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.
O2 Academy Bristol 5pm
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.
Bassist Martyn Campbell
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).
Ian Broudie – Bristol O2 Academy
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.
Riley Broudie far left on rhythm guitar
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.
The strawberry looms
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
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 (ยฃ86 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.
Real tickets eh
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 cafรฉ 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.
I was there..
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’.
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.
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 ยฃ25 a day the first year I came and a three day ticket for next year is just ยฃ125. 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 TheGruffalo (maybe you drop ‘The’ as in Buzzcocks in kid cool) and someone recently brought to my consciousness… Hey Duggie ๐.
The hay bales of the Acoustic Stage
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.
Mollie Street – Acoustic Stage
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.
Peter Hook stage wandering
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.
Setlist for the eagle-eyed
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.
Peter Hook – fabulously grumpy
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.
Kooks awaited
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.
The KooksFriday – 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.
Headlining Madness
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.
Saturday’s base camp just near the Victorious sign – Castle Stage
So let’s go, in order….
RewsRews – Castle Stage
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 TheMysterines stirring a forward wander for some indie jangly pop rock.
The Mysterines – Castle StageThe Mysterines – Lia Metcalfe
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.
Porridge RadioGeorgia StottDana MargolinDana Margolin – Porridge Radio
And next another Brighton based band Black Honey – more rocky but you might not expect so given the afternoon tea dress.
Guess who?Izzy Baxter Phillips – Black Honey
Been listening to them a fair bit recently…. they’re winning so far but here come The Lathums.
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.
Alex Moore – The Lathums
…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.
Covid soup
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.
Tom Ogden – BlossomsBlossoms
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.
Rag ‘n’ Bone Man
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.
Manic Street Preachers – Castle Stage
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.
James Dean Bradfield
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 TheStreets 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.
Matthew Baty – Pigs x7
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.
Matthew Baty of Pig x7
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…
John PowerLiam Tyson – guitar
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.
On bass – Jay Lewis
….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.
James Allan – Glasvegas
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.
Grian Chatten – Fontaines DC
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.
Grian Chatten
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.
Nile Rodgers……and Chic
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 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.๐
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 ๐ค… 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 ๐. 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.
Proper old tickets from Bluetones gigs
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.
Mark Morriss
Scott Morriss – bass
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.
Drums – Eds Chesters
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.
Mark Morriss
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. Notideal 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.
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.
Engine Rooms, Southamptoon March 2019
100 Club, London May 2019
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
Sleeper from the Boscombe O2 mix desk
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.
Jon StewartSleeper – O2 Academy Bournemouth
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.
Louise
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.
Thank you and goodnight
…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
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-mรขchรฉ 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
Robert Smith with Damon Albarn
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.
Damon Albarn
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.
Gorillaz in the mist
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.
The famous steps
The Beatles 1963 on Abbey Road steps
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.
Cover photo – Beatles’ Abbey Road
A grey haired tourist
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.
Queue for the 5.30pm gig
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.
The early show it is
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.
Another postponed gig I wondered about ever happening. It’s arrived. Hopeful Lockdown bookings are now finally rolling out – hope I haven’t bitten off more than I can chew ๐ค in what could be a monster run up to the end of 2021. Each booking I thought was a roll of a dice. They can’t all come up with a six can they?
It’s a fabulous time to catch a band and lap up that return to business enthusiasm from artists, doormen, bar staff, punters and all. Tonight a return to The Brook, Portswood Road, Portswood, Southampton…and it’s been a while, even pre-Covid, since I’ve been here.
The Brook
Always a good menu of tribute and local acts with the added spark of the occasional bigger name.
I usually end up driving to this one – or being driven as with tonight – as it’s a fairly inhospitable walk down the busy 1.7 miles from Southampton Parkway station or an ambitious 2.7 miles up from Southampton Central. Parkway and a cab is probably the best option coming from outside the city but you need to get your act together to get one back later at some unpredictable time.
It’s a big old Victorian pub converted to be one of the bigger pub venues, with 600 capacity – the speciality being the split level and large overlapping upper, casually seated area which gives a view that almost feels like you are hovering over the stage. There’s a bar upstairs as well. You need to get there as the doors open to get a seat with a view – more popular the older the band. The view is good downstairs though with a high stage.
The Brook stage from upper level
My history here is a relatively recent – 2005 – but the gigs started in the current setting in 1994. While it is a tribute band heaven, Absolute Bowie is the only tribute act I’ve seen here – excellent. Other bands I can remember seeing and I’ll note here for my record are: The Undertones (post Feargal obviously); Secret Affair; The Rifles; Buzzcocks, Cush and Swill from The Men They Couldn’t Hang and The Rezillos.
We arrive about ten minutes before doors open thinking we will be early enough for an upstairs seat – foot ailments continue – and it is, just. The queue is an eager one tonight and leads round the corner and down the Portswood Road.
A feast of bands on the posters outside to attract pointing fingers at future suggestions and booking acknowledgements from queuing punters.
We are soon in, greated by smiling faces – everyone’s happy to be back.
Support Band: Nine Below Zero (Dennis and Mark)
Bit of a bonus this. Not seen anything about the support and as I am trying to see what the case of things is on the stage when I heard a mention of Nine Below Zero… it was a case of about 20 harmonicas….Mark Feltham’s harmonicas. Mr Harmonica himself.
Mark Feltham at The Brook
Dennis Greaves and Mark Feltham of Nine Below Zero have arrived from doing Wickham Festival and provide the opening set this evening with some harmonica heavy blues – more traditional ‘Move it on Over’ to the new material ‘Wannabe Wannabees’ (a dig at modern celeb culture youth) of a near current album.
The harmonica playing was an obvious highlight. I bought one myself in Lockdown, maybe inspired by seeing Nine Below Zero at the 2019 Butlins Minehead Great British Alternative Music Festival. (Alas I can only manage Twinkle Twinkle Little Star so far.)
Greaves encourages visits to the merch stand to pick up a CD, pointing to the woeful earnings from Spotify in particular. He reflects on the Spotify owner’s wish to take a big stake in Arsenal Football Club with all the money he’s made from everyone’s music and Dennis declares his Spurs loyalty before some light hearted abuse.
Dennis Greaves – Nine Below Zero at The Brook, Southampton
I Never Saw the Jam
I can’t believe I never saw The Jam. I bought Jam singles in my school days – not albums until later – and despite going to see bands while at school and in the Jam active years after I never got to see them. I remember scouring Sounds and NME at school hoping to rumble an ad for a Jam secret gig (they were a thing around London) but I don’t remember trying for tickets anytime. When it came to the last Jam tour, while I was in Birmingham, I didn’t join the scramble for tickets at the huge Bingley Hall gig. Despite all this The Jam were a big part of my musical backdrop 1977-1982, The Jam years. I just missed the bus on the live front.
On the live gig front my regrets are pretty limited but my few are never seeing The Jam or The Clash live. In both cases I’ve seen the dismembered parts but not the whole body of these bands.
I’ve seen Weller a handful of times – Pheonix Festival, Bournemouth BIC, Poole Lighthouse and Victorious Festival 2018 (best one) – but he is focused on his solo material and Jam songs are heavily rationed. What From The Jam offeris some Jam indulgence….unrestrained indulgence.
From The Jam
When From The Jam emerged in 2007 it was with bassist Bruce Foxton and drummer Rick Buckler, from the Jam, plus a new Jam fan front man Russell Hastings. Rick has since left.
I caught up with them in the unlikely surroundings of Ferndown Barrington Centre, East Dorset on 20.5.2016 and again at the aforementioned Butlins Minehead event in March 2020.
They recorded an album of their own material, ‘Smash the Clock’ in 2016 in Paul Weller’s Black Barn Studios. Bruce must of patched up his differences with Weller by then. These differences, and Weller’s complete separation from Bruce and Rick, are well documented in Rick Buckler’s absorbing autobiography ‘That’s Entertainment: My Life in the Jam’.
From The Jam Tonight
From The Jam The Brook, Southampton
This evening is billed as ‘up close and acoustic’ – Bruce Foxton and Russell Hastings sat front stage and with regular FTJ keyboardist Andy Fairclough. No drummer.
They start with ‘Liza Radley’ (from Sound Effects) and then a Bruce fronted classic ‘David Watts’ – the Kinks cover – the place is absolutely buzzing. A few feedback problems in ‘Eton Rifles’ with some sound level corrections before we are in to ‘So Sad About Us’.
Bruce Almighty at The Brook
The roadie support is introduced – Russell Hastings’ son who lurks behind the amps centre stage.
One more recent FTJ song I note is ‘Number 6’ and aside from a couple of songs the set is a barrage of classics including ‘That‘s Entertainment’, ‘Smithers Jones’, ‘English Rose’…the latter not getting the quiet it needs and deserves. This is no traditional acoustic set. It couldn’t be – they need the volume or all would be lost amongst a chorus of aging voices singing along to every line of every verse.
I’m upstairs looking down through wide bars so photos are a bit select. It was too hard to wander about – Jam packed it was!
From The Jam from the upper floor
Russell Hastings
I’m wondering if this is quite as high on the sheer excitement front as last time I saw them, then ‘When You’re Young’ starts. The neck hairs are bristling. Brilliant.
You used to fall in love with everyone
Any guitar and any bass drum
Life is a drink and you get drunk when you’re young
Life is new and there’s things to be done
You can’t wait to be grown up
From ‘When You’re Young’
Bruce Foxton
The hits continue and this is heart warming stuff. The singalong crowd are getting more raucous: ‘Town Called Malice’ and one of my favourites ‘Saturday’s Kids’which appears as a raw demo version on the first Jam CD I bought, the compilation ‘Live Extras’.
Russell Hastings at The Brook 7.8.2021
Hastings is so Weller-like on the vocals that if you shut your eyes you might not tell it wasn’t him. Actually if the lights were dimmed more and you’d forgotten your glasses you still might be fooled, aside from Hastings’ more up beat banter.
Foxton is quiet meanwhile and is coaxed for comment by Hastings.
To finish two of the best ‘Strangetown’ and ‘Down in the Tubestation at Midnight’ ….of course they can’t just leave it and back for an encore of ‘In the City’ and ‘Going Underground’.
After all that I just want to see them again. Full band next time in a more conventional set up. The songs are so good and so familiar.
A handy Sunday afternoon option down in the park. We just popped along the road for the last day of this three day festival of music with added distractions. Booked a ticket just days before, having assessed the risk of get a soaking as probable but likely short lived.
The Poole Harbour Festival has run for several years and this looked better than ever in terms of set up, attendance – a couple of thousand maybe – bars, food stalls and children’s attractions – I still don’t know what ‘Rent a Dinosaur’ is but it sounded innovative. For starters the no wait cans bar has sorted a lot of prevous years’ queueing out. Main stage was much bigger than most previous years and not in a tent… which looking at the sky later I thought we might regret.. we didn’t…as predicted our soaking happened but was short lived.
Fair sized queue to get in and at 11.15am I could honestly feel the urgency of wanting to get inside in time to Oasiss, the tribute band due to start at 11.30am…. they’re good. Seen them here before and at Parkstone Labour and Trades Club – local band.
We got in in time for kick-off. Sun out. Lovely. I confess to taking camping chairs – foot ailments and age taking it’s toll eh.
Oasiss
Oasisss.. sorry only two ss
Poole Harbour Festival
Oasis music live in the sunshine on a Sunday morning: can’t be bad. I know some get a bit sniffy about Oasis. I loved ’em. Saw them several times – Rose Bowl, Wembley, Reading – and always enjoyed it, as well as the seperate Liam, Beady Eye and Noel performances in the decades that followed. Liam at Glastonbury 2019 – faaantastic…. so on a Sunday morning down in the park this is a treat.
Oasiss
Toploader
On the menu for lunch…Toploader. I saw them during Lockdown at a socially distanced gig in Bournemouth’s Madding Crowd – some Toploader blog notes at this link. This time they have a crowd 25 times the size but less focused I guess.
Toploader
Joe Washbourn
Toploader – Dan Hipgrave on bass, Rob Green on drums
Joe Washbourn is centre stage and pleased to be amongst us. I wonder how long the relief to be playing normally will last: will it be allowed to last? I am seeing this as a current window to leap through and am under no illusions that the Covid thing is over.
As this is outdoors and local I had my better camera with me for this and, having featured Toploader recently in a blog, this piece is more a photo story.
Joe Washbourn – Toploader – Poole Harbour Festival
Of course they played ‘Dancing in the Moonlight’ which is clearly the moment the penny drops for many… ‘oh I do know them’ and the lunchtime dancing mums were off. It is a very heart warming moment to see a big crowd in the local park singing along and jigging about on a Sunday lunchtime.
A no encore festival set approach to keep the timings going but really enjoyable. Joe Washbourn mentioned that the pre-gig sandwiches were denied them due to ‘the bridge being up’ allowing the band to share in some regular local traffic frustration – the snacks must have been coming from Hamworthy – “do you lot only eat when the bridge is down”.
“I’ll have cheese and pickle on wholemeal”
Washbourn has a spell on acoustic guitar away from the keyboards which are at the core of the sound…and indeed the vision.
Dodgy
And so to Dodgy. I’ve never bought a ticket to see them and never bought any albums or singles by them but they have appeared at several festivals I’ve been at. With several hit singles they seem much more familar and a significant sound, which is perfect for the Summer festival…even with a shower in their set.
Victorious Festival 2019 was a more recent performance I can pinpoint but I’d struggle to nail down which V, Reading or Phoenix Festival I watched them at.
Nigel Clark – Dodgy front man
Sunday lunchtime at Poole Harbour Festival
Although formed in Hounslow (1990) – something of a rarity as an origin label – main man Nigel Clark’s midlands origins (Worcestershire) are apparent from his engaging intra-song chat.
‘Free Peace Sweet’ is Dodgy’s big album, their third (1996), reaching number 7 in the UK album chart and it’s in there you find the hits: ‘If You’re Thinking of Me’; ‘Staying out for the Summer‘ and ‘Good Enough’.… which were brought out to enjoy at Poole’s Baiter Park.
Dodgy – Poole Harbour Festival
One of the opening songs was another from that hit 1996 album: ‘In a Room’ and Nigel Clark pointed to the Lockdown relevance to the lyrics:
In a room there’s no other faces
I sit alone here let through the night
In a room, we’re slowly wasting
I don’t belong here, it don’t seem right
In a Room – Dodgy 1996
Clark, like all of us, is pleased to be out. Mid-set and with a warm reception he commented “you look as though you’ve been doing this for years”. Many of us have… decades in fact.
Nigel Clark – Dodgy – Poole
A happy feel to ‘Staying out for the Summer’ despite the clouds and let’s hope we all are. If we can make Victorious Festival without some further Covid shackles that will be a start.
A relaxed afternoon with three bands so overtly pleased to be there and entertaining us again. I’d say the best Poole Festival set up to date so here’s hoping for next year. Good to see some known original names in the line up this year – today anyway – to go with the local acts and trubute bands.
Staying out for the Summer …. hopefully: Nigel Clark, Dodgy
We’d had the best of the day and seeing the dark clouds above and a bag of empty cider cans under my camping chair, headed home before the Queen tribute act, the last band of the festival.
Making hay while the sun shines – not literally unfortunately – with my second gig in two days. Don’t know where we are going Covid-wise so just getting out there. In hindsight, this update being a week after the event, two gigs with a trip up to Guildford thrown in might have been ambitious given I had a cellulitis infection in one leg from insect bites. A gig propped on one leg and limping about took it’s toll this week. Groan.
On The Stranglers trail to Guildford
We had the day off and for ages I’ve been meaning to visit some of the old haunts of The Stranglers, once The Guildford Stranglers. We headed for Chiddingfold.
South of Guildford, the picturesque village of Chiddingfold was a place The Stranglers lived and rehearsed for a while. The Crown Inn, just by the large village green and over the main road from a lily pond is a very historic – 14th Century origins – beauty of a pub. A watering hole frequented by the band while at their pad – a house rented by drummer Jet Black up Coxcombe Lane – a few hundred yards away. We took a wander to have a look – all very up market these days.
The old Stranglers’ house and rehearsal pad – Coxcombe Lane
Apparently one of the early suggestions thrown around for The Stranglers band name was The Chiddingfold Stranglers.
This was enough for me, as a life-long Stranglers fan, to arrange a very pleasant lunch stop around this unassuming village. Pretty smart place these days with some good beer, including a Sierra Nevada California IPA – I was being driven by wife Sally due to my leg ailment.
The Crown Inn, Chiddingfold
A very pleasant stop
The pub clearly don’t value their rock history in quite the way I do, preferring to focus on royal visitors from 600 years beforehand. There is an old Sudan Chair in the lobby but no Jet Black drum stick or Hugh Cornwell guitar.
Genesis were another band that frequented the pub when they were using The Farm studio they had built nearby in the early 1980s. Also it’s said to be the place where they agreed Phil Collins would take a break from the band…which lasted quite a while. Guitarist Mike Rutherford even recorded a video for Mike and The Mechanics 1995single ‘Over My Shoulder‘ on and around the village green.
My plan was to seek out some more Stranglers haunts such as The Star Inn in Guildford where they played in their very early days. This will have to wait. Today was not the day due to rain and leg pain. I have some tickets for Guildford next year on what will be the last and Covid delayed full tour by The Stranglers, alas now without the lost and loved Dave Greenfield on keyboards.
Return to The Holroyd Arms
The night’s gig was a return to this gigcentric pub on the edge of Guildford: The Holroyd Arms aka The Sound of the Suburbs. My first visit to this place was for The Spitfires Covid dodging seated and spaced gig in a tent in the garden last Summer. My blog details this last one along with background on The Spitfires, one of my favourite bands of recent years.
We arrived for a drink in the garden, once wristbands had been applied. The garden was a sea of familar names: Ben Sherman, Lambretta, Fred Perry and Gabicci and some half familar faces from the last gig, including a guy whose top intrigued me last time and led me to some Modfather on-line lockdown shopping….not that this is a fashion show.
Yes plenty of grey haired gig goers here this evening. Looking around, despite the recent addition of Gabby Kenny on keyboards, this is predominantly ‘boys noise’ territory.
Inside, unlike the previous tented gig here, is a small low ceiling stage area – so low there is padding on the main beam across the stage to prevent band head injuries.
They are on soon
Beyond the stage area is a more conventional pub space with the addition of tv screens for an alternative sound and visual experience, and you can watch while queueing for the bar. I’m happy – Beavertown Neck Oil and London Pride on draught. I guess the whole place must hold about 200 people max.
Remote gig viewing from the bar queue
First Up: Samuel Rodgers
Sammy Rodgers from Kinghurst, Birmingham was the support. Him, his guitar and a bassist for company. I enjoyed his modster sound – bit of a Weller and Liam Gallagher thing going on. A short insight but enough to raise interest. Had a chat afterwards, always inquisitive about a Brummie on tour, and sounds like your more likely to catch him around the West Midlands. generally. (He managed to nudge half my pint down my Fred Perry but a good lad ๐)
Spitfires tonight
The Spitfires – Holroyd Arms
This was the last but one gig for drummer Matt Johnson. With the relatively new addition of a keyboard player Gabby Kenny to the band, that’s a fair bit of change. The brass players are out on tour again and on certain songs this adds massively to the raw guitars and drums, even with the added keyboards.
Billy Sullivan & Sam Long
The first few songs are from the 2020 Lockdown release ‘Life Worth Living’. It must be so frustrating releasing and album and not touring it properly. The album makes up about a third of the set, ‘Tear this place right down’ being a favourite of mine later on.
Some crackers from the ‘Year Zero’ album: the title track, ‘Remains the Same’ and the brilliant ‘New Age’.
Low ceiling with the low low stage beam – The Spitfires
This was good old fashioned dark ‘n’ dirty gig in a great little pub venue. Pretty hopeless to take photos but hey ho. Perfect punk band venue these days by the look of it, and the posters, and in this case some punchy mod style rock. It did really feel like post-Covid normality. Not a mask to be seen and everyone was enjoying it….around the main bar and stage area. I’d love to live down the road from a venue like this, maybe not next door to it mind.
Billy Sullivan is whirling around giving his guitars a hammering with that brash, early Jam, Weller style and managing to dodge ceiling head injuries, between upright and steady bassist Sam Long keeping the rhythm to his left and Gabby up front on keyboards to his right, while the soon to depart drummer sets the pace at the back – he just said ‘his contract was up’ on social media. I wasn’t hearing the keyboards that clearly – a larger venue may bring them to life more.
As a break near the end of the set Billy Sullivan did a solo of ‘4am’ from the 2015 first album ‘Response’.
Three more to finish, including ‘Over and Over Again’ (have listen to the official version on YouTube), after the solo piece and the return to small gig normality is done.
Another thoroughly enjoyable Spitfires gig. See you again soon …with a new drummer. I wonder if someone has been lined up ๐ค
Back again to a normal gig. The first ‘make up your own rules’ gig for me since Lockdown, and this happened to be the place I last went to a ‘normal’ pre-Lockdown gig, that night to see Blossoms. (Blossoms blog here.)
Back in March 2020 we were nervous but had no idea was was coming in the full 15 months of varying restrictions that have followed. So much dirty water under miserable bridges since. We’ve kept it going with sit down, spaced out gigs, local bands playing outside and live streams but this, tonight, was what was missing.
A few days before I got an email setting out some entry rules: proof of double jab; recent lateral flow test pass or some other comfirmed exemption from that. It showed willing but it would be easy to fabricate I guess. The only rules left are basic routine health and safety risk assessment and a miriad of govt guidance to have a think about.
As we walked in to the main street through Boscombe centre, where the O2 Academy is, we saw the huge queue snaking down and round the end of the shopping area as punters waited patiently to share their medical credentials for entry. The O2 phone account priority entry is worth remembering if with O2. Show your App signed in and you can just wander in jumping the whole queue which felt like cheating.
I was angling for the middle balcony standing area to just keep a little bit out of the main potential infection risk area. When we got in though we saw that the top balcony – The Gods – was open and went for the wide back row of the three up there. Surprisingly good view as the venue is not large but it’s often shut.
From ‘The Gods’ at O2 Bournemouth
The ground floor was already bouncing. I wasn’t aware of who the support act was and I think it was a ‘DJ set’, just some decent tracks playing that most of the ground floor were singing along to with huge enthusiasm – Valerie, Amy Winehouse; One Way or Another, Blondie; Pulp and many more. Stifling heat made it a sweaty start. This build up was quite euphoric – out out at last. A bit of mask wearing round about and at the bars and the odd bottle of hand gel but this was a ‘trust in the vaccination’ night out. Brilliant atmosphere. Really quite special and we hadn’t really started.
Wolf Alice
I bought these tickets quite recently, just a few months ago, when their tour info popped up on my phone – not many acts were risking July dates unless already booked and postponed to new dates. I’d been playing the new album – ‘Blue Weekend’ – but didn’t know their stuff that well. I saw them support Foo Fighters at West Ham United..The London Arena in Summer 2018 (26 June), captured here by someone on You Tube who was there. Having vowed to see them again they took a bit of a break and then it was Covid time so it’s no wonder their return is so enthusiastically awaited. It’s two years since Wolf Alice played a ‘normal’ gig.
Wolf Alice formed in London in 2010 with the core being Ellie Rowsell with Joff Oddie on guitar, a few years later adding Theo Ellis on bass and Joel Amey on drums. This was the band tonight with the addition of a keyboard player for the tour. (My pics aren’t the best but I was up in The Gods.)
Theo Ellis – bass – O2 Bournemouth
Joff Oddie – guitar/ vocals – O2 Bournemouth
Joel Amey – drums – O2 Bournemouth
Ellie Rowsell – vocals/ guitar – O2 Bournemouth
After a few singles in 2013 they released debut album ‘Love is Cool’ in June 2015. This, along with their two other albums, was listed for the Mercury Prize but it was the second album ‘Visions of Life’ that won that prize in 2018, after its 2017 release.
By 8.45pm the singing, sweating crowd were at bursting point and on came Wolf Alice. Relief and euphoria. They started with ‘Smile’ from the new album, one of eight tracks taken from the new album – ‘Blue Weekend’ – some of these never having been performed live before. No I wouldn’t have known this but there is enough intense interest in this band to guarantee a well scrutinised and updated set list on-line within hours.
Wolf Alice at O2 Academy Boscombe
The crowd was as bouncy and mobile as I can remember at the O2 here in Boscombe, spurred on by the early appearence of ‘Beautifully Unconventional’ and ‘Formidable Cool’ in the set. Mosh pits opened up all over the place – these vaccines better be good. I was happy to watch from above tonight with the near aerial view…not ideal for my pocket zoom pics mind.
The Gods – three rows of seats on the top balcony
Ellie Rowsell
Barely any chat between songs beyond a whoop here and there and smiling appreciative faces at this frenzy. It might have been two years since the last proper show but no one had forgotten them.
They do have a really good mix of material with the wild and more aggressive bits further fuelling the mobile pockets of moshing. Atmosphere was dripping down the walls.
You get the drift from this phone clip from above – this was one from the latest album: ‘Play the Greatest Hits’.(My phone clip on YouTube)
I can hear bits of Siouxsie in there at times on the punchy ones or Liz Fraser, Cocteau Twins on the quieter ones. I imagine quite a cross over with a Florence and the Machine audience. Hard to guage trend mind as most were dressed for the beach.
Ellie Rowsell – quieter one
Not a particularly long set but an intense hour and a quarter before they finish with the title track from their last album, ‘Visions of Life’ before one more as an encore from the latest one ‘Last Man on Earth’.
A brilliant performance in front of a brilliant and very sweaty audience. Even The Guardian reviewer must have enjoyed it and could feel the heat – Guardian review.
Andy Grant Band 8.7.21 at the Four Horsemen, Bournemouth
The Four Horsemen pub
With England ๐ด๓ ง๓ ข๓ ฅ๓ ฎ๓ ง๓ ฟ having secured a place in the Euros final last night, it’s off to Bournemouth to a gig venue I’ve not been to before: The Four Horsemen in the Triangle area of central Bournemouth.
Tonight it’s a chance to catch up with another Lockdown livestream regular for me – Andy Grant, tonight in the Andy Grant Band format as opposed to solo. This fantastic blues – rock guitarist is the voice as well, with the smiling drummer Jack Revy and Simon Rashbrook on bass guitar, band based up the road in Dorchester.
Pre-Lockdown I’d not heard any of Andy Grant’s music but earlier this year we became regulars on the Facebook sessions Andy put on and with the more ocassional full band sessions. As part of our appreciation for these streams, that relieved the live music silence, we started aquiring CDs mailed from Dorchester HQ, in lieu of the virtual tip bucket – ‘Champagne on a Beer Budget’, the instrumental ‘Spirals’ and the most recent and very much the best for me ‘Dig the Darkness’.
So here we are at a new to me venue. Arrived a bit early and the ground floor pub bit was full, easy done in these controlled and spaced out times. The gig room wasn’t ready to open up yet so we had a wander around the closed cafรฉ, tattoo parlour and barber shop filled block to find the pleasant and empty Tipsy Cow for a beer – one worth remembering – small cafรฉ bar, with cocktails and mocktails.
90s themed ๐
Back to The Four Horsemen then and after some email rummaging and attachment downloading we’re in.
Big range of beer taps, fridge bulging with craft ales and food available. Huge front windows allow the place to be opened right up – Professor Chris Whitty would approve of the ventilation.๐ท
I was intrigued as to what the 90s reference on the pub sign was. A trip upstairs to the gents and I get the idea: lots of film references like posters and photos; a large Keith Flint mural; video casings and outer cases used to decorate and a large music cassette mural on one wall downstairs.
Keith Flint remembered – on each gents visit
It would be such a shame to miss out on the trip up to the toilets. Some ‘of the moment’ Covid humour and a gig calendar to browse – I see Poole punk band The Mistakes are here in August. I’m busy but I’ve put it on ‘the subs bench’ just in case.
N.B. The Mistakes 20 August
The gents – Four Horsemen – sign of the times
Yeah..I know….a bit of caution taking photos in a public toilet eh…watch the door and watch your aim when checking out that gig calendar.๐
And on down to the basement for the gig with a pint of Tiny Rebel Electric Boogaloo from the tap.
Cosy. I guess it would normally hold about 75 at a push so good place for small bands, in fact the stage area at one end would have trouble accomodating more than literally a small band. Tonight we are seated in small rows in the sell out crowd of 22! ๐ท๐ฏ
This place is conducive to the music though – the dark basement. I could almost imagine being in an early RollingStones gig.
Four Horsemen basement
Great sound level – just enough to drown out the three cackling women at the back (I just dispair at some people) and with just three instruments you can listen to the component parts so clearly – hard to take my eyes off the drumming at times with a top draw, yet casual, solo when Jack is introduced, in classic meet the band style later in the set.
Jack Revy on drums
A two part set. In the first bit was ‘Thursday’s Child’, the obvious pick of the most recent release ‘Dig the Darkness’. If you’re curious then pile in with this one and you’ll know pretty quickly if it’s your thing or not. YouTube link: Thursday’s Child.
Andy Grant Band
Two of note from the ‘Champagne on a Beer Budget’ album in the first part of the set were ‘Miss Particular’ and, just before half-time, ‘Need’. Great stuff.
A chance for a peanut butter stout at the break – from the well stocked fridge – and see if the mention of a dog called Maggie…I think.. in the audience was true….it was. A black Spaniel with dashing eye lashes (extraordinarily large lashes – maybe glammed up for tonight) was down the front with mini-merch stand mum. This is quite normal apparently.
In the second section were two belters from ‘Dig the Darkness’: ‘Driving West’ and ‘The Healer’. There’s a pretty special video of ‘Driving West’ that you can find here.
Andy Grant
A good night out, with real live sounds and great guitar as we venture gingerly out. One of those local bands I can’t believe are not more popular.
Before we left, another CD purchased, an older one: ‘Hope in the Sky’ from 2008.
So good to see artists who have kept us going in the nonsense. Keep it live. Rock on. ๐
I really thought we were within touching distance of the Covid curtain going up. As I tapped away with this, my latest grey haired gig goer excursion was axed as a message came through that our trip to London to see Sleeper on Saturday night was cancelled. Six hours notice. One of the band had tested Covid positive with symptoms. What can you do?
As long as the social distancing is required and cases rise, without being a threat to life, there is a growing risk of more postponements and cancellation stuff. I’ll still be dodging the advanced rail tickets and non-cancellable hotel options for now.
Gigs with Ivan 