stadium

Guns N’ Roses at Tottenham Hotspur Stadium, London 2.7.2022 Gary Clark Jr and Michael Monroe supporting

A first gig at Spurs

My first trip to the new Spurs ground for any reason. It is very impressive, rising up between the residential streets and the scruffy High Road. We arrive on the 476 bus up from Angel, Islington. On match day I suppose regular fans get to know the best routes in and out but this is a pretty awful place to get access. (Getting out and back to more central London later proves to be a horror.) Not sure if these gigs are the first held here – could well be.

Confusion abounds as regards where to go – a lap of the stadium and a bit of queuing and we are in on an early entry ticket for 3pm….yes, we are here for seven and a half hours.

Reports are of around 70,000 people here today, with the all-standing on the pitch giving that added capacity to a football match which sees 62,850 when Spurs can fill it. This really is big stadium rock. I’m learning.

Predictably expensive (£6.70 for a pint of lovely Neck Oil) for drinks and food but service is fast and the quality good. They use bottom filling plastic glasses. Novel. Lots just drip beer down the front of your trousers so I spend the afternoon looking like I have a bladder disorder. Clean spacious concourses and plenty of smart toilets. No queues.

Michael Monroe

The first of two supports is ex-Hanoi Rocks man Michael Monroe – he’s Finnish. A real old school rocker look and glam rock is the label that gets applied to him. Didn’t know any of his material but really enjoyed it – easy going hard rock – maybe it was the relief of some music at last after a few hours sat around on the plastic pitch covering.

Stage bathed in sunshine at this point. That doesn’t last into the evening but helps the afternoon pics. 60-year-old Mike goes climbing up the side of the stage, still singing, with a leap on his descent that would have put me out of action for weeks.

There’s not much wind so the sound is pretty good near the front and central, although there were complaints up the back… it is a bit of a way back there.

Looking back over a grey-haired gig going head

I was thinking I would have to give Hanoi Rocks a Spotify spin sometime and I see he’s had 11 solo albums.

Gary Clarke Jr

The second of the two support acts is Gary Clark Jr, from Austin, Texas. Bluesy guitar rock and wow is this good. New to me and a bit different. I’d like to have seen a longer set – he impressed.

Then came the wait, the long wait. All announcements were urging people to be in and ready for Guns N’ Roses to come on at 6.45pm. That sounded a bit early but the stage video backdrop and sound kept hinting at a start: it was on a loop and it would all go quiet again. This went on for over two hours, most of which I spent cross legged to save my legs, on the plastic floor while above it clouded over.

The mood flattens. A bit of booing. It’s around 8.15pm. Action. Here they come…and the wait is forgotten.

The waiting game – it’s a
Guns N’ Roses thing

Guns N’ Roses live

My first GN’R gig. These things need to be done. I’m grateful for the opportunity as we all rock ’til we drop.

Once again I find myself on unfamiliar musical territory – we all know the big hits but I have none of their records. I doubt I’ve ever listened to one of their albums all through on Spotify even, so I don’t recognise what they start with (here is the setlist for the record).

Then several songs in and with a rumble on the drums it is possibly the best song they perform all night: Welcome to the Jungle. It’s so heavy metal and brimming with excitement. An anthem of the genre. Axl Rose gives his all on this one and I wonder if he blew a gasket.

His voice appeared to deteriorate after this monster effort. He disappears periodically in the latter part of the set, leaving Slash to his solos, Duff to front a few and there’s a seated guitar acoustic interlude later. At one point he utters “welcome to the world of baritone”.

Axl, with a Union Jack t-shirt from his stage wardrobe for the day, offers an arbitrary solution to Hong Kong’s troubles, calling for the UK to take it back. That was the evening’s political insight.

The Wings cover Live and Let Die is a mid-set highlight – it was only last week I was watching McCartney do it – and they beef it right up. One of six covers in the set.

Hard to take your eyes off Slash and his magic fingers, looking a bit gnarled on the big screen close ups. He’s out to either side of the stage beyond the screens, wandering up over the drum podium, on to speakers, little jumps down, just playing on and playing on relentless, his mouth regularly quivering and distorting in concentration. One of the sights of live rock’n’roll.

It’s raining properly by the end of the set and people aren’t dressed for it. I settle for my emergency plastic see through poncho, complimenting my Pretty Green festival jacket beautifully for that London tourist caught in a shower look. Knocking on Heaven’s Door gives a lift. Great song, usually performed better by everyone other than Dylan.

Axl Rose in the July rain at Tottenham Stadium – no November Rain tonight

It’s pissing down now. The set finishes and they return promptly – their lateness means they’re up against the 10.20pm curfew now – and the three guitarists play the Beatles’ Blackbird, sat together round the drums. Then Axl announces the pre-planned help he’s got in: American Idol graduate and country singer Carrie Underwood. On she comes in sparkly country style boots, Axl with his cowboy hat on. Yee haw. The first bars of Sweet Child o’ Mine play. Massive roar. Shame Axl can’t do it justice but she belts out the high notes. I’ve always envisaged seeing this played on a sunny day at a festival rather than in a rainy football stadium. You can’t have it all eh.

Paradise City to finish, another banger with Carrie on vocals and it’s thankyou and goodnight. Off into the mayhem of the High Road with a street of thousands flowing down passed curious hurdles of bits of roadworks and casualties in heaps on the floor, to closed overground station entrances, mobbed bus stops and local onlookers. Cars hooting, speeding, skidding… sirens. Eventually it clears the further you go and a bus heading south lets us on to travel to civilisation.

That’s my Guns N’ Roses experience. A big one….maybe one day I will stand in a sunny field, half drunk, and hear them play Sweet Child o’ Mine.