Gigs with Ivan

Adam Ant live in Bournemouth

Adam Ant at Bournemouth International Centre (23.10.2025) with Toyah supporting.

I’ve been to 40 gigs this year and this was the most disappointing to date. I felt old. The audience looked old and tired and Adam Ant’s voice was in a sorry state. I was pleased to be there but I felt I was watching the end and that was pretty sad.

I’d only seen Adam Ant once before and that was recent, four years ago at Let’s Rock the 80s, in Exeter. I enjoyed that, have been picking up a lot of Ant used vinyl and hence booked for what was supposed to be a show last year at the slightly smaller Pavilion Theatre. The tour was cancelled due to Adam’s health. The BIC was bigger, colder and the no standing area or tolerance of standing had a dampening effect.

I don’t know if Adam now has a temporary illness or this was first night of the tour wobbles or if his voice has just gone, but this became a hard watch. It started reasonably well and the band including the double drummers were sharp – great guitar and that classic Ant stick work to give the Antmusic sound.

I particularly enjoyed hearing early album tracks like Vive Le Rock, Xerox and Car Trouble. The setlist was an imaginative mix of new and old, solo and Ants… but I felt it all started to unravel mid-set. Earlier on there seemed to be other technical sound issues that a man in an unusually smart jacket for stage surroundings was pacing about between stage side and mix desk to check out.

Adam Ant spent a lot of time looking at the floor – I presumed at lyrics – and not much was said beyond the post song thank yous. He moved around the stage, jigged about and looked the part, never more so than with one foot up on a monitor.

Desperate but Not Serious was a highlight and maybe because it suited the current Adam voice. Five or six songs of the second half really exposed the vocal demise and that wasn’t helped by them being lesser known tracks. I could see various walk outs from those who decided this wasn’t for them. One extremely rude man left gesticulating and ranting at the stage as he walked along the front row – no need for that. Most were there to appreciate what they could and I assume like me they stayed as a show of support for what I am really sorry to say was a sad sight… well sad sound.

Last song of the main set, Goody Two Shoes, lifted moods as that irrepressible chorus hooked in: “Don’t drink, don’t smoke, what do ya do?”…as Adam skipped in his boots.

The audience finally got to its feet and no stewards came rushing to object. Sufficient clapping and appreciation – for a lifetime I suspect and not tonight’s performance – was given for more. The single encore of Stand and Deliver had us all remembering the glory days of this swaggering dandy highwayman.

Toyah was supporting. An excellent choice, not just because of their original eras but Toyah was able to comment on those links she had with early Adam and the Ants in the beginning.

With hair punked up, Toyah had selected some early material to complement the Antmusic to come. The excellent Neon Womb and of course, It’s a Mystery. Ieya was buoyant as she recalled rioting in the students’ unions whenever she played it.

Toyah’s sound was a little problematic. Some very loud keyboards dominated a bit too much. Perfection for support bands’ sound is rare but this was probably just the beginning of an unprofessional evening where the only winners were Toyah and the box office takings.

I do hope I read of better experiences later on the tour. Maybe with this one I was not obsessed enough to be deluded…but still it was live entertainment.

Spear of Destiny live at Papillion, Southampton

Spear of Destiny at Papillion, Southampton (22.10.2025) with Billy Liberator supporting.

A rainy Wednesday night and an hour’s drive over to Southampton to a venue I’d heard a bit about but never been to: Papillion. What a place. Smart and inside an old church, opposite Southampton’s Mayflower Theatre, and more to the point The Mayflower Village pub. My blog today is perhaps more heavy on the venue as it’s new to me, whereas Kirk feels like one of my most familiar performers. Several previous blogs found here. And its only four months since my last Kirk gig, that being in Theatre Hate form at the Forever Now one day festival.

Fortunately, I wasn’t driving – thank you Richard – a good selection of craft ale and lagers in the pub, before I found Guiness and Neck Oil in Papillion. I needed this tonight.

Inside there is a lot of mirrored glass – glitz nightclub decor but smart. It’s a great size for a smaller gig (450 capacity). The dance floor area provides the natural little bowl to stand in and plenty of room back from that. To left side front and rear right side, some handy raised bench seats – which I started in but felt compelled to get out more in front later , after a few pics and video down the front side (Never Take Me Alive here on my YouTube channel).

Upstairs there is a small balcony running around the dancefloor area. It was shut but with those tables and chairs set out for food and I wonder if that is ever open for gigs – maybe calmer acts.

When I was looking for the support band beforehand, I didn’t find it that easily and seeing the name Billy Liberator I thought this was a joke playing on a Spear of Destiny (SoD) anthem – was it maybe just Kirk with a guitar first? No. Billy Liberator is from Woking and has supported Big Country and The Alarm before. He was a good listen to get things going.

There is a lovely familiar feel to a SoD/ Theatre of Hate audience. Familiar faces, t-shirts, jackets, chat. It’s a warm appreciative and focused audience. We’ve come to see the band not talking through it all or piss about. ‘Reluctantly mature’ is how I’d pitch it.

The tour is the Janus tour, Janus being a double album of the rerecordings of two previous releases, Outlands (1987) and The Price You Pay (1988): two of the more successful LPs chart wise. I bought my copy on the way out afterwards.

The set was Outlands heavy which I appreciated and only a few from The Price You Pay. With Kirk’s best ever charting (no.14 UK) single, Never Take Me Alive, it’s a good listen. As well as that calmer epic this evening there are the livelier anthems of Strangers in Our Town and, sounding nostalgic, Time of Our Lives. We’re still having a good go, aren’t we?

Kirk is 69 now and he’s been a prolific tourer in recent years. Hopefully his health scare and hospitalisation last year is behind him but it’s a nasty wake up. His voice is still beautifully controlled and powerful….hitting those long high notes. There is a lot of concentration etched on his face while playing and later he looks to let himself go, warming to the singing and air punching of Liberator and Rainmaker. This was more like a reunion for old friends, such was the warmth of reception.

I confess to not knowing a lot of material after the first six albums but it’s all a good listen where it punctuated the set and the sound in here is spot on.

Mickey and title track World Service remind you why it was that those came from highest charting SoD album. Tonight wasn’t all about the obvious highlights though. A beautiful atmosphere of the ‘reluctantly mature’ having a good night out, while shining a new light on Outlands, in particular.

See you all again soon 👍 and a return to Papillion shortly for me I hope.

Simon & Oscar live and acoustic in Poole

Simon Fowler and Oscar Harrison at The Lighthouse, Poole (18.10.2025) with Steve Pilgrim supporting.

A quick note on this one. It was in the theatre of Poole Lighthouse as opposed to the larger concert hall. It holds 670 people in a steep single bank of seats and tonight it’s maybe half full.

It’s Ocean Colour Scene’s frontman, Simon Fowler, and drummer, Oscar Harrison, who are playing this acoustic treat. Oscar is mainly on keyboards and backing vocals but he occasionally swaps with the beat box drummer. It really is a very up close and personal feel – I’m in the third row. Simon Fowler plays and sings from a high chair, in the spotlights, centre stage.

No photos and no phones and everyone seemed compliant, and so I have no visuals to share. It made it extremely relaxing. Simon quietly, and with light humour, introduced the songs.

There are a few from the Ocean Colour Scene (OCS) first album ‘that none of you bought’. There are gems like Robin Hood, The Day We Caught The Train and The Circle. The Circle is about the 11C bus route that I and presumably they used to get out of Moseley, Birmingham.

Profit in Peace seems more relevant than ever. A classic protest song…almost an illustration of the genre. It’s quite emotional heard acoustic in days like these.

Better Day, another belter. I say belter: there are a few voices in the audience that shine out when the polite accompanying singing begins, spontaneously. The guy next to me is absolutely belting songs out, note and word perfect and especially notable in Robin Hood.

Fowler recalls his summer holidays of youth around Sandbanks and the Bournemouth beaches, before all the money went there. Maybe that influenced his decision to come to Poole, for which I am hugely grateful.

The Lighthouse does book the occasional gem from my world of music and tonight was one of those.

Andrew Cushin at The 1865

Andrew Cushin live at The 1865, Southampton (14.10.2025) with Mega Sun Machine and Sugar Bang supporting.

It’s good to be seeing a newer up and coming artist, and locally. My calendar can get a bit overloaded with my older and older favourites. This guy is great and that’s why we’re back (with wife Sally’s tonight – one of her favourites) for a fourth time in the last couple of years. I have a few previous outings logged and blogged here for Thekla, Bristol and Dingwalls, Camden.

We got in early about 15 minutes after 7pm doors opening. Managed to nab some stools up by the bar at the back and looking over the mixing desks and lighting control boxes. Curiously quiet this evening and the upper viewing balcony is curtained off.

Both support bands are from the Southampton area and of the two I warmed more to Sugar Bang, on first. Drums and bass boom loud to start with but the sound mellows later with some intricate prominrnt guitar work from main man McKenzie Barrass. They would be at home on a mid 80s John Peel show which is good for me….they must like The Cure.

Mega Sun Machine are less relaxed and more of a danceable onslaught of sound, some ska hints I thought, despite their indie rock tag. Brogan Tomkins says this is the first performance of this band at The 1865.

There’s a bit of local support in to give a good reception from the extremely modest audience tonight. Numbers don’t really pick up much even for Andrew Cushin, which is disappointing given his talent. The capacity is 750 and it can’t be a quarter full.

We move down the front – easily done – as Andrew Cushin gets into his stride. The lighting is quite audience facing so the band from a distance are silhouettes largely – it’s better down the front.

The tour is the Love is for Everyone tour and ten of the songs are from that one – second of his two excellent LPs, the other one being Waiting for the Rain.

Andrew Cushin has had some support and songwriting collaboration with Noel Gallagher and Cushin has some of that more psychedelic Gallagher sound on some tracks. I am amazed he hasn’t had more success. It’s a hard game.

Tonight is just such a privilege…. up close and it feels like a big band playing the local. Andrew Cushin doesn’t let up on the energy he puts in. His voice is the biggest instrument.

Earlier on at the back I was able to grab a video of Catch the Sun (link to my Grey-Haired Gig Goer YouTube channel), peering around Cushin’s sound mix man.

I can’t help thinking tonight is symptomatic of the industry. While people fight over £200 tickets to see old favourites, new talent and local venues struggle to make it work. In my mind I need to turn the tide of what I’m doing. There is still that irresistible urge to see an old big name but a trip to more local, or regional anyway, options like The 1865 is always a good night out and there are plenty of older lesser known faves. (The 1865 venue blog.)

Thank you, Andrew Cushin, for another great performance. Good luck.

Red Rum Club – Monday Night in Bournemouth

Red Rum Club live at The Old Fire Station, Bournemouth (6.10.25) with Keyside supporting.

Quite a treat to get out on a Monday night to see Merseysiders Red Rum Club locally. A short six-date October tour to promote their fifth studio album, Buck. Eight of the eleven tracks on the LP are in the set tonight and there is no better way to be introduced to new material. On my early CD listening I had a few grumbles but after four albums, something different and experimental must be allowed to breathe.

With a capacity of 550, The Old Fire Station, is an odd shape with quite a small standing area surrounded by a limited amount of seating to each side on raised platforms and an area of ramps, leaning rails and more raised bits to the rear, with the bar across the back. It’s the student union events venue essentially but very much a mixed age audience tonight – noted by a passer-by who stopped by the queue outside to check what was going on. My mate Tim’s son was enjoying his first proper indoor gig, aged 12 – keep it up Lewis, you have 46 years to go to catch my gig-going tally but you started earlier than me. I’m not the oldest here which is always something of an achievement especially for a newer, well 21st Century, band.

Queued for 7pm doors opening as I was keen for a bench seat on the raised plinth to the left. Having nabbed one of those and bought a signed tour poster it was time for tonight’s support, Keyside.

With a just a few singles/ EPs this will be another band to watch. Front man, Danny Parker, introduces the songs and engages with the audience, like he’s just met us in the pub. “Anyone like football – any Bournemouth fans in?” Cheers. “What about Semenyo eh?” Absolutely. Danny’s a red but there’s a Blue in the band for balance.

Poppy india rockers with a dominant but intricate and delicate guitars, with a hint of Cast/LAs in my ears. Really clear sound and a light jangly guitar easy listen. A chorus singalong is directed by Danny for new song Rock My Love. Yup a really good support slot, well received by a near full house.

Red Rum Club come on to time at 9pm with one late guitarist having been snoozing on the bus.

A new LP and they open with the title track Buck. Some familiar songs, Eleanor and Nightcalling ensure early interest is held. The new album was inspired by their North American tour, Fran Doran explains, and some have more obvious wild west connotations.

Fran Doran and Tom Williams – Red Rum Club

The trademark trumpeting from Joe ‘the Blow’ Corby remains an important feature of the band’s sound on this latest LP. American Nights and English Mornings rolls along well amongst what I think is a difficult start to the album so that makes it a good the first one for them to play from Buck.

Call Me On Your Comedown is a slower track, introduced after some more familiar tunes – so much to choose from these days. Wild is one of my picks from the new LP – reminiscent of breakthrough Black Keys tunes. Fran illustrates its danceability.

Brando, from the 2020 album The Hollow of Humdrum is perhaps the song of the night, demonstrating their Spaghetti Western film score sound at its best. Fabulous guitar.

Kids Addicted is the really lively early anthem of theirs that has the best crowd bouncing, as the set reaches its height. This is closely followed by one of the best of any mobile phone songs… Vibrate. Ending the main set, another familiar anthem, Angeline, and a singalong Hole in My Home, from Western Approaches, their fourth and I still think their best album.

They disappear and return for another five songs to complete a 90 minute performance that was a real pleasure and felt very intimate in these surroundings.

In this final segment we have the excellent Eighteen (what would you do if you woke up and you were 18 again eh?) and first album cracker, Would You Rather be Lonely. Also, maybe the best track from the latest LP, Animal. Live, this has a massive anthemic sound, with some trumpet backing in there.

They finish with Vanilla. This is curiously their biggest Spotify hit. Not for me this one. All very immediate and uncomplicated. They’ve been playing it live for a while and it features on the new album.

Tonight’s gig has really turned up my appreciation of this venue. The key is to get in early and get a decent spot. The lighting was very centre stage focused, so my photos are a bit limited but it did enhance that small gig feel.

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: