Gigs with Ivan

Hello Again Mr A: The Hoosiers’ Pandemic Return

The Hoosiers 16.10.20 at The Madding Crowd, Bournemouth

Hoosiers, with Barefoot Soul bottom right and Grace Gachot bottom centre

The Covid music scene is upon us. We might be allowed out still – at the time of writing anyway – but getting in to see a live performance somewhere is an achievement. Putting on a gig and playing ball with the latest rules is also an achievement.

The Madding Crowd, usually a 300 capacity night club, is found via a narrow entrance above a row of shops leading up the hill from Debenhams, smack in the middle of Bournemouth’s town centre.

So many options for a pre-gig drink or food within a few hundred yards. Wetherspoons’ Moon on the Square just around the corner but my picks would be Sixty Million Postcards (now with outdoor heaters and umbrellas) and The Dancing Moose. Eating? I’d go with The Real Greek opposite ‘Spoons or The Slug and Lettuce.

The venue was recently successful in getting Government funding to help support the arts during the Covid restrictions. £28,000 to enable smaller audiences to watch here in secure surroundings and with some modifications.

Looking back

I have seen The Hoosiers before, back in 2013 at Mr Kyps, which in itself was something of a comeback in quite humble, but raucous, surroundings for a chart topping band. I’d bought that album, Trick to Life, which topped the album charts in 2007, which included Cops and Robbers, Worried About Ray and Goodbye Mr A, go on… you remember that one don’t you?

Wondering where the name The Hoosiers came from I looked it up. A Hoosier is a resident of the state of Indiana 🤔 Lead singer and guitarist Irwin Sparkes and drummer Alan Sharland spent some time living in Indianapolis, Indiana when they started the band up in 2003. They’d apparently left their home town of Reading for a bit of experience, on the recommendation their school chemistry teacher, a former member of the band Starsailor.

Well tonight The Hoosiers are back, advertised as a ‘stripped back’ version. Understanding the possibility of Covid restrictions I was sort of expecting two guys playing quietly in the corner of a shadowy room but I thought I’d give it a whirl…the songs on that album I had were good.

The Madding Crowd…

Well I don’t know what this place is like outside of this pandemic – I’ve not been before – but I was pretty impressed in the circumstances.

Crowd gathers…. in a socially distanced, seated and civilised manner

It is advertised as a ‘premium’ nightclub and it is, – smart with wipe clean surfaces – much better than I had envisaged. Very civilised, tables of 2,3,4 or 6 with some booth type seating, including some you can’t see the stage from, which was made clear on booking.

Think James Bond film night club more than mosh pits and sticky floors. The waited service adds to the relaxed feel, and drink consumption rate. It wasn’t expensive either. A couple of decent ales at around £4 a pint and the bottles of house wine were reasonable … yes bottles …. make hay while the sun shines these days.

Me and wife Sally got the last table for two, booking the week beforehand, and it is pretty much full tonight to the Covid restricted 100 all-seated capacity. When I realised during booking that I was selecting a particular table and at first look the twos had gone, I was thinking this was going be a sticking point for booking to capacity – finding five friends to entice to a Hoosiers gig at short notice would be a tall order. At least we’re not under tighter controls or it would be single household tables eh. 😷

This is the first of two Hoosiers nights, with Saturday having some different support acts. The second one sold out in advance and tonight is full: so the table arrangements worked.

So what other overt measures are in place as a result of Covid restrictions guidance and legislation applicable to the performing arts?

We are still on the rule of six, so no tables or groups of more than that with distancing between tables facilitated by the reduced capacity. It helps that most want to face the same way – stagewards. Masks on unless seated. Details retained via ticketing/ QR code check-in/ manual record. Waited service with plenty of staff and security to ensure customers don’t let behaviour and cooperation slip – all good.

The stage had plastic screens around the drums – that could just be a sound issue as the stage is quite tight for space. Then there are the new gadgets: the performers’ face shields, pictured above, which aim to stop a shower of exhaled droplets – acts could have done with something similar in 1977 gobbing punk Britain perhaps. I’m not sure about these at all and as the evening went on they seemed like a bit of Covid stage dressing that was just in the way.

Of course there is the 10pm curfew to consider so doors open at 5.30pm, accommodating the four support acts getting a slot tonight! This means, as with cinemas, and unlike normal bars and restaurants, that last drinks are supplied by 10pm but the music and drinking up time continues until the performance is over.

You might read this and think ‘oh no I’ll just wait for the return to normality’. It was absolutely fine and it’s going to be a very long wait so I’m up for just getting on with it. I’ll be back here for anything vaguely appealing.

Tonight’s Support Acts

There’s a selection on show tonight and it’s only later that I confirm who’s who. First up is Alex David Gonzato – singer songwriter, solo with guitar tonight – who usually plays around the Basingstoke area he told us afterwards. Good start with some of his own material and a notable cover of Queen’s Somebody to Love. Bit of a surprise when that came out for an airing.

Barefoot Soul next, from Bournemouth. They were enjoying themselves with some bluesy rock and a bit of early energy rubs off. The singer mentioned that tonight’s band was a bit of a hybrid but not much time for chat or explanations.

After this the best of the supports I thought – Duncan Brookfield UK – great voice.

Next a short set from Grace Gachot before the main band. A real treat this procession of new talent in this sort of environment. With three solo singers on the bill it would be harder to appreciate them in a crowded bar or pub which is where so many new acts have had to compete…and the chance would be a fine thing right now so I’m sure everyone here was grateful for this.

You’ll have gathered by now that the enforced seating meant my pics are pretty much all snapped from the side of the stage we were sat by. Not so easy for the exploratory wander I usually try and go for.

The Hoosiers

I was pleasantly surprised to see front man Irwin Sparkes and original drummer Alan Sharland joined by a bassist and keyboard player. The talk of a ‘stripped back’ performance made me wonder if this was going to be a couple of the band playing quietly in the corner. No such thing. Not sure who else The Hoosiers would bring into their live gigs.

I don’t know their material beyond the Trick to Life album, but they plucked enough from that one to give me a familiar feel, with the notable Cops and Robbers, Worried About Ray, and of course the singalong chart topper Goodbye Mr A (…it reached number 4).

Some lively keyboard action right in front of us and the sound was good considering we were side on to the stage…not blasted out either (precautionary ear protection forgotten.)

I wonder what it was like for the band facing a seated audience of 100 and what had to be quite a tame response, but this was hugely enjoyable in the circumstances…. a bit of Covid escapism on a Friday night.

Lead vocals/guitar and founder Hoosier Irwin Sparkes

Well worth checking out who’s playing here. I see Capulus are supporting on Halloween…I’m otherwise engaged at the moment for that one but let’s face it, it’s a bit make it up as you go along and fingers crossed at the moment.

Here’s hoping for some more oases in the Covid 2020 gig desert.

Rock on!

Live, yes live, and unheard.. and indoors

Dave Griffiths Band, Asha Zee, Harper & Edwards 8.10.20 Poole Lighthouse

This week viral doom seemed to be spreading amid statistical confusion and irresponsible journalism. My continued scratching around for some sort of modified gig going normality hasn’t been unearthing much – usual local and regional gig guide compilers silenced – even a few 2021 cancellations have started and obscure socially distanced options for this year scrubbed.

I was pleased to see Squeeze about to start giving it a go with the first gig at London’s cavernous O2 advertised and old favourites of mine Kirk Brandon (Theatre of Hate/ Spear of Destiny) and Pauline Murray (Penetration) lining up a few special small gigs. I’ve bought a few tickets for some unusual gigs in venues I haven’t been to but who knows if they will go ahead. Southampton’s 1865 seems to be giving it a go with a few things, local bands mainly, and I was even attracted by the novelty of a female Italian blues guitarist – that was postponed before I dived in. Meanwhile the 2021 calendar fills with postponements and hopes.

Lucky then that I was able to rethink my prior casual dismissal of October’s Live and Unheard, book a ticket on-line on the day and get out…reasonably safely. I had my November one booked already having enjoyed the first post-Lockdown night, and two pre-Covid era nights have made these events appealing. Very fortunate to have the Poole Lighthouse venue so near. Use it or lose it!

Live and Unheard in the Lighthouse Theatre

September’s showcase for artists in the making, or more established gigers airing their own material, was in their outside amphitheatre as The Lighthouse arts centre tested the Covid water. For October’s we are inside The Theatre – not the usual Sherling Studio, and not the very big concert hall – usual ‘home ground’ for the Bournemouth Symphony Orchestra – but the theatre in between.

What a venue to showcase a new band – Lighthouse Theatre all set

This steeply banked cosy auditorium seats 669 people usually, and has a big stage that can accommodate World renown ballet companies and full-on musical sets. Plenty of room then for some socially distanced performing and a safe setting up for three acts.

With usual limits around 100 – Sherling Studio capacity stated as 130 – the Live and Unheard move to the bigger theatre allows for virus dodging spacing. Tickets only sold for alternate rows and pairs of seats have two free seats between them. At first naturally this spacing looks odd but with house lights down and atmospheric stage lights on, this oddity is masked, like the audience (until seated when you can reveal yourself). I suppose celebrities might find a masked night out quite appealing and hassle free, but no sign of Harry Redknapp and friends under the soft lights as masks come off. It’s bad enough recognising people out of context anyway so don’t know about you but I find I’m staring at faces unnaturally.

This set up is a fantastic opportunity for new bands. I’m not sure how it works out with running costs with the bigger venue of course and it maybe totally unsustainable. Progress though for now.

The great thing about seeing a new act at Live and Unheard is that, whichever of the Lighthouse settings I’ve been to, the sound and lighting is so good compared to many of the alternatives: corners of pubs or soulless community halls. Also the audience focuses on the artists and the sound, without distracting chit chat and shouts to get the drinks in. I should add there is ample opportunity to get your drinks in, and bring them into the theatre. (Tonight’s seated service in the main bar pre-show and in the changeovers was wonderfully efficient, which I slightly regretted next day.)

So to tonight’s bands. I don’t pretend to review their music in any detail but review the overall experience and point out or remind as to what is out there …even now.

Harper & Edwards

A folk/rock duo starting with acoustic guitar and fiddle, switching to two acoustic guitars for some songs.

There are some YouTube clips which I see have been uploaded by Chinnersrocks to help visualise their enjoyable performance.

Harper & Edwards
Lighthouse Theatre Poole

I’d love to hear a Bob Dylan cover with these vocals – I can hear the necessary occasional gravel and at times this reminds me of singer songwriter Ben Mills, who himself can sound distinctly Rod Stewart.

I am yet to conclude which is Harper and which is Edwards in this local duo, this despite a bit of Googling which initially led me to a similarly named tiling firm in East Molesey and a dead composer.

I would certainly go and see them again if playing locally and their Facebook page looks the best way to keep up to date on that.

A relaxing and pleasing set with song called Old Harry Rocks to finish was a notable one – incorporating the pirate tale made infamous by its association with the Purbeck coastal landform.

Asha Zee

I was pretty astonished by this performance. I would be amazed if we do not see Asha boom sometime. Pop with some soul and of broad appeal surely. Of course it’s impossible to know – so much competiton and so many impatient and uninquisitive potential audiences out there…but what an enjoyable performance.

Asha is 14 years old. The band playing with her tonight are young teenagers, oldest being 15, with a few masked dancers thrown in. This opportunity, is gratefully seized by them. My expectations were minimal and I was slightly hesitant in coming thinking I might be faced with nothing more than a school band and a panto audience. How very wrong and assumptive could I have been.

Have a listen to Be Strong if you’re a Spotify listener and you will get what I mean.

Dating for Heartbreak is one of her songs you can find here on Asha’s website and this was performed with her vocals and piano playing centre stage. This was apparently Asha’s first theatre performance and what a massive achievement that is. Watch this space eh. Good luck.

Dave Griffiths Band

Last up tonight is the Dave Griffiths band. Live but perhaps not as Unheard as tonight’s other acts, Bournemouth born Dave Griffiths has played in other ventures with recordings going back to 2013 from what I can see.

The current band plays a selection of original rock songs, up the soft to middle end of the rock scale. Easy going and delivered with unflustered professionalism by experienced musicians.

I don’t doubt Dave Griffiths could blast out a good Bruce Springsteen song and just maybe allowing one cover would be a welcome concession.

This is such a good way to get a look at original material and all three acts tonight brightened the Covid cloud…some normality back to the stage of the Lighthouse Theatre.

All good stuff and another significant step for another Lockdown ravaged venue. Tickets already bagged for November’s Live and Unheard.

(Big thank you to organiser, performer and producer Matt Black for continuing to bring these Live and Unheard sessions to fruition. Rock on.)

Test mission for The Spitfires

The Spitfires live at The Holroyd Arms 1.10.20

I’ve been looking forward to this gig immensely, ever since rapidly hitting the ‘buy now’ button back when we thought we were emerging from Covid clampdown.

When the first of these two nights were announced, the Friday night Covid limited 100 capacity gig sold out within a couple of minutes and I was relieved to acquire some for tonight – Thursday 1 October – when that was added promptly later.

A Covid dodging gig

Even then as Covid controls relaxed a bit, it was a bold effort by those at The Holroyd Arms and the band to make this happen in the face of the Covid fear factory. It must have presented a few headaches over recent weeks. The shifting sands of Covid rules threatened to engulf the initiative shown – but it was all legal and the recent introduction of ‘the rule of 6’ in pubs was dealt with by moving the event out to a marquee behind The Holroyd.

Ticket holders were updated and reassured a few times but I was still looking at my phones in the days before the gig, and even getting in the car, to check that The Spitfires were still ready to scramble and take off as planned.

The usual gig room at the Holroyd Arms, which puts events on under the personally appealing ‘Sound of the Suburbs’ banner, wouldn’t have been able to seat many in new pods of six. The shift outside to a large closed tent was a good move and I really hope it paid off and continues to pay off for them. For most a gig has been put in the ‘too difficult box’. As the nation kicks its gig bookings down the calendar it’s heartening to see someone getting on with it and squaring up to the various requirements (latest ones here). Gigs have not actually been prohibited, like many trading activities have over the Lockdown months, but it has been a case of Covid ‘safe’ (safer) requirements making it really quite difficult to get something on.

What does the Covid resilient Holroyd Arms marquee gig look like, beyond the big tent itself?

Frankly I think a lot of us who made it here would be happy to be sat in small cages in the rain just as long as we get to see the band play….but the adjustments needed are fine and much more hospitable.

Pub garden tables are arranged with maximum six at each table. Most lined up parallel to the stage so you’re not even facing others on the table as everyone’s eyes are looking forward to the stage.

Table service accessed by the QR coded pub app. Ticket holders details are already recorded through the booking process.

As advised by the reassuring emails, the gig start time is brought forward to allow the place to be cleared by the new 10pm pub curfew. Doors, well tent flaps, open at 5.30pm, the band on at 7pm and no support, so limiting the stage and preparation time mixing.

Hand sanitiser, space, a bit of mutual respect, sufficient security arrangements, visors for serving staff and a crowd of very grateful punters seems to go a long way.

What a bloody relief to get here and in anyway. On a personal note I’ve also buggered my knee up and have been driven here, with a crutch out of the shed, by wife Sally. Touch and go this one all round.

Yes there’s even the good old merch stand. I recommend the live in Hamburg double clear vinyl EP with New Age on and despite my bulging t-shirt drawers I convinced myself I needed to mark this occasion with one of the new album LIFE WORTH LIVING t-shirts in sky blue.

My rock ‘n’ roll Guildford

Despite the proximity of Guildford to my suburban London youth, it’s not somewhere I’ve been much at all. Even this evening we managed to avoid the centre completely as the venue is on a main road about a mile out of town. There are rooms at The Holroyd and aside from the Travel Lodge a mile away the other options are quite a hike if you were thinking of staying over.

Guildford was though the first place I ever saw a live band. Penetration at Guildford Civic Hall on 10 May 1979 – a mere 41 years ago. A Stiff Little Fingers (The Wall supporting) gig followed at the same venue and a few trips to Guildfest and that’s it.

I am a big Stranglers fan and as this was their original stomping ground I was all set to see them here at G-Live a few tours ago but another limb ailment prevented me from making the trip. I have a ticket for their ‘last tour’ here which will now be next year and a memorial to Dave Greenfield who we sadly lost in Lockdown….to Covid-19.

It’s not that bad a trip so a place with a few venues to keep an eye on, especially if they’re up for it like The Holroyd Arms/ Sound of the Suburbs.

The Spitfires

The Spitfires‘ sound was one of those instant likes when I first heard them, around the time when their third album Year Zero was released in 2018. There’s a Jam thing going on, even a young Weller thing with front man Billy Sullivan and the inclusion of ska beats and reggae sounds easily draws references to The Clash, The Ruts and Two Tone. I’m also reminded of The Rifles who I like a lot.

With Billy Sullivan on lead vocals and guitar, are Matt Johnson drums and Sam Long on bass and backing vocals.

The band, from Watford, is essentially a three piece but previously they had a permanent keyboardist. Brass is more evident on the latest album and tonight there is a two man brass section – trumpet and trombone – a valuable addition.

As Billy reminds us in the set, it’s eight years since they started out. Life Worth Living is the their fourth album and, as he said, it was released during the middle of a global pandemic which is hardly ideal, but there is no stopping their enthusiasm. The album is a move on from the last and very much not just another album. I love it, as I do the last one, Year Zero.

We have seen them before, just once, last year in Southsea at The Wedgewood Rooms where they were particularly special guests for The Selecter. A top night.

Grabbing a selfie with Billy Sullivan at The Wedgewood Rooms last year

The Gig…at last eh

The sound is good. Everyone’s happy. This is a treat: an oasis in the live music desert. Bar an enjoyable Lockdown live stream this is the first Spitfires gig of 2020. They’re off.

The brass does add polish to the sound and brings variety to the crashing guitar and rhythms.

New Age from the last album was delivered early. A favourite (YouTube listen)

From the new Life Worth Living album my picks were Start All Over Again and Kings and Queens which starts with that unmistakable melodica sound – I’m sure it was a melodica that appeared (my sisters used to play them). It Can’t Be Done was another notable one performed from the new album.

Bassist and backing vocalist
Sam Long at The Holroyd marquee

I do wander about a bit to take a few photos usually so being rooted to my table brought some limitation on my ability to catch bass and drums with my trusty pocket zoom.

Over and Over Again from the last album was another cracker appearing later on. I tapped a few reminders on my phone notes but didn’t get anywhere near a full set list – should have snapped a pic. I wonder if same set for Friday?

Some older tunes come out to play before the 75 minute set comes to an end: singles Stand Down (2015) and On My Mind (2016). A great mix of material to draw on now and it was good to have that variety to weave new album tracks into.

Wandering off to the car to go home at 8.20pm seems odd yes but we are in the midst of a global pandemic. I’m grateful… to the band and the venue. Rock on.

Live and Unheard – emerges from Lockdown

Poole Lighthouse 19.9.20 Becoming Branches, Chris Payn, Mischa and his Merry Men

Live and Unheard is an opportunity for unsigned bands to showcase original material, usually in the setting of the Sherling Studio, holding up to about 100 packed into the bench seating in there. Events are promoted by locally based musician and record producer Matt Black.

I’ve been to a couple of these events before and come away with something new. Highlights have included Capulus and DD Allen at previous Live and Unheards This one has been much more awaited though. It’s the first live event put on by Poole Lighthouse arts centre since Lockdown. It’s a restrained and well socially distanced sell out and it’s outside which is not without its risks.

The outdoor stage is set at Poole Lighthouse for Live and Unheard

There is a small outdoor arena at one end of the Lighthouse arts centre building, with a steep grassy semi-circular bank, quite well sheltered. I’d never noticed this before despite it being just down the road and passing it most days. I even went up for a look when I bought the tickets and was encouraged. I’ve never known it used but in the viral circumstances this a great solution. Fortunately it’s a warm still evening. The camping chairs and picnic blankets are out, as requested, and the bar is open and I do my best to boost its takings in these difficult times.

I could sense the widespread relief at getting to the starting line without some new Covid rules, a thunderstorm or in my case some knee ligament damage to scotch the much anticipated restart.

Three acts this evening: Becoming Branches, Chris Payn and Mischa and his Merry Men.

Becoming Branches

Rob, Jaz and Hannah are the interestingly named Becoming Branches from the Fordingbridge area, up to the north of Bournemouth on the edge of the New Forest.

Folky gentle sounds with Jaz Joyner’s beautiful voice was a fantastic start to this evening and a well received way of breaking the live silence for many here.

There’s plenty of room in this very relaxed little amphitheatre, despite all the tickets having been sold. With around a hundred it’s likely to be a bigger audience than would have been possible in the usual studio setting for a Live and Unheard.

My wife Sally slipped away to acquire the Becoming Branches EP Take you Home which is a good listen and can also be found on Spotify and YouTube . A hunt for suitably disinfected virus free pen to have the EP signed before the possible rise to stardom didn’t realise its aim. A great listen though in recent weeks.

Becoming Branches are first up for this restart

So good to hear live music here again but it’s dark already, we’re in the back half of September and I’m wondering how we are going to manage as we descend into full blown Autumn. Another bottle of wine to help support The Lighthouse and let’s worry about that another time. This is relaxing music.

The song about a travelling harpist …. called The Travelling Harpist (!) stuck in the mind after Rob’s introduction to this song about a relative of his – the tale of the harpist who travelled from place to place to play had appealed to him. But why did his old relative travel around nomadically with a harp he wondered – he’d stolen it was the answer, so crushing the romance and hence the song.

A lovely sound.

Chris Payn

Next up Chris Payn. We bumped into a Chris Payn live performance on Poole Quay a few weeks earlier on a sunny afternoon. He has an an excellent repertoire of covers and medleys of these crowd pleasers and gigs a lot in the area. Tonight it’s a showcase for his own material though and this was more punchy stuff – had me thinking Jack Savoretti or James Bay. I’d certainly pop to see him again and a bit surprised I’ve not seen him before.

From what the final act said I’m not sure how they decide who plays in what order at these Live and Unheard sessions. At previous ones I’ve been to it has been the bigger bands with the more full on sounds that have finished the evening off and the order has been a seemingly more obvious one.

Mischa and his Merry Men

The enthusiastic feel continued with Mischa and His Merry Men . A three piece including a double bass, and cello on some songs, and a mandolin to accompany the vocals and guitar.

I read since that this band is a changing collective of musicians and instruments with up to 11 taking to the stage on occasions. I’ve not come across them before and not the sort of thing I listen to but they rounded off this unusual evening well.

We shuffled off home with our camping chairs. Everyone seemed to have enjoyed this return. It was by no means what I recall as being ‘normality’ but it was a ‘return’ of sorts for which I am grateful.

I shall be back for the November Live and Unheard for what should be a socially distanced gig in the theatre rather than in the smaller Sherling Studio. There is also another event in October.

I’m not sure where all this is going. I’ve had 21 gigs postponed or cancelled over recent months. Everything booked before Lockdown for 2020 has now become a casualty. Not many venues seem to be trying much – the bigger the riskier. It has become increasingly difficult to plan ahead with the latest increase in Covid restrictions. I shall keep looking out for those brave enough to give it a go… and fingers crossed for a vaccine or some innovative pre-gig testing arrangements some time soon eh.

Covid-19 The Number of the Beast… at last a gig

Ironed Maiden 28.8.20 Parkstone Trades and Labour Club

The Gig Desert of 2020

Last gig I went to was 15 March, just before we were plunged into five months of Covid-19 induced live music silence. What started as a nuisance soon became a miserable reality and you have to wonder if it will be the same again for a long time.

Having been to 75 gigs (on my established counting scheme) in 2019, adapting to the live music void has made me try anything. I booked a couple of drive-in gigs – Gary Numan in Bristol and The Lightning Seeds in Cheltenham – that I thought might offer something.

All they offered was a bit of hope and enthusiasm for a few months before they were cancelled. A little unclear as to why but my deduction was poor ticket sales, uncertainty and insurers quaking in their boots in the face of experts’ uncertainty 😷.

After those folded I even eagerly booked a ticket for a tribute band drive-in festival on a farm in Wimborne, Dorset. That was subsequently cancelled also but the organiser, Mr Kyps, at least had the decency to provide an honest statement outlining why poor ticket sales meant the plug had to be pulled.

There is still uncertainty and confusion about what is allowed. It is legal at the moment to put on a live gig indoors unless in an area under special restrictions, but a risk assessment, social distancing and other safety measures need to be considered and implemented. Clearly outdoors is easier at the moment but then there are noise worries. Organisers are clearly nervous so I salute those giving it a go. However the uncertainty is obvious and guidance ever changing.

Great young Bournemouth based band Capulus were due to play this Bank Holiday Saturday in a pub near Wareham – I rang up to book a table or whatever you had to do but someone had pulled the plug days before.

This weekend The 1865 venue in Southampton is trying two days of indoor socially distanced table seated gigs which I’ll be interested to hear about. I know Saturday went ahead.

Covid pastimes

In some ways I have enjoyed months of exploring on-line offerings with varying degrees of success; TV Glastonbury in the garden; John Peel session archives; Radio festival days; Saturday nights in with Mike Peters of The Alarm; Teenage Kicks on Forest FM; Kirk Brandon’s Monday night video premieres; YouTube feasts; Swill’s Sunday Sessions; a deep mining of Spotify, listening to albums from Rolling Stone Magazine top 100 and discovering Bob Dylan for myself; taking suggestions from anyone and even listening to a load of Beatles albums in full 🙄…but all this is just an attempt to fill the live gig void.

Outdoor pub gigs

As a build up to the eventual first post-Covid indoor gig for me, I did manage a few outdoor pub gigs: Weymouth’s Leggomen at The Horns, Wimborne (20.8.20) where we found an empty table in front of the stage to enjoy some top covers live, close up and amplified, and Dorchester’s Nina Garcia singing her new original material and covers beautifully, with her electric fiddle, in the well set out and spacious garden of The Three Tuns, Bransgore on the leafy western edge of the New Forest (20.8.20).

I applaud the pubs that have tried to liven up the end of the summer against the odds. As we go on I can envisage more innovation for outdoor set ups, heaters and beer garden audiences. I think I’m looking for some sort of outdoor garden niche punk and 80s club….. the search for a blast of guitar through some meaty amps continued.

Stand up to the plate, Weymouth based, Ironed Maiden and Parkstone Trades and Labour Club.

Only been here once before, for another tribute act Oasiss.

Don’t you just love tribute acts’ band names. Special emphasis required on any diversion from the real name as in ‘IronnnnED maiden’ and ‘Oasisssss’ or the gloriously named all girl tribute, ‘the Sex Pissed Dolls’ (they have changed that now as I presume it was overly amusing and a distraction).

Ironed Maiden

Unfortunately the answer to “are you ready Parkstone? Let’s hear you!” was ‘not quite, where are you?’

We have to start somewhere though and me and the 21 others watching looked to thoroughly enjoy the show. What a professional effort from the band of excellent musicians lead by frontman Carl Williams in red spandex trousers. What a top tribute band they are.

Beyond buying the single ‘Running Free’ from Sunbury Record Scene when I was 16 I own no Iron Maiden material and I’ve never seen them live. I was exposed to them by school friends (Rich and Curly, RTh ACu ) as they lapped up the NWOBHM (New Wave of British Heavy Metal, as Sounds badged it) and I guess it rubbed off. I know the singles and after chancing upon Ironed Maiden at gig in The King Charles pub in Poole in January, I vowed to see them again. Little did I know what would happen between then and now….Covid-19, ‘the number of the beast’, the new number anyway.

The upstairs room in the club is substantial and could easily accommodate 200 I’d guess so the 22 of us were able to socially distance from the spaced out tables and perimeter seating. £5 admission which in my case was paid for by London Pride at £3.30 a pint.

The set was advertised on the band’s Facebook page as 1980-88 so I’d done some Spotify ‘revision’ in the weeks beforehand.

An early song hit the right note: ‘Die with your boots on’. I feel a sense of let’s get on with life, and live music. There will be needs to adjust restrictions as we go but on the South Coast there’s more chance of being run over by an enthusiastic new cyclist than bumping into someone with the dreaded virus.

Frankly I’d go to a normal gig and just get on with it if I could but I appreciate that everyone has their place on the spectrum of perceived Covid safety. People have got to be comfortable to enjoy any form of optional entertainment. Hopefully I won’t die with my boots on.

‘The Rime of the Ancient Mariner’ was another epic number that was notable in this full-on performance. The hairy enthusiasts knew ’em all and some seated headbanging escalated to a three-man mosh pit 🤫 and a token stage dive (jump, as a dive would have been hazardous onto a vacant dancefloor.)

Frontman Carl’s ‘let’s hear you Parkstone’ cries and arm waving were met with loud socially distanced cheers. The lighters even came out for one song….I looked on enviously and waved my empty hand.

Rock on! It’s a start. For a while it might be a case of ‘stay local, shop local and ROCK LOCAL’.

Thanks guys and thanks Parkstone Trades and Labour Club. We bought our tickets for the Halloween return….numbered 1 and 2…now that’s enthusiasm eh.

Last Gig Before Virus Shut-Down: Blossoms

O2 Academy, Bournemouth 15.03.20

This was the Sunday night before the walls started closing in. We headed out to this one (me and wife Sally) thinking that it could be the last major gig for a while. Scotland set a ban on mass gatherings at 500 people that weekend and I was thinking that only gigs in the smallest of venues would survive in the virus era. A week on and the shutters are down on everything. I needn’t have started looking up venue capacities so enthusiastically.

I was all set for a couple of months going to Joiners (Southampton), The Railway (Winchester) or The Anvil (Bournemouth) but that’s distant dream now.

The capacity at the Bournemouth O2 Academy is 1,800. More on this lovely historic music hall venue in my blog for my last visit (The Wonderstuff).

We did think about selling the tickets for this one a while ago. Bloody glad we didn’t now. Since buying them Blossoms have been added to the line up for Victorious Festival 2020 in August and also as a support band for The Killers at St Mary’s Stadium, Southampton in June. Still the way things have panned out (or panned in) grabbing the bird in the hand was a better than those two in the ever thornier looking bush.

Blossoms

I first encountered Blossoms at Glastonbury Festival in 2017. A breezy and bright lunchtime slot on the Friday, one of three sets they played that year. They were light and poppy but I was impressed. From Stockport and all of them born in the same hospital…they told us.

They are touring their third album now, Foolish Loving Spaces, but I think I prefer the first two, one self-titled and the second Cool Like You which includes the very catchy single There’s a Reason Why.

This was looking like a big year for Blossoms.

Nervous Entrance

The gig was a sellout – touts were active – and a substantial queue outside with added searches for chewing gum and other evils. We veered off to the O2 ‘speedy boarding’ lane – weird arrangement. I declared my pocket zoom but they wanted to know if I had gum. No. We’re in. Quick, hold your breath, don’t touch anything and we’re heading for the middle balcony.

As a ‘peacetime’ hypochondriac the idea of a 1500 people gig in a pre-virus outbreak scenario had me quite cautious. I’d made my mind up about the middle balcony a few days before and decided on a no bar visit strategy. If they did invisible ones I would have happily been wearing a full face mask and respirator.

It is just a standing rail on first floor. You can’t see unless you’re leaning on the rail or are a giant. Hence one deep and not many up there – often it’s shut. There is also a third level called ‘The Gods’ with about 5 rows of seating. Also rarely open but there were plenty up there. You do get a good view but high up away from the action. I saw Florence and the Machine from up there once and a few support bands.

The first floor rail is good if you hold your ground (bit of rail). Great view of the packed dancefloor- really packed – down below. A swaying mass of unknown germs but everyone was happy. Seemed like a lot of students. The crowd sang along loudly to tunes played between the bands – such youthful enthusiasm for the likes of The Smiths, Stone Roses and even Dexy’s Midnight Runners. I was amazed.

Support Bands

First support band came on shortly after 7.30pm…. Fever : really..you couldn’t make it up. They played for about 25mins. Sound indie rock.

With two support bands, a smallish stage and podiums for Blossoms drums and keyboards Fever squashed to the front of the stage. A four piece from Hull with a bonus guitar live and they are on the same label as Blossoms: Very Clever, on which their single ‘Jungle Man’ is released.

https://youtu.be/Li2m8fPsVLM …’Jungle Man’

Their frontman reminded me of Tim Burgess of The Charlatans a bit. I will listen some more.

A bit of stage clearance and audience shuffling at the front and it was time for The Magic Gang. There seemed to be a lot of people to see them. I noted that they were from Brighton but the lead singer announced that this was a local gig for him, having been to school in Twynham, Dorset, which got a distinct cheer from pockets at the front.

On looking them up they’ve been doing well themselves – Radio One playlists, sell-out gigs and a couple of albums. Kept the attention and had a dynamic and unusual front man Jack Kaye who skipped and jumped about with large pale trousers on. Not really rocky enough for me but then we are at a Blossoms gig. All very jingley jangley with some nice guitar stuff.

They have an album out in May incitefully entitled ‘Death of the Party’ and the audience loved ’em, especially those down the front end.

Blossoms Time

So at about 9.10pm on Sunday 15 March Blossoms came on stage. I wonder how long we are all going to wait for the next major band to get on a stage in front of a live audience, in the same room. Maybe tickets will be issued after we’ve returned our virus test results – clearly it’s not going to be anytime soon so I’m glad I enjoyed this one, and enjoy it I did.

Some 60s feel psychedelic lighting, bold colours, LOVE emblazoned keyboard presented a fitting context for front man Tom Ogden’s pinky brown suit with flapping flares and lapels that could fly.

Now if I wore that I’d look like Rodney Bewes in The Likely Lads at a dinner party but Ogden’s a cool guy with flowing locks that can carry it off. … he does remind me a bit though of former Spurs and Bournemouth injury prone midfielder Darren Anderton 🤔 Hope he’s eating well enough.

Second song in and it’s my favourite Blossoms number: ‘There’s a Reason Why‘. Great song from there 2018 album, the second one, ‘Cool Like You’.

Next was another I like a lot from that album ‘I Can’t Stand it’ so off to a flyer. Three albums is a good number to pick a set from.

Full set list: https://www.setlist.fm/setlist/blossoms/2020/o2-academy-bournemouth-bournemouth-england-2b992832.html

Tom gets down to the LOVE keyboards soon enough – frontman is understating his influence with vocals, guitar, keyboards and songwriting.

Their first single ‘Blow’ gets an outing from 2014 – I didn’t realise they went that far back.

Tom Ogden talks a bit but the performance is about the sound and the effective basic essential visuals, not rabble rousing. The crowd don’t need it. The audience is thoroughly absorbed and singing along to the big choruses. Beer still occasionally flies like Oasis are back – virus free hopefully – and a strange mid way back mosh pit space emerges below with bodies on shoulders lurching into and out of the space.

Tom gets a solo spot later in the set but the band are back promptly for the run in to the finish. ‘Honey Sweet’ (first album) and ‘Sunday was a Friend of Mine’ (new album) were my favourites included in the later part before the encores.

Despite my lack of appearance at the bar by this time I’m thinking I’d better chance the gents – oh no – what protective clothing have I got? What cleaning materials? In I go, rail space squeezed out the minute I leave – text book no hands door opening and I’m in….Jesus…the gents is a viral hot spot. Water gently laps on the floor and wet paper towels festoon the sinks. I’ll be lucky not to catch anything never mind just Coronavirus 😨. I have a go and wrestle with the taps and broken soap dispenser before speedily departing, elbows chiselling at the door gap. I emerge gasping for breath – of course I held it in while in the viral den – and return calmly to my lost bit of rail.

I wandered down the front left of the small balcony to snap a few pics. Some mature Manc lads down there following their local boys.

Thank you and goodnight – this Charlemagne

To finish ‘Charlemagne’ the first track of their first album. Probably their most popular song performed here on a Radio One live broadcast.

Charlemagne: https://youtu.be/21NkWS6_Wtg

A great one to end on and the last song I will hear live in the flesh for a while….I look forward to the great gig return. My hair can’t get any greyer but it’ll likely be a bit longer. I have tickets booked for 22 gigs and a festival and they have been falling off the calendar all week. The least of anyone’s worries eh.

One useful overview of where we stand with viral cancellations is available from Which? but it’s not all about grabbing back what you can. Rebooking to support bands and venues etc must be encouraged. Also many businesses are doing more than they can to allow flexibility and help damage limitation, such as Premier Inn as I found for example.

Billy Idol and a Vegas Wedding

Pearl Theater, Palms Casino Resort, Las Vegas, Nevada US 6.3.20

This is the first of a six night residency at The Pearl Theater (yup er) in the Palms Casino Resort, about a mile off the strip, out from Caesar’s Palace.

Nice day for… my Wedding

How the hell did I end up at Billy Idol gig in Vegas in 2020? Earlier on this afternoon I married my partner Sally and we timed it to take in a gig or two, so this is special one. We arrived at The Palms in our wedding gear for a pre-gig wine in one of the casino bars. Turning up to a Billy Idol gig in a white wedding dress is one way to make new friends.

Before gaining entry some excited security staff took us off to take some photos in the makeshift Idol wedding chapel. Then it was in to The Pearl Theater, in the main standing area in this modern theatre with several tiers of seating behind and to the side. Capacity is 2,500 but no top tier in use tonight. The standing area is comfortable and open seats are full.

Tickets

The ticket arrangements were a new one on me but having done it now it seems a really good anti-tout and anti-crooked resale measure. With ‘Will Call’ I was able to buy the tickets on the USA Ticketmaster site and then the only way you can get your tickets is by picking them up from the box office, with photo ID, after 3pm on the day of the gig. There is an official fansite resale channel if required. I was relieved to get the tickets in my hands after some other difficulties with a mobile ticket for another gig out here this weekend.

No support band. Guitar hero Steve Stevens is the last to emerge before Billy takes to the stage. There is another guitarist, keyboardist, bassist and a drummer in his perspex sound pen. Viva Las Vegas to open – what else.

A few songs from the ‘Kings and Queens’ album early on and Billy talked about how his dad would listen to that album when he was ill and dying, despite not really getting what he did. He dedicated The Ghost in my Guitar to him, from that album and images of his dad appeared on the backdrop. Touching.

Ghost in my Guitar: https://youtu.be/k7CacBiOB7Q

Eyes Without a Face was a favourite of mine – still have the gate fold sleeve single. Great song. That and Dancing with Myself were the more predictable highlights of the main body of the set but Generation X song Your Generation was the rare inclusion, so said one of our new buddies from Pittsburgh who had seen Billy Idol loads of times.

Billy Idol at the Pearl Theater, Las Vegas

I never saw Billy Idol or Generation X back in late 70s early 80s. After he went to LA and played massive venues, I was less interested or he was less accessible I guess. It wasn’t until 2018 I saw him live at the Birmingham O2 Academy as part of an 8 gigs in 8 days adventure with gig buddy Dave (DPi). Great night with The Professionals supporting.

Early that day we were down at the venue advising the sign man of the correct spelling of Idol as he juggled letters on his step ladders.

I remember the days of staring up at the Generation X singles on the wall and in the window of Sunbury Cross Record Scene – coloured vinyls and multiple picture covers of one single. Forty odd years later and here I am in Vegas listening to Ready Steady Go and a rare airing of Your Generation. Dynamite. Couldn’t make this up. Special day.

The signed paper plate frisbies came out – of course Sally grabbed one – no one dare wrestle that from her…in her wedding dress.

New wife Sally in signed
plate catching shocker

All through there is guitar legend Steve Stevens as another focal point, occasionally wandering in solo mode – playing over and behind his head. Tops.

Time for Rebel Yell and onward towards the gloriously inevitable White Wedding (can you imagine if he hadn’t played it). It started with an acoustic intro and as Billy introduced Steve Stevens ..someone booed. “Show that c*nt what a hit single sounds like” rasps Billy and we get a two staged version, escalating from the acoustic opening.

Final encore was Mony Mony. Great night. Great day.

On to Chicago

On the Saturday 70s soft rock band Chicago were playing in The Venetian Hotel Theater where we were staying and so I’d bought tickets. Mobile tickets but bought through a US website which made for some difficulties which were eventually overcome. App trouble.

A ten piece band of excellent musicians. Three original members on drums, trombone and keyboards/ vocals, but all band members were excellent individually and able to fully flaunt it.

If you Leave me Now got played in the first 45mins. There are other soft rock ballads I remembered later in the second half like
Hard Habit to Break and You’re the Inspiration – a high note.

Some odd backdrop pictures later in the set – cheesy 70s photos that looked like dated advertising material – and an astonishing drum and percussion solo which saw drummer and percussionist swapping over roles during it.

25 or 6 to 4 to finish and everyone’s happy.

And finally… Big Elvis

The day before returning home we went in search of the Piano Bar in Hurrah’s Casino for an afternoon performance of Big Elvis. This was a recommendation by a Vegas cab driver – a free gig. He plays three times a day on three days here.

Great voice and entertainment for an hour. Something of a local legend. Check him out if you’re there.

Great British Alternative Music Festival: Minehead 2020

28 February – 1 March 2020

Filthy weather battering Britain and the looming cloud of Coronavirus provide a good enough reason to escape for three days into an indoor music festival at Billy Butlin’s Holiday Camp.

Having made it through the storm and checked into barracks, there is barely time for a few ‘Hi-Di-Hi’s and the initial escape committee and tunnel digging chortle before the first bands are on.

This three day ‘alternative music’ festival is set in three venues within the 10,000 capacity holiday camp. For these events the limit must be around 3,000 given the main Centre Stage holds a maximum of 2000, the less comfortable Reds 1500 and the bar Jaks around 350.

Centre Stage is a smart well set out venue with a large exceptionally well-sprung dance floor – it gets bouncy. The room extends way back in small tiers on one floor to allow distant views, varied seats and tables, less ear blasting and easy bar access, if that’s your preference. Within this ‘alternative’ badged genre the variety is still substantial so dipping in and out of the fuller gig experience down the front is handy. Move in and out as you wish.

(I have my pocket zoom camera with me as usual. Took a bigger one in for a few hours on Sunday lunchtime but bit of a nuisance.)

The band selection for this three-day extravaganza focuses on punk, new wave and post-punk bands of the late 70s/ early 80s but it includes a bit of pub rock, mod and Oi!, with room for some new bands in that lot. The small Jaks venue is more like a pub and it’s used as an ‘introducing’ stage with gig goers being given a token to vote for bands with on exiting.

The qualification for playing this ‘introducing stage’ must be broad: as Duncan Reid commented, he’s been touring “for a million years” and it’s got him to the introducing stage. Rock’n’roll eh.

Centre Stage at sprung dance floor level – bars along either side (The Complete Clash on stage)

Friday

After a couple of pints in the Inn on the Green, t-shirt spotting, it’s off to Jaks for
Duncan Reid and the Big Heads. Duncan Reid played bass with The Boys – I saw them support The Stranglers around 1980/1 – and he has several albums in his current band, a four piece, in which he plays bass and fronts on vocals, with Heidi drafted in on guitar at the moment.

Since he popped up on stage at the Eddie and the Hot Rods last gig with Barrie Masters, I’ve been dipping in to his most recent albums ‘Bombs Away’ (2017) and ‘Little Big Head’ (2019) – the ones I’d pick from this afternoon opener are ‘Bombs Away’, ‘C’mon Josaphine’ and ‘Montevideo’. Good start.

Next up in Jaks still are Verbal Warning from Nottingham. Kept the interest up with original fast punky material and a plastic duck throwing song – some early throwers didn’t wait for the key line meant to induce the duck storm. Novel.

A short break for food – fellow inmates Andy (AMu), Big Gra (GGu) and Blademan Shef (SNi) realise that ‘eating isn’t cheating’ – it’s a marathon not a sprint. We sneak an Italian in ‘Ludo’s‘ while the guys from the Plymouth contingent, marshalled by our mate Dave (DPi), cruise into an early beer lead…not that it’s a race. Always drink responsibly.😎

Into Centre Stage for Goldblade. I’ve been listening but only in recent weeks, so when John Robb bounded out (Louder than War journalist and The Membranes – that I thought were still going – only saw a couple of years back) that was a surprise – clearly my revision was inadequate. I’d see them again.

Next on, and up the rockier end, are The Wildhearts.

I wanted to see them last year but a time clash meant I missed that opportunity and well worth catching up with. Heavy sound but easy listening heavy and good rock/ punk crossover.

We round off our Friday trip through this Butlin’s menu with our old faves Big Country – can’t get enough of them. They seem to get better and with their current tour commitments they are certainly getting some playing hours in.

‘A Thousand Stars’ was out early – love that one – but the anticipated crowd pleasers are all on show. This is no place for holding back on the hits. Big Country are a unique brand of guitar based pop rock and I don’t think many would slot them into a punk genre. They’re back here again after last year, this time as the Friday night headliners, and no Skids duties here for the Watsons this year.

To finish, a late linger round the bar with the DJ plucking corkers out to keep the evening going. Alas, the schoolboy error of ‘going too early’ was all too evident.

Saturday

After a trip to Morrisons’ cafe for breakfast (bumped into Duncan Reid and the Big heads in there) – see they do let you out – via the main gate mind, as you can’t escape over the fences or extensive ‘moat’ – we return to Centre Stage for Knock Off.

To me one of the enjoyable surprises of the weekend. Three piece. Straightforward and I thought were best summed up by their penultimate number, an anthem ‘This is Who We Are. This is What We Do’:

https://youtu.be/0td5Db-oAPY

If you don’t like it do one…. would be the message I guess. Straight talking, no nonsense. The swear-o-meter is tripping….the verse about the Fred Perrys and the Doctor Martens is the first ear worm of the day. The ‘Football, Beer and Punk Rock’ t-shirts I’ve seen now make sense. Available in claret’n’blue, and other colours if that’s not your flavour.

At the other end of the spectrum on offer here are Nine Below Zero – more blues than claret’n’blues. Long-term legends from the pub rock years and Dr Feelgood stable. This is the first time I’ve seen them which I’m almost feeling guilty about given their heritage. With some classic harmonica from original Mark Feltham, the atmosphere of the room is transformed to a giant late night bar during early afternoon.

Time for a tribute band – Complete Clash. They played here last year and once again hugely enjoyable – such a brilliant repertoire to work with.

‘Tommy Gun’ hit a nostalgic note for me but the variety in The Clash’s catalogue is fully exploited. I could watch this every week. I saw Strummer play in his post-Clash years but never The Clash. Now we can’t, this is a tribute band opportunity not to be sniffy at.

After that predictable high it was time for the Glen Matlock Band, featuring Earl Slick (the ‘featuring’ tag is clearly important so I Googled – extensive top drawer experience with Lennon, Bowie, New York Dolls….and more).

No crowd pleasers here. The ex-Pistol saved any nostalgic sop to his old life until long after I had fled, bewildered by his choice of material. The most inappropriate set of the weekend.

At this point I thought a no risk appointment with The Undertones was in order. I had planned to see The Adicts given as I’m seeing the ‘tones soon but the Derry boys were irresistible.

I first saw the Feargal fronted Undertones in October 1979, in Bracknell Sports Centre on the ‘You’ve Got My Number’ tour, and at a couple of the best Hammersmith Palais gigs not long after. I thought they were one of my favourite bands of that time that I should just leave there….but I couldn’t and in recent years discovered they are still a great night out with McLoone at the front. The rest of the band are originals – all are sporting Dr Martens. Their clothes are a bit better these days. I did like their old anorak look though.

I moved to the side of the stage as the sound at the front seemed loud and poor. This was the same for Sunday night in the Reds venue.

This didn’t ruin it though – dampening ear plugs in – a whole set of classic power pop including: ‘Get Over You’, ‘Male Model’, ‘Teenage Kicks’, ‘When Saturday Comes’, and, the only song I’ve ever “performed” as karaoke in public, ‘My Perfect Cousin’. Beautifully straightforward pleasure…not my karaoke outing I hasten to add.

A short break now and I stay down in Reds to see the first half of The Members. The overflowing room clears. I would have stayed for it all but I couldn’t miss out on my chance to see Hung Like Hanratty upstairs…before they are banned from everywhere.

Another hard to leave alone schooldays band, The Members, are fronted by original guitarist and songwriter JC Carroll with original Chris Payne on bass and vocals.

They open with instrumental ‘Handling the Big Jets’ but I don’t stay for the A-side of that later: ‘Sound of the Suburbs’. ‘Solitary Confinement’ was on early which ensured I got one suburban anthem out of my system. ‘Chelsea Nightclub’ another old belter and I recall leaving at the end of ‘Working Girl’. If you could leave a set through gritted teeth then that’s what I did.

The Hung Like Hanratty gamble was worth it. Now this is ‘alternative’. I presume they are never heard on radio and TV stations would be investigated by the regulator if they appeared on the box. YouTube and Spotify to the rescue.

A punk rock version of Viz comic. A 21st Century Macc Lads. Offensive…if you are offended….someone must be offended for someone to be offensive I’m thinking? No treading on eggshells here…they are stamping all over whole eggs and the crowd are beaming as they enjoy this omelette of naughtiness.

While ‘Danny the Tranny’ and ‘The Ghost of Jimmy Savile’ may hit a nerve somewhere there can’t be anyone who wouldn’t agree with the heartfelt sentiment of ‘Clean Up Yer Dogsh*t’ or who wouldn’t get something out of this anthem’s associated dance!

Sometimes best to have a
shadowy figure in the way

Sunday

After another Morrisons cafe breakfast and a morning in the chalet that was a cross between episodes of Last of the Summer Wine and Men Behaving Badly, we are ready for The Ramonas. They are kicking off the Centre Stage as another Jaks Introducing Stage winning performance last year.

As a Ramones obsessive in earlier years The Ramonas have offered some 21st Century support.

Ramonas on Centre Stage
– or just above it

The all girl Ramones tribute band do their own material as well and that is what today’s showcase is all about. A new album has just been released, digitally only at this point – ‘I Wanna Live in Outer Space’ – and the title track they played was one of the best.

As with Johnny, Joey, Dee Dee, Tommy /Marky (Ritchie and CJ) they have their Ramona aliases too: Cloey (Lisa – vocals); Pee Pee (Vicky – bass); Cammy (Camille, drums) and Rohnny (Maxine – guitar).

Their first album, ‘First World Problems’, includes the title track and ‘Daily Fail’ which both feature regularly in their Ramones tribute appearances. This is the fifth time I’ve seen them in a few years so I thought it was time I bought a copy of the first album on CD and I joined the mob at the stage-side merch desk for a signed one.

It’s still early afternoon but you’d never guess as From the Jam take the stage in front of packed enthusiastic audience. The best performance of the three days for me.

Seeing Bruce Foxton doing what he’s always done and playing Jam songs, in a band like this, is a special treat. Jam fan turned front man, Russell Hastings, looks, sounds and feels Weller.

I looked round at one point during ‘Going Underground’ and it was just a sea of similarly aged blokes singing every word – not the chorus – every word. ‘Eton Rifles’ another high and a finish with ‘In the City’ and and ‘Down in the Tubestation…’. Now that’s entertainment, which they did also.

I saw them a few years ago I’m the unlikely surroundings of The Barrington Centre, Ferndown in East Dorset. They were good then but this a great place to see them – don’t stop yet Bruce, I’ll be back for more. Perhaps it’s because I never saw The Jam.

Back down to Jaks Introducing Stage for Peter Bentham and the Dinner Ladies.

Peter Bentham and a couple of dinner ladies

The monkey boots with yellow laces tell you that Bentham is from a certain era, but he’s still here on the Introducing Stage with recent albums and new material. ‘Goth Postman’ and ‘Hip Potato’ were memorable and also illustrate the quirky comedy value which I’d backed with punky riffs, saxophone (one dinner lady)…and of course two non-playing dinner ladies with the odd prop, dances and forays into the audience. Enjoyed it.

Bit of a rest of sorts now. There were other bands on in Jaks but we opted for watching the League Cup Final in a large sports bar. Half way through Ian Page appeared walking through the bowling alley reminding me it was time for action …. yes Secret Affair…down in Reds.

I like a bit of Mod, Mod Revival or Mod Revival revival even. I like the general Mod sound – not especially in tonight’s venue – but don’t know loads of their stuff. Third time of seeing them. All in the Mod Revival revival era…well revisited if not totally revived.

‘Time for Action’ and ‘My World’ still win out. “…this is my world today..and I wouldn’t have it any other way”.

There has been a bit of discussion over the weekend as to who (still) liked Bob Geldof or not and whether or not The Boomtown Rats were a credible part of punk and post-punk. I had that ‘Tonic for the Troops’ album and still have my copy of ‘She’s So Modern’ but hadn’t seen them play – Bob since, yes, but not as the Rats. Wide consensus seemed to be that given they are on and we are here then we’ll have a look.

I was totally surprised. A captivating stage performance from frontman Sir Bob, that was fully focused on the songs and entertainment, backed by a what I think is pretty much original Rats. Crowd pleasing entertainment.

‘Mary of the Fourth Form’ live is quite something and in the version of ‘I Don’t Like Mondays’ a lingering breathy pause near the final verse demonstrates how much Geldof is putting into this and giving it it energetic best.

The set included some new songs from a forthcoming (March 20th) ‘Citizens of Boomtown’ album – with some associated Gotham City type branding to this new world the Boomtown Rats are exploring. We shall see how that goes but overall this was a winning performance and I didn’t think I’d be saying that.

The party is nearly over and we opt for The Rezillos back down in Reds. I only recently saw the Rezillos and while this covered similar ground the sound was too loud for the speakers and room to deal with. We were flagging.

https://gigswithivan.home.blog/2020/02/10/back-on-the-gig-trail-with-the-rezillos/

This is a long haul. The marathon is over. I enjoyed the range on offer within what at first thought may be seen as just a festival for old punks. Essentially nostalgic but still some surprises, mostly good ones. Then there’s the Introducing Stage, Jaks and last year’s Jaks winners on Centre Stage.

Bloody good value but maybe it can’t be sustained as no dates mentioned for next year. That would be a shame.

Portsmouth: The Murder Capital

The Murder Capital at The Wedgewood Rooms, Portsmouth 18.02.20

I like the Wedgewood Rooms. In the heart of Southsea, with a selection of old and new pubs dotted around this largely residential area of Portsmouth. I’ve driven over – a fair old hack on a working day in the bleak mid-winter.

Parked up on one the streets to the north of the high street (Albert Road) that this venue is on, as recommended on the website. Doors open 7.30pm. It’s sold out – new band excitement – The Murder Capital are over from Dublin for a UK tour to promote their new album, ‘When I Have Fears’. A regular Radio 6 play, especially in the evening with Mark Radcliffe, mean they’ve caught my ear.

The regulars clearly know the timings and it seems like everyone’s staying in the nearby pubs until the last minute.

A guy comes on stage and starts talking. I was waiting for a bit of ‘two two.. one two’ (I’ll get to do that one day!) but this was a poetic Irish raconteur – the 2020s Dublin answer to John Cooper Clarke – support to every punk band going at the end of the 70s. People are filing in and listening…. hanging on his words. What good way to start. Different and he had feelings to share with a bit of man time on the mental health front, referring to the loss of a mate.

This was Unorthodox Coolock, Craig Doyle. Cheers Craig. Let him explain: https://youtu.be/Yxkr5vgKZac

Around six ‘pieces’ and some chat and he left us.

All going to time and we (partner Sally has been pressure sold this opportunity) are lingering at the back having lost a mixing desk spot to a giant – a swish manoeuvre – we took our eye off the ball – split second and the giant was in. To be fair ‘the back’ isn’t far from the front in this square, well proportioned venue.

Egyptian Blue are on. From Brighton, these guys are young, intense and serious.

Very good. No chat. No song intros, just heads focused and getting on with their opportunity. I can hear a bit of a Gang of Four guitar thing going on. Described as ‘post punk’, it should be no surprise, I suppose, that they have so many early 80s potential reference points: post post post-punk and I like it.

‘Collateral‘, the song and the EP, seems to be the big one for Egyptian Blue. I’d like to see them again.

Now it’s the short, perfectly timed wait for The Murder Capital….and we know what time to expect them. We’ve got it so easy these days. I remember waiting for bands for ages, hours, with one eye on the Timex watch, and one on the train times to very suburban London. I have missed encores as I ran for the station, half sets and in one extreme case (The Scars at the Venue, Victoria) I missed the whole set, having waited without any idea of when the band were coming on.

We are ready. It’s 9.30. We’ve restablished a mixing desk position – the giant needed a drink.

The audience profile reassures me that I’m not a weirdo. There are a couple of lads and dads, an early 20ish studenty throng and a heavy presence of ageing John Peel disciples in dark, well worn clothing and some sturdy coats. Yes there are Idles t-shirts and I reckon half this lot would jump at the chance of a Fontaines DC gig. I feel comfortable here.

The band are on. The lighting is minimalist but highly effective – lots of shadow use. It’s no surprise as to what they play – one album from a new band and a heavy hint from the mixing desk…

A well orchestrated mosh pit gets going in the faster numbers but The Murder Capital have a good range of pace within this first album. The atmospheric mournful ‘Slowdance I’ and II contrasted with the more frantic songs like ‘More is Less’ . More essence of Gang of Four abrasive guitar sound appears – maybe I’m just hearing it more in light of Andy Gill’s recent death.

The lead singer is James McGovern. He thanks the audience, the country, for the welcome these Dublin boys are getting ‘especially the way things are here’ at the moment. (It hadn’t struck me that these were EU imports but I pondered that.)

James McGovern – The Murder Capital – Wedgewood Rooms

In a slower track McGovern spends a while with his back to the audience and then does something I haven’t seen for years… he turns with fag in mouth …. it’s weird how unusual a stage fag has become. The audience is gripped…all eyes on McGovern…he’s gonna light it: what about security, ‘elf ‘n’ safety, alarms, the fire brigade. Lips are quivering…go on go on ..light it. He does. Who’d have thought that having fag on stage could be such an art form and so tense.

I wander to get a different aspect and as I return McGovern gets the audience to lower lower down.. right down on the floor. A few creaking backs and a bit of half-hearted stooping (like atheists at prayer in a long wedding ceremony) but most of the audience is on the floor before erupting into the body of the song.

This is followed by a full on stage dive and crowd surf by McGovern. Such extremes. Only minutes ago he was a picture of peace, sensitively talking about men’s mental health and looking after each other..planting a kiss on the cheek of his bandmate.

No encores. Nothing left. A beautifully packaged set. The Murder Capital have so much to look forward to but just enjoy this: I hope they do.

The sound engineer went and retrieved a set list for my partner Sally – the promised one was given, understandably, to poet Doyle’s dad who was over from Dublin with him.

Home we go.

The Murder Capital on a Radio 6 session, doing my track of the night ‘Green & Blue’:

https://youtu.be/wvav-OeEhJU

Shedcember: Worth the Wait

Shed Seven at O2 Academy Bournemouth 15.02 20

At last, Shed Seven rock up in Bournemouth – well Boscombe as we know it – for their December tour, billed as the annual Shedcember outing. A chest infection for frontman Rick Witter meant the cancellation of their December show.

This has the advantage of a less chaotic pre-Christmas itinerary (well hardly) and a bit more anticipation following the January lull. It’s a Saturday night gig: a bonus. You have to dread a rearranged Sunday or Monday night gig as much as you might a rearranged FA cup tie away mid-week. Another bonus could be the added quirkiness of a tour t-shirt with the wrong date on….little things eh (I didn’t buy one).

Bloody awful weather mind but we arrive unflustered in plenty of time, a bit unsure of whether this is one of those early starts and curfew nights. Start time information availability does vary and who wants to spend and extra two hours drinking expensive lager.

The Twang

The Twang were a ‘not to be missed’ support in my book. Not seen them before but remember the name and a bit of Spotify pre-gig revision reminded me of some of their stuff from the noughties: singles ‘Either Way’ and ‘Wide Awake’, both from the 2007 album ‘I Love it When I Feel Like This’.

I wasn’t disappointed and nor were the friends I was out with in Boscombe tonight. Any band emerging from Birmingham gets a lingering ear from me: The Twang starting off in the suburb of Quinton, a never ventured to destination on the buses I once got out of town, down Hagley Road.

They had top ten albums, and some chart singles and played their own big tours. Hats off to those bands who bite the bullet and get out there years later on a support slot.

The Twang at Glastonbury in 2007 – ‘Either Way’: https://youtu.be/JpMcD-8acTA

Shed Seven

The Sheds open with the title track of their 2017 album ‘Room in my House’, the wo-oh ooh oah song. It is a really good album.

Early on I popped forward for a bit, down the left side – the disabled area seemed to have moved, allowing easy side stage view. Further back the lighting wasn’t that helpful and I don’t like waving a camera around in the air.

Rick Witter – Shed Seven – O2 Academy Boscombe

Witter is in a cheery mood. He read out some tweets and messages early on, including one from someone who came over from Gibraltar specially for the cancelled gig, and returned for tonight’s gig. Big cheer.

‘She Left Me on Friday’ was one of the well know songs early on in the set: https://youtu.be/09t6MTRzmak

The beautiful Boscombe Opera House is O2 Academy Bournemouth

A good mixed set – plenty of material to choose from and a brass section to join them on a selection of songs: https://www.setlist.fm/setlist/shed-seven/2020/o2-academy-bournemouth-bournemouth-england-73980659.html

Later highlights of the main set were ‘On Standby’, ‘Getting Better’ and ‘Going for Gold’ before the break – that one morphed into ‘Angel of Harlem’ at the end..just when you thought you knew it.

The Sheds don’t go for any racing through to the next song. There is a relaxed chaotic look between songs, like a time out between rounds in boxing, before re-focussing for the next.

It’s sweaty on stage and off – a top Saturday night out. Still up there with the best. Maybe they are ‘getting better all the time’. Right now I’d rather see them than a lot of Britpop bands – they’ve held on to ‘it’.

Three encores – best for last – ‘Disco Down’ and the classic ‘Chasing Rainbows’…. maybe we are, but everyone seems to be enjoying themselves in the process.

Chasing Rainbows .. one for a sing-a-long… this version in the sunshine: https://youtu.be/KMdfDzPeoI4

Previous Sheds Gigs

I couldn’t say how many times I’ve seen them but it must be approaching double figures with some festivals: good old Pheonix near Stratford, V 2001 at Chelmsford, Reading and more recently Victorious Festival 2014 in Southsea.

It was only a couple of years ago I was watching them here at the O2 Boscombe but that was email tickets – I don’t keep those. I found a few tickets going back a bit but beyond those it would be hours of research to plot a full Shed history. This is what I found, salvaged:

After a gig filled weekend it’s a new band next. About time eh. Never seen them. First album out. Get a lot of Radio 6 play.