Gigs with Ivan

Skids in Islington

Skids plus Duncan Reid and the Big Heads 9.10.2021 O2 Academy Islington

A rousing nostalgic blast with a few more recent additions to the set made this my gig of the year so far – gig 25 of 2021. My ears are ringing and heading home happy on the scenic (slow) train route.

After first seeing The Skids in 1980 at the wonderful and now bulldozed Hammersmith Palais, since their reformation I have become more of a Skids regular, assisted by the shared enthusiasm of gig buddy Dave (DPi). The variety of venues has included their Dunfirmline home gig; Butlins Minehead; acoustic set at St George’s (blog), Bristol; Belfast Limelight; the Royal Albert Hall Pete Shelley memorial gig and the London Roundhouse.

This trip to the O2 Academy Islington features Glasto Nige, Andy (AMu) and Dave (DPi),(Gaz joined us later), who’s sorted us soundcheck entry at 5pm, after a swift Camden ale in the Steam Passage Tavern round the corner.

Interesting seeing a venue empty aside from about 10 of us and the band.

A chance to have a chat with old granite jaw himself – lead singer Richard Jobson, and original bassist Bill Simpson. There’s a few insights into the set which features some tracks from their recent covers album Songs from the Enchanted Ballroom. The Clash classic Complete Control (link to recent Skids version) is part of the soundcheck along with David Essex’s Rock On (!). Hurry on Boys and Melancholy Soldiers also get a rehearsal. Everyone’s happy. All set.

Bruce Watson and Jobson. Mark Brzezicki on drums.

I bought a copy of Jobson’s new illustrated Skids story which he signed.

Frontman Richard Jobson with my gig comrades tonight

A few pics and we are led out to return later for the show.

We hadn’t bargained on the Covid entry checks fouling up the return later quite so well. A long queue was forming and O2 priority suspended. NHS Covid App checks and initial ticket scanning then moved on to a body search by a latex glove clad woman politely offering the 95 percent bloke audience a male alternative if required. Everyone seemed quite happy with the arrangement. We’re in. No… another proper ticket scan. More hasty fumbling.

By this time Duncan Reid and the Bigheads are half way through their set. Shame. I really like their latest album, Don’t Blame Yourself, and they are playing several from that. I’ll have to catch them again sometime – I did see them at Butlins Alternative festival in Minehead just before Lockdown last year and saw Duncan’s old band The Boys back in 1980, supporting The Ramones. Also he guested at the Eddie and the Hot Rods last stand I came to at this very venue.

A chilling blast of air funnels comes down from the ceiling vents. I’m not sure if this is anti-virus bonus ventilation or we are being sprayed with everyone’s germs. The beers are flowing and we have a good central spot so we just shift a shade out of the main icy blast and assume all is fine.

O2 Academy Islington

The O2 Academy Islington is in the midst of a small shopping centre just over from Angel tube station. It’s a very modern place that holds 800, all standing with a bar either side. There’s nothing particularly appealing about it. A bit concrete and industrial unit feel.

There’s an upstairs bar on a balcony but unless you are leaning on the rail it’s hard to view a gig from up there. There are some seats in the bar but not that you can see from. There is also a second smaller gig room but I’ve never been in.

As with many O2 Academies it’s worth checking stage times as they have a habit of early curfews so the place can have a second sitting as a nightclub. What you have got when you leave though is a fantastic range of pubs and eateries, including Slim Jim’s Liquor Saloon up the High Street on the left – it was rocking – live music and DJ til late.

Aside from the Eddie and the Hot Rods gig I’ve only been to this O2 a few other times, for The Comsat Angels (remember them?) and The Wedding Present.

Skids tonight

Jobson bounds on with what is now most of Big Country – Mark Brzezicki on drums, Jamie and dad Bruce Watson guitars – and Skids original Bill Simpson on bass, with a young keyboardist I don’t know (Rory Cowieson I was advised later.. cheers). Animation to start.

Of one Skin next. A few plastic pints go flying, Jobson is dancing already – ‘Strictly’, come and get him – the guitars are off. What a fabulous noise.

Jobbo is a great between song raconteur, looking back at appearing on Top of the Pops with Jimmy Sa-vile as Charade is introduced.

Before early punk classic Charles Jobson reflects that it’s a fine moment to remember the man we lost who wrote it: Stuart Adamson. Warm cheers.

The Saints are Coming next. Covered by Green Day and U2, used by Southampton FC, this should have made them millions but much of the royalties went to a charitable venture – Jobson grimaces playfully.

While the Skids are still essentially a nostalgia trip the 2017 release World on Fire is another worthy late addition to the back catalogue and Kings of the New World Order is a natural rabble rousing choice, before one of my favourites – the urgent cries of Out of Town. The set is a belter.

My 25th gig of the year, is the best so far: Saturday night, air punching punk and post-punk classics blasted out at volume to beaming men in their late 50s with a wall of Watson guitars. I have my muso ear plugs to hand but just thought bugger it, you don’t get many nights like this – let it rip through me. I didn’t go chasing any photos either, just stood centrally and took a few zoom and phone snaps – another time. I left with some snapped reminders that I was here.

The unmistakable opening synth of Working for the Yankee Dollar gets a roar. The classics keep coming and I didn’t note them all: Happy to be With You; Circus Games; Into the Valley – Jobbo’s still skipping and dancing like he’s training for the big fight in Vegas later.

A few covers in the set and hearing Pretty Vacant live is quite something and a Pete Shelley tribute What do I Get?

TV Stars – the dreadful b-side that slipped into Skids folklore can’t be avoided with all it’s air punching ‘Al-bert Tat-lock’ chants.

The last Skids number of this 90 minute set is Olympian from the Days in Europa album but the parting gift is an encore of The Clash’s Complete Control, which features on the recent Skids covers album Songs from a Haunted Ballroom. Brilliant.

Great night. We are all too soon being ushered out as the plastic glasses are collected and the venue is tidied for the next sitting.

See you in Glasgow boys.. later in the year.

Fatherson: Live in Southampton

Fatherson + Tom Joshua 8.10.21 Joiners, Southampton

Here we are at Joiners again – twice in two weeks having only been once before since my 2003 move to Dorset. My blog for the last visit, for Spear of Destiny, has a few notes on the venue itself. A quick name check, thorough Covid vax proof scrutiny and we’re in, with a semi-permanent cross on our hands as badges of honour which could be with us for some time. Perhaps next time I’ll have it on my cheek Adam Ant style.

Thirty three quid… in total for three of us, including a three pound donation to the Joiners Covid recovery fund. Bargain.

A return visit so soon (this time with wife Sally and her son Ben), allows further exploration of the walls of old posters and photos featuring years of legendary performers early in their careers.

Ed Sheeran, The 1975, Coldplay among the many big names who have played here

Also this time I saw an old ticket and poster design laminated table to match the fantastic bar – now there is something to have a go at reproducing.

I did think that we would get here early and sit down and have a drink before the bands but in the blink of an eye (ok a trip to the seemingly unisex gents) and the six seats in the bar were taken. Still another feature missed from a few weeks ago was draught Signature Brew Roadie IPA (“Boasting a hard-earned reputation and fit for grafters and road crews the world over”) – the barman informs us it is the only place that sells in Southampton – enhanced by the old microphone tap.

It’s a morale boosting sell out for Fatherson tonight so we go right in and left to find a good wall to occupy with a handy drinks shelf, just under the Joiners wall hanging. OK it’s a bit of an acute angle but out of the youthful mayhem. I’m 20 years older than all but about three people in here.

Support is a singer songwriter guy from Teesside called Tom Joshua. He’s got three accomplices on cello, keyboards and drums – light drumming and percussion rather than crashing drums – and they also provide great backing vocals. Tom is the focus though. It’s his thing.

This is a good start to the weekend. The big guy hits some high notes as his guitar jangles, with the long notes of the cello beneath it all – and great backing vocals from cellist. He’s got humour and presence and the assembling crowd appreciate it.

They finish with their best in a half hour set of original material: Melancholy Flowers.

The stage is rapidly cleared ready for Fatherson at 9pm. Fatherson are a three piece
which helps in this tight stage space.

This is the third time I’ve seen them – Victorious Festival 2019 and in the temporary 1865 club setting in Southampton in 2017, before it moved down to its current site.

They’re from Kilmarnock, Scotland and have released three albums: I Am An Island; Open Book and Sum of All Your Parts in 2018. Ross Leighton on guitars and lead vocals is the main songwriter. It’s him that has been doing all the Lockdown solo videos and streams… while also cultivating his hair and beard it seems – there’s a lot of it – presenting a biblical vision in the shadows as they take the stage, via the corridor from the toilets and through the crowd – a bit like boxers taking to the ring.

Bassist Marc Strain is very active bounding around his half of the stage and greeting an occasional wander by Ross.

While the bass and drums (Greg Walkinshaw) are strong and clear the guitar sound dominates to create naturally sing-a-long tunes…. and most know all the words – and they are actually singing more than shouting…. they’ve been practising for 18 months locked up at home I guess. The audience is also something of beard heaven – I feel facially naked.

This would be great for a big campfire guitar singalong. Ross looks very comfortable with everything as he acknowledges and encourages the crowd while also losing himself in his songs, bent over his changing array of guitars. Being so up close here it’s all very visual despite the limitations of the small venue with regards lighting. Once again the sound is spot on here. First time I saw this lot they were ridiculously loud for indie pop rockers – not tonight.

Quite an exuberant audience for such a melodic band and hairy Ross creates the feeling you’re having party with them – the crowd singing is an important part of the overall performance.

I snapped a setlist from an angle. The lastest single is not up to their usual standard I didn’t think but it’s better live.

The route to the stage means that with a sell out crowd it’s not very practical to play the encore game so Ross apologises for that in advance and plays the last number.

An enjoyable night – another ‘pleased to be back’ tour and gig for many. Ten quid each. Bargain.

Cupid and Psyche – Scritti Politti live

Scritti Politti 22.9.2021 Birmingham Town Hall

Birmingham Town Hall

Bit of a jaunt this one but I’ve never seen Scritti Politti and it’s a tour focused on an album I associate with my years in Birmingham – Cupid & Psyche. The venue is a draw in itself: a stunning Grade two listed building completed in 1834 and looking like something out of ancient Greece rather than in a square at the top of New Street, Birmingham.

We emerged from the pre-gig refreshements at Purecraft Bar and Kitchen (a full range of Pure Ubu beer) – here with gig buddy Dave – across Victoria Square to see what we thought was a queue to get in. Pace quickened only to realise this crowd outside was just a black metal sculpture called Forward Together🤯

Instead, a civilised trickle into this beautiful building and down to the basement bar for a pint of pretty decent IPA.

It was worth a mooch around beforehand to see some pictures noting some of the old big names that have played here – Buddy Holly, Bill Haley, The Beatles, Black Sabbath, Led Zeppelin, the Rolling Stones and Bob Dylan.

Hall of Fame display in the basement bar

One of the first performers on the Town Hall stage was no less than Charles Dickens in 1834, reading from his works – I wonder what the merch stand was like then eh. I bet loads of people claimed to be those early Dickens gigs.

From 1918 to 1991 this was the home of the Birmingham Symphony Orchestra before they moved to the grand new symphony hall just up the road (or across a few large impressive squares).

Well I’ve only been here once before… to see The Fall, supported by Caberet Voltaire, and The Wendys (19.11.1992).

In we go. Front row, to the right. Very handy. Great view. The high ceiling and walls finished with the refurbished detail of a palace. The huge organ I remembered The Fall playing in front of is nearly covered in blackout curtain.

Ah.. a Support Act

Remember before Covid when there were support acts? Well there’s one tonight. Since July’s opening up, the support band idea seems to have taken a hit – more risk of infection and not enough benefits to outweigh the risk I guess.

It’s Alexis Taylor, from noughties band Hot Chip to open. We are peering over the front of the stage, so a great view of what was going albeit at the bands feet level.

It’s a short set of singing, guitar and piano to warm the place up. Extraordinary outfit of matching tropical pattern top and trousers with matching baseball hat, all tamed a little with a covering bright white pin striped jacket 😳

He introduces one song as by Prefab Sprout: Wild Horses. My ears prick up for a bit.

Scritti Politti

Out come Scritti Politti to the roomy stage. They are essentially original frontman, Welshman, Green Gartside from the 1977 line up, when they started out in Leeds, with a newer band: Dicky Moore (guitar), Rob Smoughton (drums) and Rhodri Marsden on the all important keyboards for this 80s sound.

They start with just about the best: Sweetest Girl, from the Songs to Remember album. (Here’s a 2001 remastered version.) Then a wander through a selection from other albums, five more tracks not on the one featured tonight: Cupid and Psyche. Oh Patti (the lover boy one) the best of these but for the record including A Day Late a Dollar Short; The Boom Boom Bap; Skank Bloc Bologna and Trentavious White.

Green’s voice is still fantastic – disintinctively breathy and high – and he forces his head up and squeezes out the highest notes. Now with a grey beard he could not look less 80s…this is all about the songs and the voice coming back out of the box, not dressing up clothes and make-up.

..and on to the main focus: the 1985 second album Cupid and Psyche, played in full and as it transpires in order. It’s a cracker – not a bad track on it. As Green introduces it “for the first time ever” played live in full conceding, “well ok the second time if you count Norwich last night”.

At the appropriate point Green asks everyone to just imagine the crackle of the vinyl as we get to the end of side one and turn over for track one side two: Perfect Way. Next Lover to Fall which Green observes is the most 80s sounding of the whole album, with the opening synth. (YouTube: Lover to Fall)

And it’s soon nearing the end with perhaps the best from this album, Wood Beez (the Aretha Franklin one..not Beez Neez as I keep calling it!), mimed here beautifully on Top of the Pops. The seated crowd started to get up and dance. Just one more left from the album and they leave the stage to return for a one song encore.

They return with Alexis Taylor from Hot Chip to play At Last I am Free, a Chic song, something of an anti-climax given what has gone before. Sweetest Girl to finish would have done the job… but we got that to start us off so hey ho.

A great opportunity to see a wonderful album performed in its entirety in a beautiful old building, where Charles Dickens once appeared.

A Taste of Prog Rock

Jethro Tull 26.9.2021 Poole Lighthouse

I can’t do justice to Ian Anderson and Jethro Tull with my blog notes but I will just put a marker down to acknowledge I dipped my toe into this mysterious water one evening. I was offered a couple of tickets for free that were not going to be used; it’s walking distance away and it’s live music. Why not eh? An educational visit.

A month or so ago I knew nothing more than the name and that a flute might be involved. I had a read and listen but you can’t cram five decades into a few hours of listening.

I was amongst a substantial audience – a full seated Lighthouse concert hall – of largely older men who had clearly absorbed the five decades of Jethro Tull material diligently and lovingly. Everyone seemed very pleased with the whole evening although I understand, from bumping into an experienced Tull-ite outside later, that voice and performance have both seen better times – Ian Anderson is 74 for goodness sake. (Born in Dunfermline I see….. hometown of The Skids, Big Country and Nazereth.)

He is a strong 74, still full of energy and partial to an occasional gallop around the stage playing his flute – a flute which at times he growls into and also uses more aggressively like an electric guitar than the gentle uses my ears are more familiar with.

I witnessed the one legged stance with the other leg bouncing to the beat, that has become his trademark. I didn’t get to see the mane of wild hair that I’d seen in photos and YouTube clips – he’s cut it all off.

The old hair of Ian Anderson, Jethro Tull

The film backdrop featured some good old footage and prog rock nostalgia at various points. Some prog rock tunes beforehand and we settled for a dose of Genesis’ Lamb Lies Down on Broadway in the interval of the 90ish minute show, while others raided the merch stand and took part in the predictablely futile attempt to get an interval drink here.

I could only recognise one song for sure – Thick as a Brick – and that was helped by the film backdrop and the obvious ending. I think they played Aqualung but I can’t be sure. It’s fair to say I was lost, lost in flute solos, less frequent guitar solos and some excellent Hammond keyboards.

Again I couldn’t take any photos here during the performance, given the no phones or cameras policy which seems to be standard for the Lighthouse concert hall. One to park in my memory anyway but no use in sharing the experience eh 🙄.

YouTube: Aqualung live in 1977.

I will be dipping my toe into the world of prog rock once more later, at the end of the year…plenty of gigs between now and then though 😎. Rock on.

Let’s Rock Exeter: an 80s feast

The Retro Festival 11.9.2021 Powderham Castle

What a fun day out. Relaxed, beer swilling, nostalgic fun. Everyone’s here to hear old stuff with many dressing the 80s part…well a clichéd 80s part – counting CHOOSE LIFE t-shirts was an appropriate pastime and there were plenty of 80s wigs and dayglo stuff. No room for trendy buggers or muso snobbery. This was 80s party time. Bright day – sun with a bit of cloud cover to stop us all frying.

There were two artists that played I wanted to see that I’d never seen: Kim Wilde and Adam Ant. Peter Hook and the Light were an obvious draw and I was just happy to let the rest wash over me.

The Site

Powderham Castle sounds grand. We did catch a glimpse of the castle through some distant trees but the site was just some pleasant fields somewhere between the castle and the River Exe estuary. About 10,000 capacity and it was pretty busy. An inadequate number of food stands had joined the party, noticably, to the point that queues reached ridiculous levels at times – this was the same at Victorious Festival last month. Perhaps just not the active businesses prepared to risk investing at the moment. Maybe retiring and buying a pizza wagon for next Summer is not such a mad idea.

As well as the one main stage there was an upgrade area with access to a tent with queue free bar, better toilets, a chinese and thai food stall with a comfortable wait, tables and chairs and a marquee with some bonus performers in between the main acts. More about that later 😵

The arena had a large horseshoe of standing only with some barriers to indicate where people could start using camping chairs and other relief for 50+ year old legs. This worked well as you could quite easily wander in and out of the standing bit to see who you wanted. As usual I had my trusty pocket zoom with me and it was nice and bright for some snaps throughout the day.

We stayed in pre-pitched tents overnight, just a few hundred yards away – three guys in one round tent – we survived. (Festival buddies were Dave Pi, Simon Ma and Glasto Nige – Simon in his own spacious and, by the end of the day, well advertised tent 47 😁). I’d forgotten that feeling of traipsing across wet grass in the dark for an early morning piss. Nice toilets though but no running water by morning.

…and the bands and artists

After the sound system was warmed up by the house band that backed several of the artists, Toyah bounced on full of proud 63 year old enthusiasm.

A cover of Echo Beach and an great cover of Billy Idol’s Rebel Yell were included in this short taster set which couldn’t ignore It’s a Mystery. “I’m 63 now and I still want to be singing this song…. I Wanna be Free“. The fourth time I’ve seen her since 1980 and this was once again a guilty pleasure.

I stood bemused as Five Star, well three star, leaped around in very large tracksuit bottoms in front of me. I was on unfamiliar ground.

We moved up closer to the stage for the early but undoubted highlight of the day: Peter Hook and the Light.

Peter Hook – are we at the right festival?

“Am I at the right festival?” exclaimed Hooky. “This is Blue Monday ….with love from Manchester.” They did seem an odd addition to the list of overt 80s style pop with their bass driven beautiful gloom in the sun…. amid the happy poppy onslaught.

A brilliant selection of Joy Division and New Order hits which was was pretty much identical to the Victorious Festival performance I was at last month: True Faith and Temptation this lunchtime’s highlights and Love Will Tear Us Apart, dedicated to Curtis to finish this 40 minute slot. “Lie quiet in your sleep Ian”.

Hooky takes off his t-shirt and throws it into the front few rows…and they’re off.

I could help noticing that the photographer pressed up to the stage was sporting a 1980 Ramones Non-Stop World Tour t-shirt. How was it still in one piece – I had one of those.

And on to Midge Ure’s Electronica. Hits from Ultravox largely and a bit of a race through, including Vienna and Dancing with Tears in My Eyes. These short sets really went so fast.

Fade to Grey captured the 80s feel so well. “This is a song I wrote for someone a long time ago…I hope you like it” as Midge introduced it….the first few systhesised beats of this hit for Visage were instantly recognisable to get a cheer from the ever increasing crowd in the front of the arena.

I’ll be seeing him again soon but another welcome taster.

Next up Kim Wilde. This was probably the surprise of the day. A really good bouncy set with a very pleased to be here Kim.

Kim Wilde and neice Scarlett Wilde on backing vocals

The Supremes song she covered Keep me Hanging on was a belter and Cambodia was much more familiar than I would’ve thought.

No gardening gloves on today – great jacket

But I wanted to hear her do Kids in America (wo-oah!). They’ve done half an hour or so and off they go – big cheers and applause – none of these bands do encores as the timing is so tight and everyone’s got fairly short set times…. ahh relief… back comes Kim with her band and I could have gone home happy right then. A beautiful moment. Standing in a field in the sunshine in a lovely friendly crowd listening to Kim Wilde sing Kids in America… wo-oah!

(My YouTube channel clip – Kids in America.)

Either side of the Kim Wilde set and in a few of the intervals from that point there were some surprise appearances in the upgrade area bar tent, just in case there wasn’t enough music on offer. Nathan Moore from Brother Beyond quickly attracted an enthusiastic audience from a central podium in the tent.

That enthusiasm was hugely surpassed by what hit that podium next: Black Lace 😬

A monster unleashed. It was like spell no one could resist. An inevitable conga appeared. I tried to pretend I didn’t know the words, or people I knew joining the conga, but resistance was futile. The energy from the Black Lace pair was admirable. Possibly the heat had got to everyone or maybe it was just the alcohol soaking in… “Aga do do do”…no stop..help. High veleocity actions included, off we go again… “I am the music man, I come from down your way”….Jesus ..I know this as well. I was open mouthed and belly laughing at how enjoyable it all was. I had a couple of pints of water, decided to slow down a bit and go and see Tony Hadley…but not before bluntly expressing my surprise and also gratitude to the Black Lace boys. Not sure either of these guys are original members, on a read up, but no one minded.

Black Lace duo – too much fun – too much

Back out to the fresh air of near normality and the relative calm of Tony Hadley.

True, Gold and Chant No.1 (“we don’t need this pressure on – that one”) were the pick of the old Spandau Ballet numbers belted out by big Tone. To finish, a sunshine singalong to Queen’s We are the Champions.

It’s that Arsenal have scored stance from Tony Hadley – he’s a fan

ABC followed, which I watched mostly from afar. I saw them a few years back at a similar 80s bash at Newton Abbot racecourse and like the Lexicon of Love album but it was time for a rest. I did pop back for a photo near the end of their set, which included Look of Love and Poison Arrow.

A bit of a lull for me after that. A food queue and eating break combined with some foot and knee rest – it’s a mini-marathon not a sprint.

Howard Jones was someone I’d never seen and thought I’d enjoy but I couldn’t hear anything to draw me from my seat near the beer tent. Maybe just the timing.

Wet Wet Wet (Wet Wet would be a more honest name) was a different story. They never were my sort of thing and if they were Marti Pellow is no longer with them. Just dull. With a new lead singer they announced a selection of new songs which seemed a bad idea at an overt nostalgia event like this. I was happier with the beer tent party which revved up between the main stage bands…so were many others by the look of it.

Wet Wet Wet anyone? The beer tent intermittant party.

The end is nigh…. Adam Ant is last on and of all the acts the one I was keenest to see beforehand. By the end it was Adam Ant that I’d seek out most again. Even now, 40 years on from the Ant people days, I’d still like to see him at one of his own gigs. While I was pleased to hear a first album favourites like Car… Car Car Trouble the audience at a festival like these are clearly more hits orientated.

The double drummers are such a defining sound still, with those distinctive bare drumstick clicks – best exhibited on the highlight for me and another moment of the day: Kings of the Wild Frontier.

Last band of the day and Prince Charming himself

Adam Ant seemed a little serious – but not desperate – and chat was minimal between song. I guess he’d be more comfortable in a dark Brixton Academy than a field near Exeter full of 80s party types.

With an hour long set he got more of an opportunity than others to mix hits with album tracks and more recent solo stuff. I was happy with that.

Adam was looking pretty Ant-like having slimmed back down in recent years by the distant look of him. Still the great trademark jacket, a cross on the cheek but no white stripe under the eyes…not tonight anyway. He seemed quite glued to his hat – it nearly came off at one point – and I think the hair may have gone.

Desperate but not Serious was an ear worm I went off to my tent with…. but the singles were there: Stand and Deliver (with that great ‘Huh’ bit), Goody Two Shoes, Prince Charming ….

A fun and beer packed day. Hugely entertaining. My notes and snaps probably indicate my winners – Peter Hook and the Light, Adam Ant and Kim Wilde… and don’t mention Black Lace 🤫.

Some Early Evening Jollification

The Lightning Seeds 10.9.2021 O2 Academy Bristol

I took the long winded but relaxing train route to Bristol for the gig tonight, changing at Upwey and on through Frome (ah handy for the Cheese and Grain) and Bath and only having two mobile tickets check ‘performances’ on the way. I think I’m happier being armed with a paper ticket…and suspect the train guards would be happier if I was as well.

Bags of time so a bit of a wander up from Bristol Templemeads Station to the central area. I’m carrying stuff for an overnight camping stop at a festival on Saturday so a bit laden down to start skipping through town and over to the Rough Trade shop as I had envisaged.

I head for the oldest pub in Bristol, The Hatchet Inn – a good spot, handily just over from the O2 Academy before meeting up with gig buddy Dave (DPi) and dumping my stuff in his car. Then it’s off to Wongs, great Chinese restaurant just up the street from the Hatchet.

Finished the food. Bags of time. Strolled over to the O2 for more mobile phone fannying about… O2 priority App has gone into some sort of slow opening protest – against queue jumping maybe. Where is the NHS Covid pass? It was here earlier .. found it…nearly there…through the metal detector….phone in the tray… through..bugger, the pass has disappeared again. Security chap points a scanner at my phone and ‘ping’, I’m in. Up the steps and through the glass doors into the gig…IT’S STARTED! It’s 7.35pm! The Lightning Seeds are on stage cracking on with their first song, accompanied by a huge spinning strawberry illustrating the cover of the album being showcased/ celebrated on the tour: Jollification, 25 years of it..well 27 now.

The Jollification strawberry and The Lightning Seeds

Apparently the Lightning Seeds didn’t tour properly until this, their third album, Jollification, was released in September 1994. Although familiar with it I didn’t buy this one.

I bought the 1996 album Dizzy Heights and the first of two greatest hits albums Like You Do…The Best of the Lightning Seeds (1997), no doubt aided by some Euro 96 enthusiasm for Three Lions – 30 years of hurt and all that. Also it was in 1997, November, that I saw them play at the London Astoria on Tottenham Court Road. There was a support slot in November 1995 for The Beautiful South at Birmingham NEC but I can’t remember much about that one.

I’ve not really come across many people who’ve professed to like the Lightning Seeds – not a t-shirt you see worn very often. My Dizzy Heights album with its pure jubilant pop Sugar Coated Iceberg and Waiting for the Day to Happen, I think it may have been something of a guilty pleasure of mine. Well there are plenty more who have sneaked out to see this one. It’s busy without being rammed.

On stage with the revolving giant strawberry tonight are main man Ian Broudie – who is the voice and the writer for the Lighting Seeds and has been from the beginning (as well as a prolific producer); bassist since 1994 Martyn Campbell and the others are new youthful replacements: drummer, keyboards; a youthful Riley, Broudie’s son and a bit of brass as required.

We stick on the raised platform near the doors once in. Decent view and with a medium sized side-on venue it’s hard to be that far from the stage.

The first part was a shuffled run through Jollification with the singles Marvellous,
Perfect and Change good early ones.

“Thank you for waiting two years for this” says a relieved Broudie as they prepared for the last song in the Jollification album section: Lucky You (co-written by Terry Hall eh).

Considering their clean pop sound this is pretty damn loud with a bit of distortion in either my ears or from the speaker above and in front to help penetrate the space under the balcony, in front of the way in.

We moved down quite easily into the middle of the main floor standing area in the break. The sound was better but my trusty muso earplugs came out of their little bag for a bit.

Broudie picks out a variety of his pop classics including Sense, What if… It’s not all originals though. Wreckless Eric’s Whole Wide World was a surprise – I have that on 12″ somewhere. Later a bit of Marvin Gaye.

There’s an acoustic version of Dizzy Heights and then a bit of brass joins for Sugar Coated Iceberg. Euphoric pop. What an uplifting song – YouTube vid in the link.

They round off the freestyle half with their early hit and universally popular Life of Riley before returning for the singalong encores. First The Ronnettes’ Be My Baby, another surprise – a good one – and then the unsurprising Three Lions, amid much grinning and singing. It is now a classic part of English culture of recent decades.

Everyone seems happy with all that, including me. We head out. It’s just 9.38pm but two hours of great happy sounding tunes have passed in no time.

Real ticket: timing hints but we beat tbe curfew by 90mins

The Dark Cave

Nick Cave and Warren Ellis 2.9.2021 Poole Lighthouse

Nick Cave on the doorstep……at Poole Lighthouse arts centre. Irresistible. To be honest the prices were a bit steep (£86 front half) but this was quite an eyebrow raiser when I saw it advertised and when you can walk to a gig it’s an easy win for an event like this.

Pre – gig options

The bar at the Lighthouse is a pleasant, bright, high ceiling affair (staff always lovely) which is fine if you want to get in early, grab a big sofa or comfy chair and beat the bar queue. There is a café downstairs and if the cinema is open that has its own bar which can allow a queue dodge and seat downstairs.

The options for pubs within striking distance of the Lighthouse are the Delfino Lounge, just through the shopping centre in the ugly Falkland Square, for a light cheaper bite without much company on an evening in the week; The George pub just round the corner – down to earth football watching pub to me or I’d go for the Brewhouse and Kitchen as best choice (top ale), also handy for the station. It’s about a mile from the Quay and loads there to pick from. The Lighthouse is just over the road from Poole bus station which is no more appealing than any other town’s bus station, and about a third of a mile wander from the train station. Parking opposite and slightly beyond at the shopping centre multi-storeys.

I often throw in some reminders of local facilities in these notes – more relevant for gigs like tonight, with clearly a bigger proportion of out of towners. This is a specialist crowd. A queue of 50-65 year olds snakes out, amid photo id checks and jab scrutiny, looking like they’ve been listening to John Peel for ever. Some vintage Nick Cave t-shirts, wild hair – plenty of grey haired gig-goers here – black clothes, trendy clothes and well worn boots.

Cave cred lacking

The Ghosteen album is something I’d been listening to a lot in Lockdown – released October 2019. An extremely sad and mournful album written in the years following the sudden tragic death of Nick Cave’s 15-year old son Arthur in July 2015 – a fall from a cliff edge, near Brighton, having taken LSD.

I booked to see The Idiot Prayer film down at the Lighthouse, where this gig was, last year but that fell foul of Covid restrictions in the end. Then came the latest album, Carnage, by Cave and Warren Ellis (an original Bad Seed, as in Nick Cave and the…) which is being toured at the moment. It’s in a similar vein: heart wrenching sorrow and painful darkness but beautiful at the same time.

Before that…. 16 albums that I haven’t listened to so something to explore I guess. I did see The Birthday Party support Bauhaus, with the Subway Sect at the London Lyceum in 1981, 25 June.

The Gig

But this is light years away from the wild screams of The Birthday Party’s Release the Bats. As Cave said at one point – after a shout for some old classic – “we’re too mature to go back”. This gig was more orchestral performance than post-punk thrash.

Two intense hours – no support – which the ‘specialist’ audience was completely absorbed in. Like a performance of the Bournemouth Symphony Orchestra that I have been privileged to see here on occasions (friends’ season tickets) there was hushed concentration throughout, roars of approval after each song and the occasional charming whoop or shout.

This is in the main concert hall, capacity 1476 seated, with a large balcony.

All remained seated to the end except a dancing fan near the front right, occasionally restrained lovingly by her partner down near the front.

The nature of the performance was such that I can see the appropriateness of the phone and camera police on duty, although intially this caused me some concern as my blog is essentially photos I manage to take with some words of context. I am discreet I think but I didn’t feel I should breach the rules or the atmosphere. So there is just one photo in this blog…at the end when they said goodbye. Hence I thought I’d better be more descriptive.

Nick Cave wore a green tailored jacket, white shirt and smart black trousers. His slicked, trade mark head of black or blackend hair defines his look still.

He had three excellent backing singers, occasionally more forward than back, roaming to sing with him. Warren Ellis sat god-like: I mean he actually looked like an image of God rather than sitting in a god-like way… however gods sit. With his wild mass of grey beard and hair he sat with a small synth on his lap, just occasionally picking up his violin. A percussionist played guitars, drums and all sorts throughout; he too with Cave slicked back black hair. It is an unusual combination.

Cave flits between grand piano and centre stage stool and mic from where he conducts, to the band, especially Warren Ellis. At times he stood doing a restrained Nick Cave dance of old…almost as if there is an automatic twitch in the leg to bring the knee up.

The piano playing is clear, slow and deliberate while the Ellis synth is haunting.

Spinning Song is one I recall from early in the set. From the new album I particularly noted the strains of Balcony Man, then Albuquerque and the Hand of God. (That’s two songs I know called Albuquerque – I went there on the strengh of one.. don’t bother, try Sante Fe.)

I’m glad they played Ghosteen, the title track of the album that lead me to find Nick Cave in Lockdown.

Into My Arms a hugely sad piece… dark as hell although I guess you are supposed to feel better immersing yourself in this sadness. It’s astonishing stuff. This was an astonishing gig, unlike anything I’ve seen. Very different. Very dark.

Cave performed the song Into My Arms at the funeral of fellow Aussie Michael Hutchence (INXS), and requested cameras recording the service were turned off while he performed it.

The mood lightens in Poole when Cave asks the audience not to breathe on the band. The first night of a 20 odd date tour and ‘what chance have we got of making it?’ he chuckles helplessly.

Having recently been playing the Morrissey/Bowie live version my ears pricked up when Nick Cave, sat at his shiny grand piano, with his green jacketed back to us, started playing Marc Bolan’s Cosmic Dancer. Wonderful stuff with the line ‘I danced myself into the tomb’.

Nick Cave: Cosmic Dancer clip on YouTube.

In the clip Cave introduces it as his best Bolan song ever…maybe the best song ever.

As the show comes towards a close Cave performs a with just him and his piano. A brief encore and the show is over – waves goodbye. What a master of darkness he is.

Go and have listen to the album Carnage. It’s worth it.

….and yes a solitary photo.

Victorious Festival 2021

Southsea Common 27 28 29 August 2021

My first post-Lockdown festival outing. It’s outside yes but a lot of people to mill around and drink with for three days – circa 65,000. I hope the vaccines work.

This is a great value festival. Early bird tickets were about £25 a day the first year I came and a three day ticket for next year is just £125. I first came here in 2014, a few years after it started, and have returned every year since, aside from the 2020 Covid postponement. The gamble on the bands and buying blind has always paid off.

No camping on site with a camp and ride scheme that is a more recent addition means this attracts a significant local audience from Portsmouth and Southampton – not that the camping arrangements have ever come into my thinking as a variety of hotels, pubs and other establishments of various quality have been my bases of choice. It’s now a regular holiday that has blossomed with the addition of Fridays and opportunity to access to the upgrade area in more recent years – eases tired legs and the queues for drink, food and yes toilets. Toilets in the ‘VIP’ area for those not content with a urinal are a winner. My mate Dave (DPi) even caught photo of a VIP, Miles Kane, on the viewing platform in front of us during the Supergrass set just after his on Sunday.

Miles Kane watching Supergrass – a Dave pic

There is loads of choice – the substantial 5,000 plus capacity Castle Stage, other smaller stages such as a World Music Stage and the pleasant relaxing hay bales of the Acoustic Stage. 16 stages in all, including one where kids can meet The Gruffalo (maybe you drop ‘The’ as in Buzzcocks in kid cool) and someone recently brought to my consciousness… Hey Duggie 🙄.

My only diversion from the main Common Stage and secondary Castle Stage this year was on Sunday at midday where I chanced upon the powerful voice of Mollie Scott… a great start to the Sunday tunes.

Each year there is the initial excitement of the first announced acts… then the final bill… then the timings and the pre-fest homework comes in, looking at timings and compromise. (The clashfinder website is a cracker to negotiate your way through a multi-stage event…any idea of rapid stage hopping being enjoyable needs to be quashed mind.)

This was the menu I was feasting from, with 21 of the 22 acts I watched fully being on either the Common or Castle Stage. It all started on Friday afternoon with Terrorvision and finished on Sunday night with Nile Rodgers and Chic.

Friday

For me today’s highlights were Peter Hook and the Light and The Kooks.

A concise 40 minute set from Hooky and his throbbing bass, swinging as low as ever, with New Order and Joy Division classics. What a great selection starting with Digital and Transmission and moving through to end with Love Will Tear us Apart (“Gonna dedicate this to Ian, God rest his sole”) and Ceremony.

No real surprises as the set list could be made out on the big screen taped up next to the drummer.

Hooky looked passionate and fabulously grumpy throughout, giving it everything. I loved it. Taking those bass lines and showcasing them up front like this is quite novel.

I didn’t give Feeder much of a go. They started with some sound problem with a key onstage amp and I don’t know their stuff so I drifted for a beer and a rest, returning for The Kooks.

My one and only Kooks gig was at Southampton University in Oct 2005 (The Subways supporting). It’s that first album Inside In/ Inside Out that they are celebrating the anniversary of on their latest tour, which is handy as I don’t know much else…. yes Oo Lah and So Naiive stand out but a strong set and today’s silver medal on my rostrum.

Friday – Common Stage, Victorious Festival – The Kooks

Yes the crowd is growing and a lot of people are here for the headliners Madness – sporting the supportive fez.

I’ve seen Madness before..only once, at the Bournemouth BIC. Plenty of hits to roll out and they are appreciating their return after Covid. A bit rusty in parts and a few stop starts.

Suggs seemed to have indulged in the bar but hey ho everyone enjoyed the party. I’d manoeuvred a fair way back by the end to feast at the paella stand and enjoy the bench that came with it, serenaded by Baggy Trousers, Our House and Embarrassment. They finished with It Must Be Love, Madness and Night Boat to Cairo.

Saturday

The Castle Stage held the appeal for much of Saturday. Having spent day one with a knee support on I was pleased we established a base camp on the rear slope of the Castle Stage arena.

So let’s go, in order….

Rews on first – a bit of a female Royal Blood – punchy rock. Sound.

Drummers start to gather in front of us before one stage change and this looked like load of fun to get involved with. They are Batala Portsmouth, an Afro Brazilian samba reggae group. (My YouTube clip)

Next notable ones were The Mysterines stirring a forward wander for some indie jangly pop rock.

Shortly after were indie rockers Porridge Radio who held more interest – Mercury Prize nominated in 2020. Someone I’d like to see again and listen to more.

And next another Brighton based band Black Honey – more rocky but you might not expect so given the afternoon tea dress.

Been listening to them a fair bit recently…. they’re winning so far but here come The Lathums.

The Lathums – that’s Lathums, not Lay-thums, from Wigan – the main man said so. The best of the newer bands of the festival in my book..well blog. I bought their live album and this band live up to the promise of that.

Great Escape a highlight. Frontman Alex Moore has a quiet confidence about him. He must know how good they are. I’m reminded of The Smiths at times.

…and back to The Common Stage for Blossoms. Tucked into a favoured corner near to the left screen we view the the ever blossoming Blossoms from Stockport. It’s busy.

I first saw them at Glastonbury 2017 and more recently they were the last band I saw before Lockdown, at The O2 Academy Bournemouth…a nervy occasion.

The set includes Miss You by the Stones as a tribute to Charlie Watts and main man Tom Ogden is wearing a Stones t-shirt. They also played Reading Festival this weekend and the virtually identical set can be found on the BBC iplayer footage… all rounded off with Charlamagne from their first album in 2015.

Rag ‘n’ Bone Man is next. A big star in every way. I was going to duck him but I’m glad I didn’t – I do get it and see why he pulls in the crowds. I even recognised some of the songs but not the sort of thing I listen to generally.

“Good evening Portsmouth- you slaaaags!” …. and he had the audience with him from there. Through the set an ocassional “are you with me Portsmouth, are you with me?” just to check.

All you Ever Wanted to start with a stand out Alone shortly afterwards: I recognised a fair bit from radio play. A performer that’s hard not to like. Skin, most familiar, was maybe the top pick. To end Human and Giants as I weaved my way to the back to make my way over to my inevitable festival highlight….

The Saturday night finale for me is found back at the Castle Stage: The Manic Street Preachers.

It was way back on 19 May 1996 that I first saw the Manics, at Pheonix Festival near Stratford-upon-Avon. A hot dusty day, on just after the Foo Fighters and on a night Neil Young was headlining later. The CD cabinet is now bulging with every album but despite V and Reading festivals I didn’t see them indoors for ages and have made up for that in last 10 years.

They rev up with Motorcycle Emptiness as they get back on their bikes again after their pandemic downtime.

Any setlist would do me from the Manics but this one (Setlist) had a few surprises: the Bunneymen’s Bring on the Dancing Horses for one – doesn’t strike me as an obvious Manics choice but it works.

Of the newer albums International Blue has earned its place as a new classic. A few leaps from Nicky Wire. They’re bouncing again.

Manics – Castle Stage Headliner – Saturday

We are able to move up to the mixing desk with reasonable ease so I guess The Streets are packing them in at the main stage – I would have but this is one clash I didn’t think too hard about.

A great rendition of Ocean Spray and the other surprise one was Sweet Child of Mine …bit of an over covered cover but hey ho:

Sweet Child of Mine phone clip

They finish, as they started for me in 1996, when I stood up in a dusty Warwickshire field and asked, after numerous repeats of the chorus, what’s that one called? “Design for Life” replied a guy I was with…. smiling at my overt ignorance (the late and long departed Richard B).

Sunday

Day three – we’re still going. The knee support is off. Still blessed with the weather but without any blistering heat either. If you’re still reading you’ll be feeling the staying power of a three day festival.

After the initial Acoustic Stage visit it was Castle Stage upgrade/VIP area for Pigs Pigs Pigs Pigs Pigs Pigs Pigs or Pigs x7 as they are more easily referred to. An endearing noise – quite heavy metally – and a great front man you can’t take your eyes off: Matthew Baty.

With bare feet and Basil Fawlty moustache, Baty stalks the stage like a rock god with an occasional leap and a fair bit of screaming. The appeal is reminiscent of Napalm Death.

Next Annie Mac has a slot. Knob twiddling booop boop stuff that I clearly don’t appreciate so I’ll say no more. We endured it from afar eating pizza.

Into the Common Stage arena next, right on the centre barrier near the front for Cast. A short set packed with top quality vintage songs, starting with Flying. Great tunes: Sandstorm, Let it Out, Walk Away…

It’s feel good bouncy stuff and the band look happy, as well as hairy. The time goes fast with Get Up and Alright as we near the end of this bright afternoon set.

….and over to the Castle Stage to see Glasvegas. They sounded quite good but it all seemed a bit flat and a little dour. No talking or introductions, they just played the tunes intently. I like the sound and OK I don’t know their material well – listened to plenty over last year – but I left for the main stage afterwards, a bit disappointed.

Fontaines DC next. Main stage. Bodies are moving forward and it’s looking a bit steamy down the front. People are on shoulders and expectant. This feels like a big one and they don’t disappoint. Front man Grian Chatten comes out to a roar, sporting an estate hooligan look – can a cagool look cooler? Anti-fashion at its best.

Televised Mind is an early winner. The repetition and chant of the chorus of this and several of their songs are tunes you bash your head against the wall to if you were so inclined… a bit depressive at times but I like it.

I saw a livestream of theirs in Lockdown, from Brixton Academy, and without a crowd they really did miss something. Today Grian can perform at and feed off the enthusiasm in the crowd – he doesn’t have to say much…beyond the poetry of the lyrics of course.

The Boys from the Better Land is the one all are waiting for….well I am. A cracker.

Next Supergrass filled the stage and arena with their full sound. Satisfying and familiar. I was up on the platform in the VIP area so not too good for pics.

Supergrass – Common Stage – Victorious 2021

The last choice of the weekend. Do I stay at the main Common Stage and see Royal Blood or take Nile Rodgers and Chic to close the festival on. I’ve seen Royal Blood a few times: Glastonbury 2017 where they were new and impressive and Bournemouth BIC a year or so later when they just had too few songs and originality for the long set time given. It has to be Nile Rodgers.

That’s it. The marathon over. 22 bands over three days. The knee support is back on and it’s back to the hotel to recover ….and book for next year.

Sleeper and The Bluetones showcase debut albums

Sleeper and The Bluetones 20.8.21 Bournemouth O2 Academy

A return to the O2 Academy Bournemouth for a second post ‘release to normality’ gig here. A bit quieter tonight than Wolf Alice a few weeks back and the audience generally a bit older and it’s comfortably busy rather than rammed down on the dancefloor – indeed it’s only the dancefloor that’s open and not the standing middle balcony or seating in The Gods. Bit of a bugger with ankle ailment not gone yet..perhaps I should to a lower limb medical blog.🙄

This is a familiar home turf gig for me, indeed the last place I saw The Bluetones ten years ago – venue and previous gig notes here.

I’ve encountered some strangley ineffective bar service here previously (isn’t the idea to sell stuff fast) but I’ve never seen the big side bar closed…. I wonder if that’s a Covid mitigation measure 🤔… perhaps it isn’t open to stop crowds at the bar – the other bars have queues in lines – long lines. They ran out of wine. Craft pale ales hidden in the fridges lasted minutes – I caught one before the Carlsberg on tap, Export and San Miguel in cans. A bit dismal but luckily we’ve not just come for the beer…although a beery twist to the evening as we (wife Sally) are joined by gig buddies up from Plymouth (D&A Pi) and the ‘Lychett massive’ (T&B Ev) to fuel the thirst… well it is Friday.

The band based cocktails on offer caught the eye 🙄. No chance – there were Bluetones ones as well.

The Bluetones: looking back

There can’t be many other bands I’ve seen more than ten times, maybe only The Stranglers. I started rifling through my old tickets and the gigs kept coming.

First one was January 1999 at the now demolished London Astoria on Tottenham Court Road, so some three years on from the album being celebrated tonight. The last was here in Boscombe on the ‘Farewell Tour’ of 18 September 2011 and in between:

Shepherds Bush Empire* 25.2.2000, 3.11.2000, 6.12.2001
Oxford Brookes University** 9.3.2002
The Fez, Reading 8.5.2003
Wedgewood Rooms, Southsea 23.4.2005
Mr Kyps, Poole 17.8.2005

*Shepherd’s Bush – always been a fave. (**Gigs at Universities when you’re not a student…hard work eh. Too many chattering and easily distracted types who just come along not that focused on the band – many destined to pack up their gig going aged 21.)

Then there were the festivals. They played V97 in Leeds I was at but I can’t recall if I saw them…there may be others such as Reading 1998.

They formed in Hounslow, West London, in 1993, the core line up tonight and through the years has been the same: Mark Morriss (vocals) who has been pursuing his solo career over the last decade; brother Scott on bass; Adam Devlin on guitar and Eds Chesters on drums. An extra guitarist has joined at times but tonight there’s added keyboards… not sure who.

Three top ten albums and tonight the focus is on their debut ‘Expecting to Fly’ which knocked Oasis off number one spot for a week after its release in February 1996.

Are they ‘Britpop’ or just indie pop… or just good tunes?

The Bluetones tonight

The Bluetones on first at O2 Academy Bournemouth

Difficult on these shared headline tours to take your turn as the ‘support act’. Never quite enough time or freedom and this evening there is the further constraint of playing one album straight through – predictability is added to. I think mixing up the tracks is preferable even if showcasing a particular album.

Hard to go wrong with these old favourites though. From the showcased album I’d take ‘Bluetonic‘ every time but it’s only the second track in so tonight’s winner from that album is ‘Slight Return’…. but it’s all familiar ground. Comfort music. The crowd have come to watch and listen not go wild.

After the break, out come some singles and other favourites but little time to wander through later albums which I have listened to more. ‘Are you blue or are you blind’, ‘Soloman bites the worm‘ and ‘Never going nowhere‘ are my favoured choice from the latter section.

Mark Morriss peppers the set with chirpy chat – often self deprecating. ‘Did you have Covid down here?’ he enquires sarcastically at one point. I must try and catch one of his solo gigs – as it happens he is playing in Poole at a mini-festival on the August Bank Holiday weekend but I will be elsewhere.

The lighting is pretty dark at times but a bit of wandering is easier this evening – a bit of room – to grab a few snaps. Not ideal though.

The finale comes all too quickly – the band came on at 7.30pm so as 9pm approaches it feels early to go but Sleeper to come – and it’s ‘If‘ – a belter and probably my favourite Bluetones track. They weave a bit of Police’s ‘Every breath you take’ in to get it going.

Here it is performed on TFI Friday – ‘If‘ back in TFIF years.

Sleeper: looking back

My Sleeper gig going is more based on modern age post reunion experience. However, I bought the ‘Smart’ album being showcased tonight, shortly after it came out in February 1995 and they were on the bill – a cracking bill – in July later that year when I went to see REM at Milton Keynes Bowl.

That was it for me in that original spell before they split in 1998. They reformed in 2017 and a new album was later on the way (released 2019): ‘The Modern Age‘ which I love. There’s also the recent album of old refound material ‘This Time Tomorrow’ with the excellent opener ‘Tell me where you’re going‘.

I saw them on their first proper tour after reforming in April 2018 at Bournemouth Old Fire Station, Victorious Festival in August 2018, March 2019 at The Engine Rooms, Southampton then at The 100 Club in May 2019, a gig I won tickets for on Absolute Radio.

No camera with me at The Old Fire Station but I remember being sat up on the side benches with some friends, Bridget and Andy who are in a Blondie tribute band (Blonde.E.Lux) as Sleeper played ‘Atomic’….which surprised me at the time and was novel.

Victorious Festival Southsea 2018 – outdoors – better camera

In my trawl for Covid restriction dodging gigs, I had tickets for a spaced and seated Sleeper gig and Q&A at the Clapham Grand on 10 July – it was cancelled on the day just as we were about to set off for the train station. Covid in the band. So good to have this one lined up so quickly after. This cancellation stuff is far from over so I’ll keep rolling the dice and keep arrangements cancellable if possible.

Sleeper tonight

First album ‘Smart’ in order then tonight so it’s ‘Inbetweener’ to start…one of their best known perhaps. But there are more gems in this most predictable first run of tracks: ‘Delicious’ ‘Vegas’, ‘Alice in Vain’ and Pyrotechnician’ to complete the debut album section.

Louise Wener sporting a Smart album t-shirt and glittery skirt I didn’t capture

The core line up of Louise Wener, Jon Stewart (guitar) and Andy Maclure (drums) with Keiron Pepper (bass) who joined at the 2017 reformation stage, are supplemented with a keyboardist and added guitar on this tour.

The crowd is a little more animated than for The Bluetones and I get the feel they’re here more for Sleeper. It’s more bouncy when we get to the freestyle of tracks not on ‘Smart’ and there is that’s ‘what’s next’ thing. I’m still unconvinced of the benefit of playing any album in full in order… it’s not like either being featured this evening are concept albums.

After the break the selection includes ‘Nice Guy Eddie’, ‘Statuesque’ and ‘What do I Do Now’ and it’s all really picking up now – great stuff.

My Louise photo gallery appears to be blossoming as we get near the end… and Blondie’s ‘Atomic‘. OK I’ve heard it before but not as good as this. Really nostalgic obviously but a belter of a version and although not a Sleeper song it is my highlight of the evening – hairs on the neck bristling, and that’s after a haircut yesterday.

To finish it’s ‘Sale of the Century’ – what else. Top tune to end this return to the 90s.

…and yes we’ve had a good time. Sharp exit for a waiting taxi.

Photo from Tim – cheers – two grey haired gig goers – no idea what we’re singing

Gorillaz in the Smoke

Gorillaz 11.8.21 London O2, Greenwich

This was exploring, as indeed was the previous 36 hours in ‘the smoke’. An opportunity to see Gorillaz, a Covid postponed gig, which intrigued me although I hadn’t previously delved into this now 20 year old project of ex-Blur frontman Damon Albarn. I hear stuff on the radio of course but hadn’t particularly gone looking specifically until I knew I was going to see them; then playing the first and most recent albums, not the middle five.

Described as a virtual band, and with cartoon characters featuring heavily in the visual presence of this …er .. band I was half expecting a focus on some unusual visuals without much focus on live vocals and instruments. Papier-mâché heads or holograms wouldn’t have surprised me – there were flags paraded at one point – but this was more of a musical carnival. Damon did introduce a couple of new tracks well into the set which he said were an attempt to create a carnival feel (‘Meanwhile’ and ‘De Ja Vu’) and they did just that – the whole set though had that carnival style celebration of music, drawing in sounds from different sources and with a wealth of guest input: DJs, MCs and rappers, plus Sean Ryder of the Happy Mondays; the heavy drums of Slaves; the low slung throbbing bass of Peter Hook and the whirling echoing guitar and pop-goth cries of The Cure’s Robert Smith.

Shaun Ryder – it’s a long way to zoom from the rear ‘deck’
of The O2

A hint that Robert Smith is emerging from the smoke

Smith features as the main input on the second song this evening, or do we call them arrangements: ‘Strange Timez’, title track of the 2020 album ‘Song Machine. Season One: Strange Timez’.

Another recognisable guest as far as I was concerned was Peter Hook waving his low slung bass, again featuring on the latest album with ‘Aries’ and early on in the set tonight.

The procession of guests makes this the post-Covid restrictions carnival party that I guess everyone was looking for. I confess not to know of the rappers – I may be misusing this generic – that join in but everyone else seems to – each stage entrance greeted with a new burst of arm waving – a heartwarming sight from where we are sat, mid-way up on the rear banking, on the ‘deck’ at the top of the lower tier. A great view of the whole event which suited me for this spectacle.

Little Simz is the rap input that wins for me with two stints – yes I had to look her up. But it all works. No chance for lulls.

Damon remains as the conductor of about 15 performers on stage at times, up to 25 by the end, orchestrating this diverse 21st century sound. A jaw dropping feat. He is singing mainly but also plays guitar and the distinctive melodica makes an appearance – I think that’s what it is – my sisters used to play them.

The distinctive melodica makes an appearance

When we arrived for this – with gig buddy Dave (DPi) for this indulgent excursion – and were sat in Pizza Express in the O2 outer concourse the diversity and cheeriness of the passing crowds was striking, a lot of different age groups – the different genres Damon has brought into Gorillaz does a great job at broad appeal without any pop blandness. The crowd feel outside translated into the party or carnival feel inside. As with the other recent post-Covid restrictions gigs I’ve been to, I’m left reflecting that there is no better time to see live performances. Everyone is so up for it and grateful.

A full set list gives more detail. ‘Kids with Guns’ (from the second album) for me made an impact and I noted Damon doing ‘Don’t Get Lost in Heaven’ from the piano (with the lyric “stick me in a cab to suburbia….”) but I can’t but help to like the most familiar ‘Clint Eastwood‘ best. That’s the earworm I leave this big carnival with.

The O2 Greenwich

This is the first time since doing these blogs of my gig going activities that I’ve been here. I am wary of such huge venues, they do have a place and the only time I’ve felt hard done by here is when sitting right up on the top tier for The Killers – and Brandon Flowers had a sore throat. I really wouldn’t bother with any seat above the mid-tier boxes. Everything else has been a good experience. This evening it was all standing on the main arena floor but if it is seated on the flat you want to be in the blocks in the front half or I wouldn’t bother. I took my mum to ELO and sat/stood by a chair in the front half and that was fine.

The lower tier of banked seating, ideally half way up, and up the stage end half is ideal. That’s the sort of view I’ve had for gigs here for Neil Young, Pearl Jam and the Stone Free Festival (Prog rock!) I’ve been to – the latter including Yes and Rodger Hodgson (staggeringly good) the voice of Supertramp .

Tonight we were on ‘the deck’ at the back of the lower tier which goes all the way round, and near the back.

The view is good of the whole proceedings with easy access and a few drinks or food included with the ticket piece. You sit on stools at a bar raised up a bit from the aeating in front. My pocket camera needs to zoom intensely but you get the picture picture.

As regards the food and drink if you’re new to the place I’d just get to the O2 complex early and embrace the false food quarter idea – it can be over busy and rushed so just give yourself time. O2 phone contracts win again with queue jumping priority and optional access to The Blue Room free, which is a more relaxed secret world, often with other live music and a decent haven for pre or post gig drinks. Camden Pale Ale on the tap. Cocktails on the mezzanine bar.

For this gig we were happy in the Blue Room as the support was listed as ‘DJ’. That’s no support in my book, whoever it is.

Earlier in Abbey Road Studios

Earlier in the day, being out in London for the first time two years, and seeing the visit coincided with a rare Abbey Studios open week, we took to opportunity to do a tour. Fascinating. Smell the music history: The Beatles, Oasis, Elgar, Pink Floyd… Mrs Mills….film scores…and the comedy recordings: Spike Milligan, Morecambe and Wise.

I was particularly taken with the Lennon and McCartney fag burns on one of the pianos on show.

No photos allowed inside but chances for a touristy pose outside and an opportunity to annoy St. John’s Wood motorists. I’m surprised more don’t get run over on the infamous zebra crossing.

A first visit to Ronnie Scott’s

We had arranged to be in London the night before so as to be at the rare Abbey Road opportunity in plenty of time. Obviously that gave the opportunity for more gig related entertainment. A late social isolation requirement on a Bruce Dickenson, once of Iron Maiden, diverted plans last minute and we found our way to Ronnie Scott’s Jazz Club for some jazzy rearrangements of David Bowie numbers.

Again – no photos during performances – fair enough in these tight and sophisticated surroundings. Doesn’t do much to enhance a blog though.

Bit of a departure from the norm and again a sense of history. Having started up in 1956 nearby it moved to its current site in 1965. Can’t believe I’ve never been to see anyone here before.

David McAlmont – he did an album with Suede’s Bernard Butler – has an incredible voice and the jazzy arrangements were certainly a novel take on some Bowie classics and lesser know tracks.

There we are then. A 36 hour music based excursion to the capital covering a fair bit of ground. After the Covid hiatus there’s no time to lose.