Gigs with Ivan

Gene Reborn in Hammersmith

Gene live at Hammersmith Apollo (4.10.2025) with Danny & the Champions of the World supporting.

It’s nearly four years on since the grand finale and Gene’s Martin Rossiter’s goodbye from live performances, at the O2 Academy Kentish Town (link to my memories of that one). So pleased he had a change of heart and the guys got it together again, quite unexpectedly. That linked blog of Rossiter’s ‘farewell’ details more Gene history and my previous 90s Gene experiences. A special band, that just stopped and disappeared.

It’s my first indoor gig for a few months, with the festival and holiday season detracting. We return to ‘Rocktober’ with new enthusiasm.

I was grateful for queue dodging tickets to a lounge beforehand and a relaxed pint (‘Lounge Pass’), before taking our balcony seats for tonight’s support band, Danny & the Champions of the World.

I confess to not having heard of them, despite their eight studio albums since 2008. It’s as an acoustic duo they perform as tonight. Sounding a bit Dylan-esque at times and an easy listen Americana rock sound. I see they got the label ‘neckerchief rock’ which is very apt.

Danny George Wilson repeatedly expresses profound gratitude at opening this illustrious occasion and they are a good listen.

Gene, the return

After a 21 year gap, Gene return to the stage (warm-up gig last week aside), under the cartoon imagery of the iconic Hammersmith Apollo frontage and the title from their song, London, Can You Wait? The wait is over and they open with this one, from their classic 1995 album Olympian.

They followed the opening number with Be My Light, Be My Guide and then We Could Be Kings, that’s the first three albums covered and three of my fave tracks. It already had me thinking ahead and wondering if they’d gone too early – will they run up of top tracks? What amazed me was how they rolled out one after another of familiar greats. It’s only the 2001 LP, Libertine, that I’m not familiar with and the three tracks from that later in the set.

The press often threw the Smiths soundalike label over Gene as they emerged. Not unreasonable given the mournful style and now Rossiter’s look and arm waving is not unlike a Morrissey if you squint. Tonight in deep red suit and once the jacket is discarded, an increasingly unruly black shirt.

Sleep Well Tonight is another memorable song that has more arms waving.

The mournful lyrics are no better illustrated than by the brilliant mid-set rendition of In A Car That Sped:

“You have to do it on your own, I can’t aid you any more
And you must learn to breathe alone and all this is yours

Your shoulder’s strong, so come lengthen your stride
When you’re alone, oh there is light outside

But then I, I don’t recall the time we spent
It’s hidden in a car that sped to its death and to its rest”

By this time pockets of the huge balcony are starting to stand, sing, dance and arm wave. One tall chap across the aisle from us stood, head bowed, absorbing all the emotion throughout. Was he happy or sad or just lost in the moment/beer?

In this sold out 5,000 plus crowd I look down at the stage, a large stage, with some much history, even just for me. 45 years ago this week I was watching The Ramones here – this was one of my go to venues as a South West London suburban youth. Gene are huddled close at this reunion – so much space around them and they are here to sing and play, not try and organise a party or put on a lightshow. The crowd are proving to be all the necessary accompaniment required. Rossiter literally keeps in touch with all the band – checking all is ok. He’s not too gushing or reflective. The songs do the talking.

It was only when Style Council et al keyboardist, Mick Talbot, was introduced that I noticed who it was and I didn’t remember him playing back in the 90s.

As the set comes to an end Olympian and Haunted By You really liven the crowd again. What a comeback.

The encore is inevitable for such an occasion and after an hour and a half’s main set they return and play three more, including Sick, Sober and Sorry, and the fast and bouncy Fighting Fit. The line of the former has often run through my head on a late night out: “Please don’t stop me from drinking; it’s my only joy!“

There is a second encore and Rossiter returns to the stage alone, and sits at the keyboards to perform I Can’t Help Myself. It was this one I captured here on my YouTube channel. Mick Talbot joins him near the end and the rest of the band to finish.

Two more to end and the wording of the title of the final song goes up in lights, in case there was any doubt that this beautiful reunion was a one off. Thank you for returning.

Thank you and goodnight – but not forever

Victorious Festival 2025 – my route through it

Victorious Festival 22/23/24 August 2025, Southsea, Portsmouth.

My regular trip to the Victorious Festival – been at every one since 2014 – and approached a bit more cautiously this year. Knees. My bloody knees.

A few stray Madness fans watch Wunderhorse on the main stage

A chair waiver for my portable folding stool and a few knee supports, painkillers, access to the premium section, s nearby hotel, my much maligned support stockings and we’re off.

I planned to keep the walking between stages down where possible and largely kept the lid on it. One concession was an early night on Saturday as the headliners just weren’t my bag and after most of two days I was flagging.

Fabulous sunny weather, bordering on the too hot and very dusty by Sunday. Out of the variety of stages, I shamefully only visited the two main stages: The Common Stage and the slightly smaller Castle Stage, a 15 minute walk (20 minute hobble) away.

A fairly focused total of 14 bands seen fully plus five part sets, which were mostly on my badly planned and piecemeal Saturday.

FRIDAY

I started with The Charlatans, the afternoon special guests on the main, Common Stage. A friendly happy feel to this low key set. No time for any tracks from my favoured, more recent albums, but this is a set for a festival crowd with Sproston Green and North Country Boy from the early days of the 90s.

Tim Burgess, a peroxide blonde for so many years now, is back to a more natural look. This is a good welcome to the festival set but not enough to satisfy long-term Charlatans fans.

I make my way to the Castle Stage next for The K’s. They were on brunchtime TV over the weekend and mention made of the band’s name origin: The Kaleidoscopes, after their local record shop and abbreviated due to a clash with another band’s name, so hence the added apostrophe. That put my mind at rest.

A bit of weight loss going on looking at frontman Jamie Boyle and guitarist Ryan Breslin. Jamie’s voice just gets better and better and the new album, Pretty on the Internet, has some more varied material to illustrate that with, before the masterpiece that is Sarajevo.

K’s – Ryan Breslin – bumped into him a few hours later

It’s Ash next, also on the Castle Stage. Half an hour of old favourites and their latest single: a cover of Jump the Line. Everyone enjoyed this set more than they thought – the murmur and smiles afterwards tell a story. They’re back on tour soon – it’s been a while since a headline one but they guested on The Darkness tour recently.

Afterwards it’s back over to the main stage for one of my targets of the weekend, Wunderhorse.

I loved this. A really rocky set, much more so live than on the album. Really going for it and lucky to have them here.

It was getting dark by the end of Wunderhorse. I settled for retiring to the premium paddock and stayed in there for Kaiser Chiefs, mainly watching the big screens. It was a fair way back and right but fine.

Kaiser Chiefs never disappoint. I’ve seen them several times since the early tours and they have such a catalogue of songs, including hit singles to draw on that they are big winners at places like this.

Queens of the Stone Age (QOTSA) are Friday headliners. On the Castle Stage it’s Madness. I was committed to QOTSA as I only saw them once at Reading Festival a long time back and thought I can’t miss the day’s big draw – for many the weekend’s big draw. Truth be told I could. I just don’t know their stuff and I probably would have enjoyed a Madness hits party more.

Photos were distant and dark and aside from a few better known songs, for QOTSA I was a bit lost.

SATURDAY

I made a right dog’s breakfast of today. Flitting, well moving slowly, between the main stages and missing significant bits of sets I wanted to see. A bit of rescheduling and lack of information didn’t help with the Mary Wallopers having the plug pulled on them within their first song, as well as some other pro-Palestine pull outs and a comedian’s illness disrupting things. Funny idea that: comedians on the main stage.

Scouting for Girls pulled a huge crowd to start the day. All a bit pop roadshow but huge numbers enjoying their half hour – crowd participation at maximum. The band loved it and seemed taken aback by the response.

Then I went on a meander to the Castle Stage for Kid Kapichi but got delayed and missed half of what was a short set anyway. Wish I’d seen more of this more innovative sounding indie rock – with some anger and protesting lyrics. I happen to have bumped into them at Teddy Rocks festival, supporting in Southampton and even had the opportunity of a local record store (Boiler Room) album release gig in Poole pub basement.

Kid Kapichi certainly have some uniqueness that keeps me coming back to them.

Back again to the Common Stage and Crystal Tides were finishing off. The Pompey indie rock pop band, full on guitars, who I enjoyed twice last year, here, were added to the main stage in a late reshuffle and won more friends. I will get to one of their own gigs soon, I hope.

A bit of a wait and then my highlight of the day, Shed Seven. Longtime favourites of mine and they really are back with gusto and two number one albums in 2024. Front man, Rick Witter, as ever pitches it all just right.

The tunes are great and crowd is bouncing…. Going for Gold, Chasing Rainbows, Getting Better. Wonderful anthems. I guess Chasing Rainbows is something of a personal anthem I have to own up to as a label, occasionally.

With timings drifting, I wanted to see the Sheds right to the end, before the trek back to the Castle Stage (it seems longer when your knees don’t want to go). Public Service Broadcasting were one of the bands I hadn’t seen before and wanted to see most. I’d been listening to their Race for Space LP a lot and still am – novel – hints of Kraftwerk. All the more annoying then that I only arrive for the last few songs. Argh.

Public Service Broadcasting on Castle Stage

After, I trudge back, disappointed in my planning. I return for a sit down in the premium garden area – it’s full but I had my expanding portable stool. Travis are playing and the crowd are lapping their very festival friendly delivery – so many years of experience at this eh. Yes it was good but I felt like an intruder as I’d missed the first half.. I’d missed the escalation of enthusiasm. It was time for an early bed. I was done and a day to go.

SUNDAY

New day. New start and a few friends asked if we are heading in for Overpass. Who is this? I look them up and think yup we’ll go with that. Glad I did. My revelation of the weekend.

From Birmingham, indie pop rockers and I like it. Plenty of EPs and singles but no album yet. They are the only band I took a full video of, the song 3AM, which is now resting here on my YouTube channel.

Next were Young Knives. A bit rough and ready for a sunny Sunday lunchtime. They seemed way more raucous than the more melodic albums I’d been listening to and possibly one for the already converted.

Graham Coxon’s band, The Waeve next. Loads to listen to here – guitar, piano and brass with intricate arrangements. Blur’s Coxon isn’t centre stage but his guitar style is a focus for many of the tracks.

Complex sounds that demand your attention. No singalongs here. Long tracks which lend to a jam and improvised live performance.

The Castle Stage crowd expands and infills for Starsailor. James Walsh has some connections around Portsmouth and plays around here a fair bit. A band I left behind after the brilliant Love is Here album, but when I’ve seen them since, including twice at this festival and twice in Portsmouth, they are always uplifting. Such powerful steady tunes. Mournful without misery.

The set was a gem and a big high spot in many people’s day, I’m sure. A real lift and with such sad sounding songs: Good Souls and my pick, as always, Alcoholic.

I hang around the same area to see Palace – light indie rock and a pretty successful band (four LPs) that I haven’t really fully appreciated. I did catch them on the at the Park Stage, Glastonbury in 2019.

Time was pressing and I slipped off before they finished. I was not going to miss The Reytons, back over on the main stage. My last big walk, stopping for a sensational Thai green chicken curry on the way. (My other top food this year was the taco wagon in the VIP section.)

The Reytons were my top band of this weekend. Never a big enough slot in a late afternoon but they go for it in their 50 minutes. The UK’s top independent band. Rotherham’s ‘kids off the estate’ are met with a big crowd, flares, smoke and mayhem. More established on the scene now. Three studio albums and operating under their own label. Master of crowd management, frontman Jonny gives it large in his Stone Island gear.

Market Street, a more recent single provides a less rampant moment amid their modern anthems like Slice of Lime and On the Back Burner. This is a celebration. It’s their last gig of the summer and it’s out with a bang.

I really enjoyed Sunday. A few more expensive pints of hazy IPA and £10 cans of wine to go. Mellow, satisfied and pain free by this point I sat on hay bales chatting with friends. I thought I would go out front to see Block Party but settled for listening and a glimpse.

King of Leon were last up. This is a very big band to appear at Victorious. I don’t know how the other stages looked but it seemed that everyone had come in for this one. The Common Stage area was absolutely rammed and for a long way back. I can’t recall seeing such a big crowd for one band here. It was a monster and Kings of Leon delivered – delivered what they do – solid, full depth rock’n’roll with a Nashville country twist.

I went to the garden area, first up on the viewing platform but just a bit too busy so I went down to the front of that section. Great sound and loud. This was a big band. Not the most flamboyant band but solid rock’n’roll.

Yes, the big singles Sex of Fire and Use Somebody are what most wanted to hear and they get those. It surprises me how popular they are in the UK – they seem to have hit a spot and are more popular than at home in Tennesdee, USA. This is the third time I’ve seen them and they are solid.

Just near the end I wander out front and side for the end of the set.

That’s it. All over for another year. Next year? I don’t know. I do it the easy way – hotel nearby and have been lucky enough to enjoy the premium area over the years. It helps when you get into your 60s.

I might wait and see who is playing before rushing in for 2026 but the accommodation is something to nail down first or it could be a day trip. My inspiration for doing another one came from a chat with a 70 year old guy I met, when having a sit down in between bands and grumbling about aches and pains.

Rock until you drop eh. Thank you, Victorious.

Stiff Little Fingers – Putting the Fast in Belfast 7

Stiff Little Fingers at Custom House Square, Belfast (16.8.2025) with Public Image Ltd and Sham 69 supporting.

I came on a pilgrimage to this event last year (2024 blog). My return was an irresistible inevitability. The thing is, these days the legs don’t want to play and let’s face it, who knows what ailments might get in the way, so every gig year is a bonus. At least tonight, at 62, I feel I’m with my fellow ageing gig-goers, looking around at the faces and bodies wearing SLF t-shirts in Belfast tonight.

As soon as we saw the line up, me and my English companions, Big Gra and Plymouth Dave, booked in for our second helping of this event, treated this time with sunshine and warmth.

Missed the first band, again, (Cherym) and got in just as Hersham heroes, Sham 69, took to the stage. I don’t know what magic potion Jimmy Pursey has been taking but aside from the excitement of hearing the chanted choruses of my youth, I was transfixed by his flexibility and knee strength. Perhaps I was just jealous as my knees appear to require some attention. Still, I made it here eh.

Sham did exactly what was required. It’s only a half hour or so slot and singalong post punk singles are a great rabble rouser. If the Kids Are United – go on punch the air and Hersham Boys – let’s hear yer “..lace up boots and corduroys“.

As a lad, I lived over the river from true Sham country but the South West London suburbs were still Jimmy Pursey heartlands. I bought Angels With Dirty Faces when it charted – I was 15 and had black corduroys, flares taken into a drainpipe with a bit of mum sewing.

The flyover near the Sunbury Record Scene record shop heralded Jimmy’s Borstal Breakout warning for many years. The record shop displayed their picture cover singles and I gazed regularly.

Sunbury Cross M3 flyover (and visiting friend, Chop – early 80s)

Yup – a good start to my evening and booked for more Sham 69 in Southampton later this year.

I found myself a place to perch and sit, in the barrier to one side , with the VIP area raised behind. That was handy and I rested for Public Image Limited.

John Lydon is an attraction in his own right but although I saw PiL back in the 80s and about seven years’ ago, I have never really absorbed much.

PiL material is hardly the instant singalong choruses of Sham and that is the appeal it no doubt holds. I was happy, sat, watching and listening curiously. All eyes on Lydon (and my pocket zoom camera).

Lydon was quick to point out that they didn’t have long – 40 minutes or so tonight. The ‘let’s get on with it then’ approach did not mean diving into a greatest hits, crowd pleasing, selection. Yes, there was Rise, the highlight, but I lacked familiarity with the set. Plenty going on in the arrangements to listen to though.

After one song Lydon noticed a chap doing a BBQ up on his smart flat’s balcony, right overlooking the Custom House Square. ‘You c@nt – you ‘aven’t paid‘ pointing up at the chinking wine glasses and smoke. To be fair the chap had ear buds in and didn’t appear to be listening. All in good humour.

Lydon gives the audience a chance to throw some feedback at himself also. ‘Whaddya think of me?’ A respectful inaudible mumble and laughter. Rise was the highlight but this was a low key, support band presence, which was understandable. We know what we are all here for.

And so to the main event. Stiff Little Fingers in their own once troubled, well once much more troubled, back yard. This is still an all-time gig-going highlight for me.

The Go For It build up and walk on music is just like the old days – my first two SLF gigs were on the that album’s tour (1981) – and there is a unique excitement generated with this 5000 strong Fingers’ crowd. There’s that loud crackle of the guitars being plugged into the amps: “Good evening Belfast, we’re Stiff Little Fingers!”.

They start with the song on my t-shirt Roots, Radicals, Rockers, Reggae, the cover version on the Go For It LP. The burst of nostalgia and sense of occasion and history is such a buzz.

Jake Burns and bassist Ali McCordie from 1977 SLF are with guitarist Ian McCallum (since 1993) and drummer Steve Grantley (since 1996), so it’s been a while as this unit.

At the Edge and the rasping Wasted Life follow, making for a blistering early section.

Jake’s tribute song to Joe Strummer – Strummerville – reminds us of the loyalty Strummer showed to performing live at troubled times in Belfast, as well has his iconic status anyway.

There’s Jake’s newer Trump song – Mary’s Boy Child. As a US resident these days, in Chicago, he got his material more in his face for that one.

As someone who’s first SLF live experiences were focused on the third LP, Go For It (Guildford Civic Hall and London Rainbow, with The Wall supporting) I loved the back to back playing of Piccadilly Circus and Just Fade Away. The former, about a friend of the band getting stabbed on a trip to London, is still my first thought whenever passing through (or under) said site.

“And they didn’t even see his face;
See him stumble, hear his cry;
They didn’t even see his eyes;
Just lashed out in passing by” [Piccadilly Circus 1981]

Jake’s reminders of his own battles with depression and genuine pleas for us old blokes to open up and talk about shit, to anyone, precede My Dark Places.

Next, one of those fantastic segments in live music that don’t come along with quite this ferocity very often: Nobody’s Heroes; Tin Soldiers, cranking up more to Suspect Device and Gotta Gettaway, with that classic opening bassline.

The band take a pre-encore breather and Jake introduces, with much adoration, bassist Gerry McAvoy, from the Rory Gallagher band – who pretty much was the Belfast live music scene in part of the 70s and hence held in high esteem by a clearly appreciative Jake. They play Gallagher’s The Devil Made Me Do It.

This was a very well-paced, ideal length set and there is still plenty of energy in the tank for Barbed Wire Love and, of course, Alternative Ulster.

A wonderful experience and for the second year running I stand there wondering how I got here, from Guildford Civic Hall in 1981.

HANX!

Until next year – thank you and goodnight!

Poole Harbour Festival 2025

Baiter Park Poole (26/27.7.2025)

The shortest walk to see a band from my house seems to be becoming an obvious annual event to take in. Steadily growing (10-15000 capacity), Poole Harbour Festival is still a very local event – there are so many of these around the country and bands like Toploader and Razorlight play them, supported by a host of tribute acts, local bands and in this case some ‘boop boop’ DJ stuff. I never get sucked into that tent.

This one is in a lovely spot on the open park next to Poole Harbour. Usual but inevitable gripes about drinks prices but the site gets better organised every year. I can always pop home for lunch – but no need.

I just got the tickets for the Saturday and Sunday with Friday more of a warm up and no name acts to catch my eye.

Saturday

I had a lovely big camping chair with me for a few hours to ease my post-Oasis knee problem. I broke this trying to get out of it a bit later but I was armed with a knee brace and nabbed wife Sally’s chair until a reinforcement was obtained. A few £25 bottles of wine eased my bones. I don’t know how much longer I can do festivals for, but this Poole one will always be an easy option… relatively. Could be in a wheelbarrow next year at this rate.

Saturday was a scorcher – lovely day. I started by staggering to the ‘Smugglers Inn’ on the far side of this quite tight harbourside park (Baiter Park) plot. A marquee with some historic seafaring decoration and protection from searing sunshine and showers alike – camping chairs permitted.

We headed here for Carley Varley. A local singer songwriter, pop/rock, who does some covers as well – we catch a Paramore one. She plays solo but also with a band as she has to kick off this stage today. Yes, it’s her real name. Never disappoints and a good start.

Having seen The Killers numerous times, we skipped the last part and went over to catch tribute act, The Fillers. They were decent when playing former legendary local gig venue, Mr Kyps, about ten years back but they seem to have blossomed further. I parked myself outside the open doors of the Big Top stage in my camping chair, still in one piece at this point.

This takes me back to seeing the real Killers’ ‘surprise’ slot at the John Peel stage, Glastonbury 2017. Again, I was outside the tent, with an occasional glimpse of the band, but I could hear them ok. And so it is today, but this time injury induced on my part. The Fillers were great, despite my guilt at listening to a tribute band over the end of Carley Varley or the start of Lady Winwoods Maggot, where I headed next.

The Smugglers Inn – Lady Winwoods Maggot

They say they can’t be pigeonholed. Heavy folk with a goth feel – dirty rock’n’roll – whatever, it grips and they are always an intriguing draw.

We don’t see the whole set. Decisions decisions. We head back and take a seat in the Big Top for Gaz Brookfield, having been alerted to his appeal by friends.

This guy has released nine studio albums and appears with a band (Company of Thieves) as well as solo. With over 15 years of successful performances, it should be no surprise that he’s well worth seeing. Folk/ rock mix and that is so good for a warm afternoon festival.

After Gaz, and taking on more pain relieving wine supplies, we set up camp in our chairs a fair way back on the right of the main stage. The Hoosiers provide the late afternoon entertainment. Seen them several times, including in the difficult Covid limited capacity period, so there’s an affinity there, especially to their Trick to Life LP (2007).

Front man, Irvin Sparkes, is the main force and original band member, along with the drummer Alan Sharland. Goodbye Mr A is one of their songs that you forgot you knew and is the set winner. Worried About Ray and Cops and Robbers are other memorable ones today from, that 2007 album.

The crowd is a real family one. Surprised shrieks of “ooo I know this one” and some music, sun and smiles seem all that most are here for. Not your average gig-goers and only the occasional band t-shirt of anyone who’s playing. Have I ever seen anyone in a Hoosiers t-shirt I wonder? Maybe a few Feeder ones here…just a few.

Family fun with main stage views (restricted)

And so to the Saturday headliner: Feeder on the main stage. The band are based on two originals: main man Grant Nicholas and Taka Hirose on bass. I don’t know what I was listening to in their glory years around 2000 but it wasn’t Feeder. I’ve seen them at several festivals over the years but not bought anything by them or seen them on their own tour.

13 top 40 albums and 20 top 40 singles. That is going it a bit but yet I am strangely unfamiliar with their material. They sound good but I have just missed their boat, I think.

They start with Buck Rogers – I know that one and near the end they play Kyoto and there was another for me. While I recognise a few other presumed singles, I couldn’t name them. A good end to a full day anyway and it is time for the short shuffle home.

Sunday

A slower start to our day two. We made it down to see local rocky favourite Chris Payne to play the Big Top. Today he is joined by his band, The Parade.

A mix of his own songs and rock covers. Purple Rain; Bat Out of Hell; Sweet Child of Mine. Not just any covers but imaginative rearranged versions with full on guitar.

Quite often I see these tunes blasted out in the confines of a pub so it’s good to see a full sized stage performance, with backing. Only a few days ago Chris mentions he was in hospital (being treated for pleurisy he says on Facebook) so good effort to play through the pain today.

I’m surprised not more are in the Big Top at this point but I think The Vengaboys are on the main stage. I’m safe in here.

We went out to establish a camping chair base at the main stage. Right side and a bit closer in than yesterday. Next was The Happy Mondays.

No photos but I listened, drank some cider and gazed at the increasingly grey skies above. The band were a decent backdrop to an afternoon in the park. Bez waved his maracas and stomped about pointing and keeping the crowd alive. Shaun Ryder geezered about in cartoon style and it was all a bit of a relaxed afternoon party.

Lastly and my main reason for coming today it’s UB40. I say UB40 but it’s all got unpleasantly complicated.

In 2008, the original main lead singer, Ali Campbell, went off to play with the now deceased Astro and the original keyboardist, Mickey Virtue. The split in the band and notably between Ali and his brother Robin has never looked close to being healed.

The UB40 playing here this evening are the ones legally trading as UB40, as opposed to ‘UB40 with Ali Campbell’. There are four originals left in this one, since the success started in 1978, including Robin Campbell along with Earl Falconer (bass); Jimmy Brown (drums), and Norman Hassan (percussion and vocals). The lead vocalist is Matt Doyle – fronting the band for the last four years, as Robin introduced him.

UB40 latest lead singer, of four years now – Matt Doyle

All this upheaval is a bit of a tragedy but this is where they are and here they are in Poole, which as an 80s resident of Moseley, Birmingham – UB40 country – is something of a special treat.

UB40 were something for Brum to be proud of. I saw them at the NEC Birmingham in the late 80s in what was the height of their popularity. I was right down the front thanks to some help from ‘an insider’. I didn’t follow their releases beyond the early albums and the singles but the tunes were belters.

The songs, this band, even in its hacked up form, are perfect for today’s family feel crowd. Everyone is bobbing about – couples in arms, babies in headphones and a big crowd all now focused on the main stage.

The hits rolled out. Red Red Wine (I even bought a few glasses as the bar had run out of cider). I seem to be on something of an emotional booze up to mark the visit of these sons of Brum to my now local park. Kingston Town, a personal favourite made the set. (Link to YouTube Chinnersrocks vid).

The rain didn’t quite keep off – Michael Fish may have been dabbling with the weather forecasts again – but most ignore the bit of moisture as it remains warm.

Down the front are dads and mum and lads and daughters. All ages singing along with the greatest hits.

Not sure how many are in the band but there are at least nine on stage so the depth of sound and subtlety of the percussion is evident. The band look to be having a good night out as well.

It’s that early classic Food for Thought which I catch on video for my YouTube channel. It catches the mood and the crowd just having a lovely time. I did as well. Thank you boys.

Hopefully I will catch up with Ali Campbell sometime as well but I saw something that indicated he was packing up touring.

Hopefully I will be back here next year – I expect I will buy some early bird bargain tickets without knowing who’s coming. It’ll be fine.

Yungblud – live in Southampton

Yungblud at The Engine Rooms, Southampton (15.7.2025)

Yungblud at the Engine Rooms. Really? With a capacity of up to about 800 people, today we have afternoon and evening performances here from a guy who is starting to sell out the big UK arenas for his 2026 tour. He is about to rip up the World on tour shortly and today he’s here in Southampton. (Details of the Engine Rooms venue linked here in my blog.)

It’s one of these record store album release promotions – if you’re not in on this chart massaging tactic, you pre-order an album (but don’t have to if you read carefully and a single ticket can be purchased). The purchases all count towards the first week of release charts and often a while later the artist performs a short gig of 30 mins to an hour. Yungblud sold out this Vinilo Records promoted event within a minute and second gig was put on for the afternoon. Not sure he needed it as his last two albums peaked at number 1 in the UK chart.

Cost? I paid around £30 for a ticket with a CD and the postage. 2026 tour tickets with a huge venue and a full set and you’ll be looking at £80 – £100 easily..and no album.

I first saw him on a BBC Live Lounge recording and that stirred sufficient interest to have a listen to a bit more and when I saw the Engine Rooms tickets were about to go on sale, I was ready. (There are some more recent BBC Live Lounge videos from about a month back – really good and include a cover of The Verve’s Bitter Sweet Symphony.)

It’s my fourth of this type of gig – a very low key Libertines afternoon one here; Paul Heaton early session at Kingston Pryzm and a more elaborate one by The Vaccines on Southsea Pier. They don’t have support bands and you need to be prepared for a taster, no encores.

That having been said, these are great opportunities. This afternoon is a welcome blast – a short sharp injection of the future of rock’n’roll, Dominic Harrison, stage name Yungblud.

The latest release, Idols, is his fourth LP, if the kids still use that term, so success is by no means instant with 2018 being the first one. It’s the June release of Idols which is the one for me though. It’s power rock with some calmer edges. I can hear Placebo and My Chemical Romance in there. Music to wear eyeliner to perhaps and I love it.

We arrive to find a queue of around a hundred people aged 15 to 50 by a fence at the end of the road. They were the queue for the 7.30pm show not the 5.30pm one. Doors opened at 4.30pm and we rocked up shortly after for a swift queue through into the Engine Rooms – always swift. I’m feeling really ancient but am boosted by a few oldies appearing. Perhaps I should have dyed my grey hair black for the day. (I did it in Vegas once and went to an Australian Bee Gees gig. The hotel pillowcases and towels were a mess when we left. Never again despite the amusement.)

There does seem to be a broad age appeal but this clearly thins out at the upper end. Yungblud himself is 27.

Yungblud gives all the effort of a big show and screams his passionate gratitude for people turning up, supporting him on his rise and for everthing that’s happening to him. No hint of his lingering tonsillitis which cancelled shows at the end of last week.

There is a very caring, supportive, inclusive attitude he embraces and this is evident from associated social media traffic. A positive vibe.

This singer-songwriter, guitarist and keyboardist is already recognised as a huge talent. The album credits illustrate he has written all the songs, many also credited to Matt Schultz who plays bass and also guitar and keys….and is ‘the programmer’.

On stage the others in the band are seated, so it’s only Yungblud you see above the silhouette of the crowd.

I’m propped up by the mixing desk barrier – a relief as my old bones (or knee to be precise) recover from Oasis. It’s not a bad viewpoint and the lighting is excellent for some distant zoomed pics.

Yungblud performs seven songs this afternoon, all from the 2025 Idols album. Yes, he ‘performs’ every song like it’s the climax of the set. Does he do this every night? Wow. This really is quite an eye opener. At last… a new young artist and the hype is valid.

Obviously, the audience go bonkers. A lot of the audience seem to know all the words but these can only be heard in the quieter parts as the guitar sounds are blazing.

There was no airing for my favourite track from Idols: The Greatest Parade (YouTube Official version) but Zombie is in there and the title track, part 1. Change is another epic and that rounds off this 35 minute set.

These songs are real solid rock songs and I realise why he got the recent Black Sabbath farewell gig at Villa Park, now – and Ozzy loves him it seems. The feedback from that event was so positive and that from a very traditional and mainly aging audience.

There are people in here this afternoon going to the later session as well – lucky them. We are back out into the bright afternoon sunshine – feels a bit weird.

That was 35 minutes that won’t be forgotten in a hurry.

A few more pics to remind us from my mixing desk barrier vantage point:

Iron Maiden – Run for Your Lives Tour – Birmingham

Iron Maiden live at the Utilita Arena Birmingham (21.6.2025) with The Raven Age supporting.

Two days on from my last visit to Birmingham’s premier gig venue, at the heart of the canal network, and I find myself in seering heat surrounded by legions of people wearing Iron Maiden t-shirts. Tonight I’m even wearing one, from my maiden Maiden gig almost exactly two years ago. (Previous blog link.)

I am staying nearby for three nights. A few gigs, a bit of wandering the city and a trip to Coventry to see an old work friend – gig going Tony. Gig buddy Dave is back tonight – he holds the key to these Utilita Arena gigs.

As the images illustrate we are up on a balcony lounge floor level – elevated but unobstructed views of the whole concert…and the odd waft of air conditioning competes with the rising sweaty heat.

The support band are new to me: The Raven Age. From London, they’ve been going 16 years and surviving founding member is the son of Iron Maiden bass guitarist, Steve Harris. Traditional metal offering with lots of dark references across three albums.

The last one was The Blood Omen and from my lofty position I grab a video of Serpents Tongue from that LP. (Link to my YouTube channel – Serpents Tongue)

Phones out for This Raven Age – supporting

You can see from the waving arms and the phone torches, that they get a good reception. They are evidently pleased to be on this bill. This heavy metal family is a very supportive lot I guess.

The heat is tremendous. It’s the hottest day of the year so far. Still room for the odd pair of leather trousers and some leather jackets – I’ve gone for linen – it’s dark, no one will notice. No one seems to have keeled over from my vantage point.

Iron Maiden

Then a roar and attention stagewards as UFO’s Doctor Doctor blasts out through the sound system. This happened last time – clearly a regular ‘thing’. (Another one of my very small collection of heavy metal singles – it only runs to four with the rest being Iron Maiden’s Running Free and two Motörhead singles.)

There’s loads of usable room on the Iron Maiden set. The new touring drummer is tucked away in his own discrete cubby hole and lead singer Bruce Dickinson gets to wander up on the surrounding upper level, as well as the main part of the stage.

There is ample familiarity for me – this stems in particular from seeing tribute act Ironed Maiden a few times in the difficult Covid years. The first big one is Number of the Beast. Classic metal eh. Another big’un is The Rime of the Ancient Mariner.…an epic tale that sees Dickinson off in the darkness of the upper stage level.

The Maiden mascot Eddie appears, staggering about, axe in hand for a while. The guitarists are playing at top revs. Janick Gers does endless guitar twirling tricks and spends periods with his left leg right up on the side speaker stacks.

I suppose Run to the Hills is the epic song for this tour – height of the fever and the song where the tour strap line comes from. With only four UK dates on this tour the magnitude of the event for true metal heads is not lost on me. I catch that on video: Run to the Hills.

The Trooper is another belter, again with great drama and imagery. A Union Jack is waved around by Dickinson, with a Cross of St George coming out just near the end of that one.

The Iron Maiden sound really is right on the metal. The pinnacle of the New Wave of British Heavy Metal genre. The guitarists continue industriously as Dickinson sings and screams the tales of darkness and evil.

Ending the main set is the song Iron Maiden, from that debut 1980 album. You have to experience that one sometime eh. Like Motörhead by Motörhead. This is classic stuff.

After the break, the voice of Winston Churchill booms out – the we will fight them on the beaches speech – before they launch into Aces High – images of flaming war planes crash on the backdrop. The rolling guitar riffs continue.

Fear of the Dark, title track from that 1992 album is another memorable tale which sees Dickinson off into the upper stage smoky gloom with his lamp. It’s an exhausting 8-10 minute epic which just about does us for the evening.

Last song is Wasted Years, a single from the 1986 Somewhere in Time album.

That’s it. A classic set from an iconic heavy metal band. An essential part of the live rock’n’roll experience and a privilege to be here, in my Iron Maiden t-shirt, even as a bit of an imposter.

Full setlist: Setlistfm

Rock on. ⚒️ (ok I may have been influenced by the West Ham connection – they are off to The London Stadium next Saturday.)

We leave the arena, expecting the cool night air to hit us – but no – it’s sweltering outside still. Broad Street bars are doing their best to be Ibiza. Another Saturday night out….can’t go mad: we have an all day festival tomorrow.

Pulp on tour – Birmingham

Pulp at Birmingham Utilita Arena on 19.6.2025

Busy week this week and these notes got stuck in the jam, so a few blogs a bit out of order. Four days took me to this Pulp gig, then Iron Maiden two days later in the same venue, followed by the Forever Now festival in Milton Keynes. You only live once eh.

My last Pulp gig was in July 2023 in Cardiff and that one was my gig of the year, so expectations are high, and hence wanting to get to this one, when the opportunity appeared, again with gig buddy Plymouth Dave. One of the things that make the Pulp experience great these days is that they’ve rationed themselves a bit with some significant career breaks.

I did see Jarvis in his own right at Glastonbury, Park Stage, in 2022 but no Pulp songs. The only other Pulp tour gig I went to was on 22 February 1996 at Birmingham NEC Forum – the week Jarvis invaded the stage to disrupt a Michael Jackson tv performance.

Back in Brum tonight, in the newer and more central Utilita Arena, just back north off Broad Street and the Black Sabbath Bridge, it’s 29 years later and the venue is bigger – 14,800 fill this one and it’s at capacity tonight, and it’s hot and steamy.

It’s not a bad place to see a big band, especially with a front half lower tier seat, just above the heads of the standing arena floor. Lots of handy hotels dotted around Broad Street at all prices and plenty of bar choices.

No support band tonight but two sets – I presume everyone knows this as everyone is on time.

The curtains open – how beautifully traditional – and the band are playing, an expanded band with a range of orchestral add ons and backing singing to the core, which includes Candida Doyle on keyboards and Nick Banks on drums, from the mid-80s line-up, and Mark Webber on guitar, a feature since 1995. Jarvis appears, at the top rear of the stage against an image of three other Pulp members back in the day (I presume) and then Jarvis moves – he’s the real one – as he starts singing – it’s the single, Spike Island, from their recently released new album, More.

Down the stage steps he comes – almost a Vegas show feel this – to greet ‘his’ audience. It is his audience. From start to finish Jarvis has the highs lows and middling bits timed to perfection. He takes us through the Pulp story and the reunion story.

He’s wearing classic Jarvis clothing. An essence of art teacher, in the 70s maybe. I should have worn my cords. An unshaven greyness gives away his 61 years, but his leaps on and off boxes and bounding up and down those stage steps puts most of us 60+ year old gig-goers to shame.

The new album is a goodie and the songs fit well with the older hits and familiar album tracks. You can’t take away those years of familiarity for the old songs though, making it hard to compare the new songs fairly.

Jarvis works out another classic silhouette

After three new songs to get going, it’s Disco 2000. Maybe the early introduction of this is to calm the expectation and help us focus. It is, still, one of the stand out live songs I can recall – in all the years since I had woodchip on my walls. A wonderful anthem. Jarvis still looks almost surprised as each line of the song, the old story, presents itself. A Different Class indeed. The audience are absolutely bouncing, and in the seats for this one. So nostalgic …and yes, I did get married back then but the never split up bit didn’t work.

The curtains close for a portion of the set with the core Pulp four down at the stage front. Jarvis says it was like this in a front room somewhere when they played a few songs and decided if they should go out on tour again.

There’s a break halfway through – enough time to stand in a bog queue and get back before missing anything…or an acoustic version of Something Changed to be specific.

One novelty is the choice given to the audience as to whether they play Razzmatazz or Like a Friend – the former wins after a brief cheering competition.

With the run of three top songs: Acrylic Afternoons, Do You Remember the First Time and Mis-shapes the unstoppable euphoria is on. It’s so damn hot. I don’t know how all those people standing can keep going – maybe they have ten years on me. Some up on partners’ and friends’ shoulders by now.

A few more songs to just allow some respite and then Common People. An eruption of energy as the song builds to its choruses. Brilliant. These are the moments you stand at a gig and think – this is why we still do this.

The band go off – that’s it isn’t it. It’s curfew time: 10.30pm. We drift off up to the exit doors only to see Jarvis appear again and note that they’ve got a bit more time. Time for one more song…. no, you can’t top that last one and we join the early departers.

The Pulp experience has benefited from a bit of rationing and now some high quality new material. I could do another…sometime.

Oasis – the day finally came – Cardiff

Oasis live at the Principality Stadium (5.6.2025) with Richard Ashcroft and Cast supporting.

After all the hysteria, media and ticketing negativity and excitement, months of keyboard warriors chiselling away at the prospect of the Oasis reunion, now we are here. One glitch, one slip, one slight irritation, one inflammatory remark from a Gallagher and so many are ready to pile in.

What do we get? The ultimate response: a no frills blockbuster of a gig packed with familiar tunes and 75,000 grateful fans. Despite my lofty and distant viewpoint this was, without doubt, my gig of the year so far and I really have to rack my brain to think anything quite so impressive. It was such a beautifully intense event and you knew the World was watching.

Without any actual hand gestures, the Gallaghers stuck two fingers up at the naysayers, by just doing what they do and very well. Liam Gallagher’s controlled performance could not have been better, although maybe I could have been a bit closer.

I picked Cardiff in the pre-sale round of ticket buying as I thought the venue was smaller than Wembley, reasonable to get to and maybe wouldn’t have been so popular. I bought four face value £90 seats in the upper tier east stand, each with a £9 service charge, £1.50 facility charge and £2.75 order processing charge. That’s £101.18 each and they took 20 minutes to buy. I have no complaints. Bit pricey and no one likes the add ons but no surprises and if that’s for one of the gigs of the century, I’m fine with that.

Hotel prices were insane initially (around £1000 a night) and I planned a train in from Chepstow but as the day approached a normal priced opportunity appeared at The ex-Mecure Holland House Hotel. Pre-booked parking to add to it and was probably needed.

Great city centre to hang around in, Cardiff. Bit of drizzle didn’t dampen things much as the pubs started to fill. So many options and all so close to the stadium. Huge queues weaved around the first floor of the shopping centre for the merch sales shop. We wandered down to the stadium where the intimidating queue for merch moved quickly from over the river and my t-shirt was secured to mark the occasion.

After a bite and a final pre-gig pint in highly recommended Daffodil pub, we headed for the stadium for 5.30pm. Straight in, 30 mins after doors opening. The endless climb to level 6 for our seats was first. Then the final ascent half way up the east face of the seating. You really feel like you could fall out. Then it’s down and up again to the upper concourse for drinks.

Cast started at 6pm. Didn’t want to miss them. Sound not great – a bit echoey and lacking depth. Half an hour of familiar hits though, starting with Sandstorm including Walkaway, Guiding Star and finishing with Alright – they’re clearly happy to be part of this. John Power dons a bucket hat.

So Cast become my first band seen in this stadium. I’ve seen them several times but never in front of a crowd this size. Despite three play-off finals and an FA Cup Final (2006 West Ham v Liverpool), I’ve never seen a band in here…and I’ve never seen the roof closed – it changes it massively and preferable for a gig surely.

The main support act is Richard Ashcroft and his band. Most people are in by now. Ashcroft stirs the crowd with his anthems – I mean really stirs the crowd. Lucky Man and Bittersweet Symphony pretty sensational. The crowd are belting out the tunes with him. Every where I look people are already standing. An unstoppable monster of a crowd that was now on the run in to the night of their lives. I can’t think of a better crowd reaction for a support act and it would be hard for me to remember a better support.

I saw him play the Royal Albert Hall once – a Teenage Cancer Trust gig 2003 – and both Gallaghers joined him one by one for an encore and then Kelly Jones (Stereophonics) and Paul Weller. I would like to see Ashcroft on his own tour again soon. He’ll have a boom of his own coming.

The time was moving on so fast. After the 45 minute Ashcroft set the concourses were rammed with toilet queues squashed into people grabbing final drinks. No one wanted to miss the start of this one.

On 8.15pm the screens start flashing with Oasis headlines, reflecting the media hysteria and Fuckin’ In The Bushes sounded out that high pitched alarming drum beat. The buzz was immense. On they came. Liam in one of his coats – done up obviously – looking so gloriously rock ‘n’ roll. Without screens I would struggle to see much detail – even my camera zoom is struggling. (Does this mean I have an excuse to try and see them again?)

Some beer flies around to greet the band. I wonder what it was like in the mayhem on the ground floor.

After Hello to open, Acquiesce. I’m stood, everyone is stood, and my jaw must have been slightly dropping. This was everything we’d hoped for. It almost didn’t matter what the set list was but here it is. Morning Glory and onwards is like an encore – every song like an encore. I go to a lot of gigs but this was in the incredible category – right up there with the best I can remember.

The band and the songs were everything. There was no need to say much – no fireworks, no fancy stage set, no light up bracelet nonsense – just rock ‘n’roll stars pumping out the tunes….ok so we all did The Poznan to please Liam.

Liam’s performance was immaculate. Can he keep that up? I’d love to see a proper film of all this because it looked to me like a Liam masterpiece. Of course the others did their bit and Noel had a significant block of time fronting with his vocals, but Liam had the hardest role. The energy. The tension. I’m surprised he didn’t explode.

I waved my phone around a bit and my pocket camera but it’s difficult to capture anything from so far away. I grabbed a few clips with the camera – something to remember I was here. No full songs though. At the end of all this there will be some amazing film to put out, surely, and we can enjoy it all again.

Rock ‘n’ Roll Star was like a signature tune for the whole venture. Perfectly angry. (My clips in the links.)

Waves of emotion came over in Stand By Me , well to be honest waves of emotion came over in half the songs – involuntary singing with all the anthems rolling out.

Other vids I kept:

Liam says a few things but his finger pointing and gestures say all he needs. I couldn’t hear the detail. Nearly two hours of anthems roll by before the notional end of the set. An exhausted roar and then a lull before the cheering and clapping builds up again and Oasis return for a four song encore: The Masterplan; Don’t Look Back in Anger, Wonderwall (they had to eh) and Champagne Supernova.

All in all: a victory. My fourth Oasis gig and the best of all of them. Maybe that was because of the wait.

If the opportunity comes your way, take it.

Southampton Summer Sessions 2025 – The Stranglers; Simple Minds

The Stranglers at Guildhall Square, Southampton (14.6.2025) with Buzzcocks supporting and Simple Minds with China Crisis supporting (29.6.2025)

Summer Sessions stage – Guildhall Square

It’s inside the Guildhall usually where the bands play but these Summer Sessions involve use of the outside space in the large square in front of the Guildhall pillars, hemmed in by towering blocks. It’s a good space and in a good location. A selection of artists over the summer and the weather has been kind.

Plenty of places to eat and drink along Above Bar Street. Met up with friends for the first one, in Belgium & Blues basement bar, with a feast of ales to choose from.

I came to one of the Southampton Summer Sessions last year, for Placebo, blog is here for reference. Two visits this summer, one for The Stranglers and the other for Simple Minds.

It’s Stranglers gig 33 for me, or those are what I can confirm anyway. Buzzcocks is at least 10. It’s just one original Buzzcock these days, Steve Diggle.

What I have done with this blog is treat it like a photo reel. First, The Stranglers and Buzzcocks support.

Great set from The Stranglers, drawing on their significant catalogue and finishing where it started really…..chart-wise, with No More Heroes.

Buzzcocks

The Stranglers

Later in June is was time for Simple Minds. Another band I have seen a lot but early on and in the last 10 years – I had a big gap. The big gap was the same for China Crisis.

China Crisis

China Crisis bringing their friendly small gig approach to what is quite a big gig. Unlike The Stranglers, this one is sold out and it’s busy.

Simple Minds on the other hand bring their arena rock down a peg to the same arena. It’s not huge. Maybe 3500 capacity?

Again, a cracking set. Few words but here are some of my pics from the night.

China Crisis at Southampton Summer Sessions

China Crisis – Southampton Summer Sessions

Simple Minds

Two great nights. Simple Minds considerably warmer – bit of cool wind blowing up for The Stranglers.

Both near the top of my gigs for the year. Reliable entertainment for a grey-haired gig goer.

All photos from my trusty TZ90 Panasonic pocket zoom.

Forever Now Festival

A one day festival in Milton Keynes National Bowl (22.6.2025)

This line-up looked like a dream and it didn’t disappoint, overall.

Yes I was massively disappointed by Peter Murphy having to withdraw due to ill health (his 2025 album is excellent) and yes I was disappointed by the (inevitable perhaps) clashes with the second stage which meant I had to miss some competing favourites – today just too many favourites – and some were bands I have recently seen or I am seeing again soon (The Damned, Jesus and Mary Chain and PiL).

The second stage was a substandard dusty car park of a set up. Technically it was amateur from what I saw early on and later I scrubbed plans to return and focused on the main stage which was huge in comparison – this is a 65,000 capacity arena but less than half that today I estimate. Friends returned with tales of timing mess ups, ongoing sound problems and the plug being pulled on big bands. This did not lure me back there. Besides I did need to sit down a bit – it’s been a long week with two other gigs in Birmingham in recent days.

The National Bowl is a rather grandiose term for this barren old clay pit. A major festival on a Sunday near Milton Keynes is not that attractive. I would still come again though if presented with such a musical and personally relevant feast.

I’ve been here a couple of times before. Simple Minds and Big Audio Dynamite in 1986 on Maradona ‘Hand of God’ day. Then in 1995 an impressive line-up of REM, supported by Radiohead, The Cranberries and Sleeper. I remembered the nowhere to hide arena with the sun beating down at that one. So, 30 years on here I am again. Fortunately, the weather wasn’t as forecast. The heatwave hystericals have been bleating all week but it’s merely warm and cloudy with some sunny spells – perfect.

Off we go to the second stage, referred to in adverts as The Other Stage but on site not really referred to by means of any signage I could see. Theatre of Hate. I was aiming to get here on time for this one and that was a great start. Of course, there isn’t time for everything (Legion for instance) but loved standing listening to the tracks from Do You Believe in the Westworld, especially the title track.

Stan Stammers bobs and weaves on bass like 45 years had just evaporated without us realising. It’s been a long time, a lifetime. I still want a Kirk Brandon haircut.

Immediately following on this stage is John Mckay’s Reactor. I confess that when I saw his name on the bill I had to look him up to discover he was the Siouxsie and the Banshees guitarist in the early years (1977-79). I subsequently listened to his band’s new album, Sixes and Sevens. I thought this was a revelation. Some excellent tracks and so Banshees style.

The newer songs played this afternoon are interspersed with some Siouxsie classics which included: Mirage; Staircase Mystery and yes, Hong Kong Garden, which was greeted with some triumph after a set plagued with technical deficiencies.

I left that second stage and wandered along to the small tent doing interviews with various bands – ‘The Echo Chamber’. Skids frontman, Richard Jobson, was in there being interviewed. The tent was rammed and spilling out. A gentle drizzle started as a final humiliation for the gibbering weather forecasters. I put my jacket on for a bit but didn’t need it long. I couldn’t hear much from outside the tent walls so returned to the main stage and a sit down to watch The Chameleons.

A powerful set. Enjoyed them without knowing their stuff that well. Been listening more over the last few years, since catching them deliver a great set at Shine, Butlins Minehead in 2021.

Next – this is the big one for me – The Psychedelic Furs. My mate Chris found me standing in the front right side paddock, so we could do some Furs’ or Richard Butler actions together – just like old times, but now with his two lads as witnesses. I just love the Furs’ music. I have all the albums and play them all, even the World Outside sometimes.

Richard and Tim Butler – Psychedelic Furs

It’s quite a short set – is a Furs set ever long enough? Nine songs from across five of their eight studio albums. What a start: President Gas. Surely selected with Trump in mind, though written in 1982.

The actions are as bold as ever with the salute to ‘President Gas’. Not a great idea to mimic that one. The other cracker from the album Forever Now is played later: Love My Way.

Richard Butler glides around the stage like an actor. He has hand gestures for every song – quite subtle but always something going on. From time to time he finds his brother Tim (I was born in the same hospital as him – Kingston – I know – I checked with him at their aftershow party once in Camden Roundhouse.)

Richard Butler seems to perform so effortlessly and gracefully. He must be boiling in all those clothes. The latest album, Made of Rain, holds its own with all the older material. The tracks selected were obvious choices – The Wrong Train and the excellent Boy That Invented Rock and Roll.

It’s all over too quickly. Just makes me want to get a ticket for the autumn tour but can’t see any dates I could do. The set ends with the classic, India, from the first album, starting with that thunderous drumming.

Next – Johnny Marr, this viewed from next to the main mixing desk tower. I don’t need all The Smiths’ songs to enjoy Marr but I love hearing them, as does everyone else, clearly. He really gets everyone going with the likes of Panic and This Charming Man. He only does four of his own solo songs out of the eleven-song set but perhaps he knows the probable audience and it’s all lapped up. How Soon is Now was tops.

There is a Light that Never Goes Out is his staple finish. Another artist to go to see again soon. I’ve seen him at festivals and supporting The Killers in Nashville, but never seen him on his own tour. Next time.

I go for another sit down in the paddock to front stage right. You can still see the stage even if seated.

Billy Idol attracts the curious in large numbers as well as Billy Idol fans. He works well with the short set. He has a new album and is out on tour but the old faves of White Wedding and Eyes Without a Face are the highlights.

The ole ‘King Rocker’ keeps going. A cartoon rocker who, if you squint, still looks like the Generation X front man that abandoned the UK post-punk scene for LA. He is forgiven, it seems.

After that the do I/ don’t I thoughts of going back to the dustbowl carpark stage for The Jesus and Mary Chain, finally evaporate. It’s been a long week. I haven’t been home since last Sunday. I settle for The The. Quite enjoyed them – interesting to see them rejoined by Johnny Marr for Beat(en) Generation and Dogs of Lust.

Marr was in The The for six years and played on two LPs. I was amazed how long ago The The started. I couldn’t replicate decades of play by a few months of listening to a bit on Spotify.

Infected and Uncertain Smile were particularly good and I’m glad I’ve seen them. Didn’t reach my enthusiasm for the Furs or Marr though.

The The with Johnny Marr and some annoying steps

Last on and respectfully top of the bill are electronic music legends, Kraftwerk. Never seen them before, but always an experience I wanted. Quite extraordinary really. What is live and what is not. Great lights – retro modern and four quite immobile figures lined up in a classic Kraftwerk set up. All the big tracks I wanted – Autobahn, Computer Love, Tour De France, The Model and Trans Euro Express.

I wandered forward in the crowd to get a closer look and a few pics. I was amongst a sea of beaming faces, no talking but just transfixed on the stage. A special moment. As I left the Bowl I still had twinges of guilt for missing Death Cult and abandoning the other bands on stage two, but the Kraftwerk experience was worth it. For me, unique.

Kraftwerk – those damned steps are still there

This was a great event that could have been even better with regards to the other stage and I guess the organisers would have wanted more people in. We were lucky with the weather and my day was made easier with the seats in the premium area, with a decent stage view. Hopefully it will return but who knows?