Gigs with Ivan

Iron Maiden – Run for Your Lives Tour – Birmingham

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

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

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

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

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

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

Phones out for This Raven Age – supporting

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

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

Iron Maiden

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

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

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

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

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

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

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

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

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

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

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

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

Full setlist: Setlistfm

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

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

Pulp on tour – Birmingham

Pulp at Birmingham Utilita Arena on 19.6.2025

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

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

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

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

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

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

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

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

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

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

Jarvis works out another classic silhouette

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

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

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

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

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

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

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

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

Oasis – the day finally came – Cardiff

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Other vids I kept:

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

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

If the opportunity comes your way, take it.

Southampton Summer Sessions 2025 – The Stranglers; Simple Minds

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

Summer Sessions stage – Guildhall Square

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

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

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

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

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

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

Buzzcocks

The Stranglers

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

China Crisis

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

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

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

China Crisis at Southampton Summer Sessions

China Crisis – Southampton Summer Sessions

Simple Minds

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

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

All photos from my trusty TZ90 Panasonic pocket zoom.

Forever Now Festival

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

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

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

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

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

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

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

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

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

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

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

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

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

Richard and Tim Butler – Psychedelic Furs

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

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

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

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

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

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

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

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

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

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

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

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

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

The The with Johnny Marr and some annoying steps

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

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

Kraftwerk – those damned steps are still there

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

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...)