Gigs with Ivan

Andrew Cushin live at Dingwalls

Andrew Cushin at Dingwalls, Camden Town, London (2.6.2025) with The Rolling People and Hearts supporting.

Good to return to a Dingwalls back under its original name. My only previous visit to see a band here was A Flock of Seagulls during its Powerhaus branding (name ownership dispute). The Dingwalls name returned in 2023, although the exterior always kept the advertising for an original owner when it was an industrial building: T.E. Dingwall.

Bit of a classic venue that opened in 1973, next to the Regent’s Canal as it runs through Camden Lock, and just north up Camden High Road from Camden Town tube station.

Despite the activity in the late 70s and early 80s I never went there from my suburban London home: I just remember all the ads in NME and Sounds. Bands such as REM, Blondie, The Ramones, Sex Pistols and The Clash played here. There’s a classic Clash photo taken in the nearby market area, used on their first album cover – I went to find it.

It’s into the venue early to see if there is a place to lean or sit. Walked around a bit much today. Also I wanted to see the support bands, especially The Rolling People.

It’s an all standing, 500 capacity venue. The floor steps down to the stage from the bar. I love the set up. Choice – some seats, some leaning and rear and side raised areas.

Inside Dingwalls – from the back left corner

If you like the raise stepped areas best grab a place at the front rail of any of these as it would be harder to see otherwise.

The mix desk is just beyond the first step down from the bar level and that was our chosen place tonight, after relinquishing our side bench seat during Hearts. I notice Hearts are being referred to as Hearts (SE) as too much confusion with other bands I guess when trying to look up some background. New name required I’d say, at this early stage.

Their opening set of indie rock was fine as just that but as soon as The Rolling People started up there was an evident gulf in the depth of sound and impact. A big part of this must be due to the lead vocals of Rolling People front man, Charlie McNichol.

The Rolling People – lead singer Charlie McNichol

I’ve been listening to The Rolling People’s singles and EPs on Spotify (no albums yet) and a bit of payback tonight when I bought the 12 inch EP, Before It’s Gone from them at the merch stand after the show. Bold indie rock, laced with guitars and fronted with that strong vocal.

These lads are late teens and hopefully the rock’n’roll world will open up for their brand of indie guitar based rock. Some similar sounds to tonight’s headliner.

The Rolling People – second support band tonight

Merch desk afterwards with The Rolling People and new signed EP

And on to the main event – Andrew Cushin has a terrific voice and his songs are more rocky than some solo male singer songwriters. Many songs are quite anthemic and suit the live crowd singalong, but there are slower ones too.

With the band accompanying him there is a lot more to the sound than solo and you don’t lose that voice at all as he rides above it.

I’ve seen him twice before, once supporting The Slow Readers Club at Thekla in Bristol (link to blog) and on his own tour at Southsea’s Wedgewood Rooms. We have both albums on vinyl in the house, signed. Those are Waiting for the Rain (2023) and Love is for Everyone (released in May this year). Here with my wife Sally tonight – she’s the bigger fan I guess.

The age range in here tonight is unusually broad, which is good to see – I don’t feel like someone’s dad who’s brought their kids along. I think that’s a reflection of his musical style(s).

He’s 24 years old and has had some encouragement from the likes of Paul Weller and Noel Gallagher, supporting the latter on tour. Noel also produced one of his tracks. I’m surprised he hasn’t boomed even more really but there’s time yet.

The set tonight celebrates the new albums, with a smattering of others. The tour must be going well as a second leg has just been announced in the Autumn, taking in some different towns and cities. Good to see Southampton included.

Cushin has a powerful voice and all the while he’s giving his all on the guitar – acoustic and electric. I know the new album enough not to crave his first album tracks, but it’s great when you hear them. Check out Wor Flags or It’s Coming Round Again.

Andrew checks out the audience and likes a chat. There are a few Geordies and some giveaway Newcastle United shirts in the house. One song he dedicates to Gemma – we don’t know if she is in tonight – but I capture this one for my YouTube channel: A Song For You.

Plenty of zoom pics tonight. The lighting works for me, so I’ve included a few more.

Looking forward to Southampton already and a very enjoyable visit to Dingwalls. The man is going places.

The Magic Numbers live in Lyme Regis

The Magic Numbers at The Marine Theatre, Lyme Regis, Dorset (7.6 2025) with Michele Stodart of The Magic Numbers supporting.

I went through my bursting cupboard of CDs and looked for bands and artists still living and playing that I hadn’t seen live. There were two left: Catfish and the Bottlemen and The Magic Numbers. With the added attraction of a night out with friends and stop over in the quaint, not so near yet not so far seaside town of Lyme Regis, tickets were purchased.

I bought their 2005 eponymous debut album when it came out and while exploring some new material. It’s easy going folky rock. They sound and look almost American, even tonight seeing them but I was surprised to find these two pairs of brothers and sisters were ‘from Hanwell’, West London. Lead singer and bassist are related, as are the drummer and keyboard player.

On further digging I find that Romeo and Michele Stodart were born in Trinidad but left for New York after fleeing a military coup and ended up in London. No wonder they sound a bit American.

The Marine Theatre is one of those quirky English venues to cherish and make sure you visit at least once. I’ve only been once before, to see Paul Young’s Los Pacaminos in 2017. Just yards up from the square where the town meets the sea is the arch in a terrace of houses and old shops through which you find the Marine Theatre.

Entrance archway through to The Marine Theatre

Adjacent to Lyme Bay, this little theatre has views out to The Cobb (as featured in The French Lieutenant’s Woman film) and along the Jurrassic Coast. Over 125 years old, the original building was a public baths fed by a spring before it became a drill hall and then started its life as a performance venue in 1920.

There’s a huge forecourt to stretch your legs or sit out on during an interval, once tagged with your wristband.

The Marine Theatre on Dorset’s Jurassic Coast

The standing capacity is around 400. It’s full tonight. There is an upstairs bar with views of the coast and the stage and there are two bars downstairs where service is swift. I think it’s had a reworking since my last visit but I had difficulty confirming this with staff. I remember furniture and a fireplace on the ceiling of the upstairs bar to give the look of an upside down room. Maybe I’d just had too much local cider.

When the support act came on there was quite a roar from the front and, not being familiar with anything except the first Magic Numbers’ album, I thought it may be a local artist – but no, it was Michele Stodart, bassist for The Magic Numbers who was the support slot tonight, with some of her own material – solo guitar and vocals.

Michele Stodart – support act and bassist for The Magic Numbers

Some intense listening and appreciation for the five or so songs and job done. Michele has played with a selection of other artists (including Natalie Imbruglia and Suede’s Bernard Butler) as well as playing her part in The Magic Numbers and having her solo career. Now time for a sit down outside – rest the legs. I need to.

Views of The Cobb from the Marine Theatre

It’s a very warm happy feel when The Magic Numbers come on stage. The band are all smiles – Romeo is beaming. He likes to talk to the audience as well in his soft and gentle voice. I can’t imagine he ever shouts at anyone.

Romeo Stodart – lead vocals and guitar – The Magic Numbers

The debut album, the most successful chart-wise of their five studio albums, dominates the set. It’s a robust folky rock sound and when they do a Neil Young cover (Harvest Moon) near the end I realise that’s what their sound is like – no wonder I was drawn to it. Romeo Stodart even talks slowly and hesitantly like Neil Young does, between the songs. And they’ve supported him on tour.

Angela Gannon on keyboards get a turn taking centre stage on vocal at one point, while Romeo takes over on keys. This underlines the depth of talent in this band. Although their albums have never reached the heights of the first one (number 7 in UK chart, and second one number 11) there are so many other projects these musicians have been involved in.

Angela Gannon – keyboards, melodica, some lead vocals

Aside from the more familiar, first album tracks, Sweet Divide is a big, big guitary number – a real epic. Also, Roy Orbison sticks in the mind as I reflect on the gig later.

There’s nowhere I can see to sit in here tonight so later in the set I treat my ailing knee and newly troubling ankle off to the left rear side for a well-earned ‘wall lean’. This allows me to get a video of one song which just happens to be their biggest hit, Love Me Like You (links to my YouTube channel).

As the set comes to a close, we move to the door, ready to return to our inn for the night before they lock the front door and we have to scale some spiral metal staircase. It’s from the door we have the treat of Neil Young’s Harvest Moon to watch and listen to. I can’t help thinking tonight has not only fuelled my enthusiasm for another trip here, but a late Neil Young ticket if I can get one. Perhaps Glastonbury on tv will have to do?

A highly enjoyable evening in a friendly place with a warm friendly band. Live music is such a pleasure and sometimes it is made so easy.

Andy Bell live in Bournemouth

Andy Bell at Bournemouth Pavilion (9.5.2025) with Hifi Sean and David McAlmont supporting.

Bournemouth Pavilion Theatre on a Sunday night – not the rock and roll centre of the World, although this place has had, and still has its moments. These days it is much more a venue for ballet, opera and comedians (I saw a four hour Ken Dodd show here once) in my experience (OK, there was just the one opera), although I have seen the place transformed a few times – Orchestral Manoeuvres in the Dark and The Stranglers notably and other bands I’ve seen here include 10CC, Deacon Blue Squeeze and Level 42. Possibly the most inappropriate place I have ever been to for a Stranglers gig. A sizeable proportion of the stalls eventually trying to squeeze into the space between the front row and the stage.

Support slot tonight, Hifi Sean and David McAlmont, are a pairing of a good soul voice and some electronic box work – Sean used to be in The Soup Dragons. Is this a one off? A puzzled audience claps and remains attentive while remaining glued to their seats. Staying seated is the usual order of the day for the Pavilion, except for the end part maybe…..but Andy Bell/ Erasure fans are having non of it.

When Andy Bell emerges the front four or five rows get to their feet and then there is that uneasy period when a seated audience tries to work out if it wants to stand or sit. Ardent sitters can’t see anymore and I settle for a mix of standing, sitting and perching on the raised seat.

The mature audience includes the occasional glittery outfit that catches the eye. I look around from time to time to see dancing in the balcony and a general vista of happy faces – most on their feet for the chart toppers.

Erasure had 17 top ten singles – 24 consecutive top 40 singles from 1986 onwards. They were arena material, so this is relatively up close and personal.

A brave start with the first track from the new Andy Bell solo album (Ten Crowns): Breaking Through The Interstellar. I’ve been trying it but let’s be fair – I’ve come for the Erasure songs as have most in the audience I suspect. Blue Savannah and Sometimes ensure no one panics about the set being overwhelmed with new material.

The set is a well designed balance between the new albun and the old favourites, and suitably mixed up. Mid-set Chains of Love is a highlight.

Andy Bell is clearly grateful for this support on a Sunday night and makes his introductions to those right at the front almost individually. “They told me I can’t go over this line” he says, before stepping forwards and clasping the first outreached hand from the very edge of the stage.

He leave the band to deliver alone half way into the set and disappears to return with a sparkley pink vest with a netting back, having disguarded the jacket.

The cover of Xanadu is big showy number, and this is all very loud for so many aging ears – a bit of distortion at the front unless you have your in-ear defences in place. I have.

He got a good band with him – it’s not pure electronic – a gutarist, drummer and backing vocalist from Nashville, to go with the keyboards ‘stand in’ for Vince Clarke. Andy Bell makes a a few comments when introducing band members that indicate he and Vince will be back working on some new Erasure material soon.

I only ever owned one Erasure cassette – the humorously named Two Ring Circus – that was it, nothing else. Hence I really am here to hear the hits and Victim of Love was right up there with the best of those.

By this time the new songs were just a sit down break for me. Granted, it is always better to hear live versions of newer, lesser known material but the new tracks can’t compete, in my ears.

The alternate new and old approach continues in an atmosphere of increasing enthusiasm, with Oh L’Amour and the irresistably danceable A Little Respect sandwiching a new and apt song Thank You, to end the night.

I came away thinking ‘what a nice chap’ Andy Bell was. He’s been there and done it. Nothing to prove but humble and grateful for his audience thirty years on from the Erasure boom. Maybe I will be back for an Erasure gig sometime soon, if that new material gets going.

Gigs without blogs: May 2025

I’ve been doing this blog for six years now. I don’t do a blog for every gig. Some are bands I have seen many times and there’s nothing extra to add.

There is also the balance of dealing with a run of gigs in a row when there no time to gather thoughts and create. Occasionally there are barriers in the way of getting any photos worthy of sharing – I tend to follow the rules and keep out of people’s way.

Some bands I go to see out of curiosity and I couldn’t share much on them even if I really squeezed.

To date, this year, there are just three I haven’t blogged about. Back in February there was Americana loving, Hampshire folk duo, Ward Thomas. Pleasant enough but no cameras or phone use. Enjoyable though it was, the recorded material promised more and I didn’t have much to say about that one.

On 2 May, The Inspiral Carpets was much more my thing and I have enjoyed seeing them several times in recent years – with original lead singer, Stephen Holt, rather than Tom Hingley – the one singing on all the big albums.

Great tunes with Clint Boon still on the 60s sounding keyboards. Still a top night out. I didn’t have my camera and getting to this one and standing was an achievement for me that night, with my latest old person knee injury.

Inspiral Carpets – Bournemouth Old Fire Station

Next day, 3 May, we went to Exeter Pheonix with friends while staying down in Plymouth with them overnight.

That was for The Undertones. I’ve seen them many times in the early Feargal Shakey days and in the recent few decades with Paul McLoone fronting the band.

Such great songs – I can sing along to them all – that makes them always enjoyable. This one was no different and perched at the front of the balcony was a good opportunity for a couple of videos on my pocket zoom: You’ve Got My Number and There Goes Norman can be found here on my YouTube channel.

Photos from a distance were a bit grainy with some relatively unrevealing lighting but there are a few here as a reminder of my trip. I will be seeing them again soon I’m sure. Nice little venue as well.

Michael Bradley and John O’ Neill – The Undertones

So just a bit of a catch up and no full blogs on these.

Next up it’s Erasure’s Andy Bell in Bournemouth. Never seen him or Erasure live, aside from his brief guest appearance on stage with The Killers last year in London at the O2.

‘Gigs without blogs?’… well ok just a brief mention.

Manic Street Preachers – live in Shepherd’s Bush

The Manic Street Preachers at O2 Shepherd’s Bush Empire (19.4.2025) with The Anchoress supporting.

This 2000 capacity venue looking over Shepherd’s Bush Green is one I warm to. I love the three tiers of balcony that tower up above the stage, bringing everyone quite close in to the stage. It was the right side of London for me so a more regular choice for me in my Reading area years.

Three Bluetones gigs, two Stranglers, Echo and the Bunneymen, The Icicle Works, Aztec Camera, Marc Almond and in the last decade The Vive Le Rock Awards, The Skids and Dave Stewart’s 60th birthday gig, where I met the recently departed Clem Burke at the bar. I’m sure there’s more.

Tonight, with mate Chris, we end up on the front row of the side of the first tier balcony as part of the unreserved seating. A different view but a clear view and grateful for the well upholstered bench seat as this is the second gig in two nights and we have had a good tour of pubs this afternoon – Baker Street, Hammersmith and Shepherd’s Bush. We particularly enjoyed the relaxed atmosphere of the Shepherd and Flock down the Goldhawk Road – Guiness, Tayto crisps, chat and horse racing on the TV, betting slips and biros on the bar, before catching mate Keith and friends in the Sindercombe Social, just on the corner near the venue – I presume the reason that pub wasn’t rammed full was that most people had gone to queue to get in the venue, before we arrived.

Supporting tonight, and we are just in time, with our pints of Brixton Pale Ale, is The Anchoress – keyboardist and Wales born singer, Catherine Anne Davies. I remember her from her Simple Minds years (2014-2018).

A good choice and a relaxed though quite intense performance to kick off the evening. She appears later to accompany the Manics for an acoustic version of This Sullen Welsh Heart.

(I later found her Versions album has some interesting reworked songs by bands including Nirvana, The Cure and Depeche Mode.)

The Manics

Considering how much I like the Manics, and all the material I have acquired over the years (all CDs), I have seen them only seven time before and that’s spread out over the 29 years since I first saw them, at Pheonix Festival in Warwickshire. Four of those are festival appearances. (That 1996 Pheonix Festival was pretty special – Bowie, Neil Young, Foo Fighters, The Prodigy and the reformed Sex Pistols that weekend.)

This is the second of two nights here in Shepherd’s Bush for The Manics and it’s a real treat to see them in the civilised yet busy surroundings of a proper theatre and not some huge hall.

James Dean Bradfield – Shepherd’s Bush Empire

The tour is to promote the new LP, Critical Thinking. It’s had time to grow on me sufficiently. Still there is a huge variety of Manics’ material to pull out of the bag if you hadn’t had the chance.

The new album has the some Nicky Wire lead vocals on Hiding in Plain Sight. He sings it tonight, lyrics in hand as a security blanket and it’s well worth a listen – sounding a bit Ian McColluch (is this why it uses the start of The Bunneymen’s Ocean Rain as it opens?). The title track is also a Nick Wire lead vocal, perhaps the better one.

Nicky Wire on bass, the occasional vocal and backing vocals

Always a slight concern that with a new album out, the band’s enthusiasm leads to them playing the whole thing. Fear not. Five new tracks provides an easily digestible mix. I particularly enjoy People Ruin Paintings from the new album.

I’m pleased with the four track focus on the Everthing Must Go album (1996), especially Australia and, naturally, Design For Life, the track that woke me up to them when I stood up at Pheonix Festival 29 years ago to see what was going on. This was their fourth LP so I wasn’t exactly there at the start. Still my favourite album that one.

Sean Moore on the drums – Shepherd’s Bush

James Dean Bradfield is enthusiastic yet focused and calm – great voice and some fabulous riffs as ever – Motorcycle Emptiness being the glorious example. He hurt his knee last night apparently, not that I would have noticed.

There a solo start by James Dean Bradfield to The Everlasting with the band joining him as it gets into the heart of it – it’s this track I choose as my lucky dip to record and later save here on YouTube.

International Blue remains my pick of their 2018 album, and the first single, from Resistance in Futile…. love the title. This appears nearing the end of the set – more great guitar.

To finish, the familiar and rougher sound of Motown Junk and finally what now sounds an epic: If You Tolerate This Your Children Will Be Next. This was released in 1998 and maybe we are listening to this 27 years later as the “gutless wonders” the song envisaged as tolerating ‘this’, with a World’s worth of crap seeping in around us.

(Official video of the boys in earlier times: YouTube If You Tolerate This...)

Peter Hook live at The Troxy

Peter Hook and The Light at The Troxy, Limehouse, London (18.4.2025).

The Troxy is just a little off the usually beaten track for many London visitors – come out on the DLR or as we did, by bus (115 out along the Commercial Road).

A fabulous history since it was built in 1933, then the largest cinema in England – outlined here on the enlightening history pages of the Troxy website. It’s amazing it survived the blitz – its local customers’ houses blown to pieces. Never quite in the mainstream since its cinema and bingo hall years, it was used as a training venue for The Royal Opera House for a while and re-emerged as a venue in 2006. Capacity 3100, today found with downstairs standing and the seated balcony.

Only my second visit, the last time being upstairs for Siouxsie Sioux (clip from balcony on my YouTube channel).

A few good pubs about and with a gig on its always going to be hard to get in and get served. Me and my old Coventry mates managed to get a seat early in the Craft Beer Company pub just east of the venue.

There are a few good little boozers on square green just a few hundred yards north of there – The Queens and The Old Ship. I had a couple in The Old Ship with mate Chris earlier on – that’s the gay pub, I now know. It’s The Queens I went in last time. Both worth a try, with drag acts an occasional feature of The Old Ship if that’s your thing.

Inside The Troxy it feels huge and looks beautiful. No support tonight. It’s two sets from Peter Hook and friends. First the New Order album Get Ready – 2001. I admire the way Hooky works through different albums but this 2001 LP is one I am least familiar with. The second set is more a greatest hits collection from the New Order and Joy Division years.

We stand at the back of the lower standing area and the sound is good and view fine. There is even a long bench seat at the back of that lower area, if a grey-haired gig goer needs a rest, divided by an available barrier leaning spot, in front of the mixing desk.

Peter Hook shares the load on bass with his son, Jack Bates, and a third man on bass at times. The singing is also shared around and I honestly have no idea who anyone else in ‘The Light’ is or if the arrangements are a constant.

Personally, I prefer Hooky doing Joy Division numbers, especially Shadowplay and Transmission as a for instance. These play to the strength of the bass.

I don’t know what I can add to what everyone already knows about Joy Division or New Order. Such an important backdrop to my growing up, in the loosest sense. Indeed, what can Peter Hook add to it. I love hearing the songs I know live, but it is hard to put my finger on anything beyond the nostalgia trip, good though it is. Sometimes that’s enough eh?

She’s Lost Control is another Joy Division track that Hooky delivers so well – the vocals in a real Ian Curtis disturbed style.

On the melodica – you can almost hear the sound from the photo

So a short blog and more of a picture gallery for this one. Peter Hook is continuing with an autumn tour featuring the Get Ready album, just announced. I have built a little on my knowledge of that one but I will likely wait and see what album is toured after that.

Troxy: as we leave, from the rear part of the standing area

The setlist comes from my mate bumping into someone on the way back with one. No encores or deviation. A strong string of New Order songs to finish. Blue Monday. A wonderful track. A dancing live track.

Love Will Tear Us Apart is an unavoidable finish these days…. “let’s dance to Joy Division” eh, the irony of which was observed and highlighted by that Wombats’ single.

From The Jam- live in Leamington Spa

From The Jam at The Assembly, Leamington Spa, Warwickshire on 12.4.2025 with London Calling supporting.

A new venue for me. This original 1926 art deco style building, ‘The Bath Assembly’, had periods of closure and a spell as a Gala Bingo Hall before reopening as a music venue in August 2008, with many features renovated with input from Lawrence Lewellyn-Bowen.

Original name The Bath Assembly adorns the top arch

The standing capacity is 1000, as it is tonight (500 if seated) and there is a very small rear balcony with some seats and standing room, with a decent view – I’m up on that tonight with tickets at a slight premium (£50 v £35ish). We were fortunate to get room on a bench. (Some inside images on The Assembly website.)

The bar is well staffed so no waiting and a selection of decent cans and bottles. No wine by the glass but bottles of white wine at £20 was appreciated, and then abused. Well, bit of a special one this as staying over in the Premier Inn on the main street, The Parade – what a thoroughly pleasant town to be in – even better than I recall from the 80s and 90s.

Lovely parks and a few convenient large pubs near to the bottom end of town, where the venue is (such as the Old Library).

Over the river Leam, south passing The Royal Pump Rooms, towards the venue

Tonight’s support band is a Clash tribute band, London Calling. I’ve seen them before and once again they are excellent – really enjoyable. As we’re watching from the back you could easily make believe you are watching The Clash, especially after a bottle of wine.

Why all the way to Leamington Spa to see From The Jam, a few have asked. Time is running out. With just Bruce Foxton as the original Jam band member these days it was sad to hear he was retiring after the end of this Setting Sons tour – he’s 69 now and recovering from knee surgery which forced him to miss a lot of this tour, but it’s not been his only health problem in recent years. I couldn’t make Guildford, London or any gigs near me, so here we are.

It’s only a few weeks since the death of The Jam, and subsequently From The Jam, drummer, Rick Buckler (aged 69). Our generation is dying. The Buckler backdrop is there throughout the From The Jam performance. Respect and the memory is acknowledged without turning another gig into a memorial service. Frontman Russell Hastings comments, “as Rick would say, let’s get on with it”…and they do.

Russell Hastings – From The Jam at The Assembly

The drummer these days is Mike Randon. Bruce Foxton doesn’t join the band and replace the stand-in bassist until well into the set and plays about the last 25 minutes.

Of course the songs are great – it gets the hairs on the back of your neck up at times. Russell Hastings is so Weller sounding.

Bruce doesn’t say much – he’s just pleased to have made it and appreciative of the audience in his quiet, unfussy way. No leaps in the air these days.

Setting Sons is a great album to have the spotlight on. The likes of Smithers-Jones; Thick as Thieves, the wonderful Saturday’s Kids and of course Eton Rifles. Bruce’s big one is David Watts there is a selection of other hits later on.

Down In The Tube Station At Midnight is hard to match, in any company and the same can be said of one I video, captured here on my YouTube channel – Going Underground.

What are we left with when Bruce goes? Will From The Jam continue? There’s no doubt they can and would still be a good night out, but is it then just another tribute band, like London Calling we saw earlier.

Doctor Feelgood continue with no original members, The Stranglers as big and popular as ever with one original member. I guess we just see what Russell wants to do and if they can still sell enough tickets to make it worth it . In the meantime, we enjoy it while we can.

Thanks Bruce; thanks Rick, thank you Mr Weller for the songs and thanks Russell and others for keeping The Jam songs alive.

Ocean Colour Scene with Kula Shaker – live in Pompey

Ocean Colour Scene live at Portsmouth Guildhall (3.4.2025) with special guests Kula Shaker.

My previous OCS experiences are summarised here in my blog of a December 2023 gig in Bournemouth. This is my eleventh OCS gig – just three or so for Kula Shaker but there was The Jeevas that I saw with Crispian Mills fronting that as well. And there’s more notes here on the Portsmouth Guildhall here.

We had balcony seats for this one but watched half of the Kula Shaker set stood downstairs with friends Steve and Dawn.

I bought some new ear plugs – looked like others I’d had and much cheaper. Maybe it’s about the shape of your ears but they were crap and after a bit of fiddling I retreated upstairs. I have since bought a different brand – EarPeace which I have had before and I think are excellent (about £30). My ears take a hammering so I need to be kind to them.

Crispian Mills is 52 now and he appears to have the body of 30 year old. I’ll have some of what he’s on please. Kula Shaker’s psychedelic rock is complemented this evening by some amazing lighting being used as the backdrop.

Mills guitar playing is frantic – he’s down on his knees playing (and no one has to help him up). Impressive. I realise I don’t know their stuff very well. Of course I recognise Govinda with its Indian sounds and chants. I record that one – link to my YouTube channel.

I’m not going to dwell too much on this one. I really enjoyed the gig but nothing new to add really.

Ocean Colour Scene take on a much more relaxed approach than Mills and Kula Shaker. Frontman Simon Fowler is 59 and stays put centre stage – he looks more like I would have to behave on stage, which is comforting in some ways – and the band stick to their positions, with just a limited amount of Steve Cradock wandering.

Ocean Colour Scene – Portsmouth Guildhall

First song is The Circle with images of scooter boys across the backdrop, presumably in Birmingham and maybe around the circular 11C bus route that the song is about, yeah? It cuts through Moseley – where some of the band are from, and just after I left that area earlier in the 80s.

The setlist is a beauty, with seven tracks from Moseley Shoals and five from One From The Modern. Profit in Peace gave a massive lift to the mid-set. So now. So always. Everyone was singing along like it was a hippy 60s gathering – war imagery across the backdrop, seemingly always the backdrop. What do we do? Rock on. Rock until we drop or someone drops us. It’s a beautiful song and up there with the best one song live moments of recent years.

I grab a video of another One From The Modern – So Low. (Here on my YouTube channel.)

The subtlety of Fowler’s vocals on Emily Chambers is… just Beatlesque. Better Day – is there a better OCS song? Get Blown Away. The songs keep coming. This is why I have so much OCS material. I love it all – Bsides, live recordings. Just play the songs and I’m happy.

You think they’ve run out and the end must be nigh.. but wait, Travellers’ Tune. One more then all focus on Fowler for Robin Hood, a popular encore pick. To finish it’s The Day We Caught the Train, the day Jimmy caught the train:

“You and I should ride the coast
And wind up in our favourite coats just miles away
Roll a number, write another song like
Jimmy heard the day he caught the train”

I love it. That’s all they have to do – play the songs. That’s what they do – just play the songs. See you again soon Moseley boys.

The Darkness live in Bristol – with Ash

The Darkness at Bristol Beacon (24.3.2025) with special guests Ash.

Despite owning just one Darkness record – the 2003 album Permission to Land, 99p from an Oxfam shop in Poole – this is now my fifth time of seeing them live. Rocking entertainment every time. Tonight’s gig is just 15 months on from my last Darkness gig here at the Beacon blogged here.

Once again, aside from the opportunity that gig buddy Plymouth Dave presented, the support act gave it the extra appeal to lure me to Bristol. Last time new boys Bad Nerves and this time a return to the boards of Ash, old favourites of mine back across the turn of the century, to sound old.

We are in for the end of the soundcheck, a Q&A session, stage set up tour with the added touring band member and a pic beforehand. There about 20 people in for that and one lucky chap gets to play guitar with the band for a song of his choice – he was brilliant.

The Darkness with a grey-haired gig goer

Special guests, Ash, from Northern Ireland, are still the original three from their 1992 formation: main man Tim Wheeler on vocals and usually with his distinctive Flying V guitar; Mark Hamilton on bass and Rick McMurray on drums and backing vocals.

From our front of side balcony perch I recorded a few songs on my pocket zoom camera, including the new single, a cover of Jump In The Line – link is to my You Tube channel.

The other was, by chance, another newer one: Braindead from the last album Race the Night (2023). I tend to just try to record a couple if it’s easy and unobtrusive and leave it if I mess up or bodies walk passed etc. Justin Hawkins gave a briefer speech and dressing down of phone waving video takers than he did last time but I thought I’d just stick with a few Ash ones if he didn’t like it…it’s his ball.

The official Ash video of Jump in the Line is pretty sensational – best band video I’ve seen in ages. Take a look: Jump in the Line official video on YouTube.

With eight studio albums to choose from, there are so many songs and not enough time but I sense that Ash may be testing the water for a headline return.

Free All Angels, their second album is the one I got most familiar with and Burn Baby Burn and Shining Light are great to hear live again. Debut LP 1977 was the source of four of their nine song set tonight, Girl From Mars the highlight.

They seem so much rockier than I remember – powerful drumming, ripping guitar and that loud and clear bass you get from a three piece band.

Brief but thoroughly enjoyable and a big crowd, in early, to appreciate it on this Monday night.

The Darkness

This tour accompanies the release of the new album Dreams on Toast, with associated baked beans imagery merchandise. The set includes six songs from the new LP but there is still room for five from my only Darkness recording, Permission to Land. This is an obvious personal bonus.

Justin Hawkins is just so smart, so witty and so talented. Every time I’ve seen them he seems to be in control of the audience. He’s not averse to just stopping mid-song to comment on something or someone in the audience.

He has the audience chanting about the QR code to download an extended version of the new album and mock marching to either side of the hall.

Tonight he’s in all white and, after acknowledging he has been a bit ill, launches into extended speculation as to whether the crowd wanted to see him ‘shit himself’ on stage. He didn’t.

Amid the antics the show absolutely rocks. Great guitars with thunderous energy coming from Rufus Taylor on drums (Queen’s Roger Taylor’s son, in case you didn’t know). He is one of the best and gets off the kit to lead the vocals on a few songs.

Last couple of songs of the main set are crowd pleasing belters – Friday Night and I Believe in a Thing Called Love. They return to cheers with two songs from the new album which is perhaps a surprising way to end but smiling faces as we all shuffle out afterwards.

[If anyone fancied a recording of the gig, downloads were made available for £5, here on The Darkness website.]

Red Rum Club live at The Engine Rooms Southampton

Red Rum Club at The Engine Rooms, Southampton (20.3.2025) with The Florentenes supporting.

Back at The Engine Rooms, Southampton (my venue blog here) and a second time of seeing Red Rum Club here.

Given they are a band that have emerged more recently – over the last five years – it’s surprisingly my seventh time of seeing them live. A bit of an our house favourite this lot. Good to catch up with Francis C tonight, who was one of the people who pointed me in the direction of these ‘mariachi Merseysiders’.

I find one of my favoured spots, next to the mixing desk. I’ve been in London with work for a few days and my legs are suffering so the barrier to lean on is most welcome. Gigs like this need to be standing.

Watching the knob twiddling on the mixing desk

The support band, The Florentenes (precise spelling required to avoid confusing with similar names) were new to me and new to most I guess as they really are fresh out of school. Indeed the drummer (Liam Fiddy) is still at school and the lead singer, Will Train Smith, makes reference to the fact they need to get back for school in Manchester in the morning for Liam – they originate from Bolton but maybe he thinks we won’t be so good at UK geography.

Their first EP is called 14-17, the ages of the band at the time of its release. The latest single is Fuel for the Flame. A wonderful jangly guitar and a barking lyric – Arctic Monkeys and Oasis must be in these guys’ phones.

Will Train Smith – The Florentenes front man

I thought they were excellent and look forward to seeing them grow.

And now to Red Rum Club. There’s little more I can add to my previous RRC blog as regards their history. They’ve cranked up a notch though. With four albums to draw on and songs they have been playing live so much now, they have a great set.

They don’t forget any of their albums, from Matador (2019) to The Western Approaches (2024). The sound they call Tarantinoesque has that distinctive trumpet interjection from time to time, occasionally greeted by a crowd roar.

First album faves of Angeline and Rather be Lonely are still up there with the best but I sense a newer crowd enjoying Black Cat and Houdini more, from the latest LP. Vibrate and Eighteen (what would you do if you woke up aged 18? What a thought) are a couple of my top picks played tonight from the third album, How to Steal the World (2021).

Kids Addicted is perhaps the best tonight. Two other crackers from album two, Hollow of Humdrum (2020) tonight are Eleanor and Dorado – more Mexican atmosphere.

It’s refreshing to know the songs of a 2020s band so well. All hope is not lost for a grey-haired gig goer eh.

Tom Williams – guitar and backing vocals

Another great performance and after a few support and festival slots in recent years it’s really good to see them sailing through this headline sellout billing. The best I’ve seen them I’d say and a welcome distraction – my leg is buggered tonight, despite my trusty mixing desk barrier.

I’ll leave you with a few more photos.