Gigs with Ivan

Inhaler live – Pompey

Inhaler at Portsmouth Guildhall (5.10.2025)

After the trek back from Bristol, via home to pick up wife, Sally, we get to Portsmouth Premier Inn to see a police cordoned and be called to be told of its evacuation due to a fire. A rebooking in Havant and some time to kill, spent in the obvious Isambard Kingdom Brunel Wetherspoons opposite (pleasant one that always serves the purpose) and the cavernous Dockyard pub (good range of craft ales) just along down Guildhall Walk.

Although Inhaler formed in 2012, in Dublin, the first LP wasn’t released until 2021. Like many, my eyebrows had been raised around Covid times, with the early singles, such as Honest Face (which I bought on 10″ vinyl), having realised that it was Bono’s son, Elijah Hewson, fronting the band – I can’t deny it.

I saw them three times in 2022: Glastonbury and Victorious festivals, and at Southampton Engine Rooms (My blog link to that one). Three good LPs purchased, all reaching 1 or 2 in the UK chart and all no.1 in Ireland, the latest being Wide Open. There’s even a new single, not on the LP, released today (29 Oct), Hole in the Ground, which they play mid-set.

Inhaler at Portsmouth Guildhall – they are there, honest.

No cameras allowed at this venue and that seems a permanent thing so it’s phone only, and there are loads of them waving about downstairs. The lighting is unusual. Maybe it was upstairs only, from where the stage mostly appeared to be in darkness and sporadically bright lights beamed up into balcony faces, from what looked like giant speakers positioned around the stage. Perhaps it was the desired effect. (The phone snaps are just when the stage suddenly lit up a bit.)

The gig appears to be something of a warm-up for a special Royal Albert Hall one this week and it is a nice surprise to have them visit Pompey. It’s busy. Huge queue when the doors opened with mostly young women waiting to rush for a place on the barrier down the front. We waited in ‘Spoons. No rush. So little rush that after going straight in at 7.30 ish we grabbed a table in the big downstairs bar and met some friends. I wasn’t motivated to see the support bands this evening, which isn’t my style but no research and I was unaware of Scustin or The Guest List (there’s a name that’ll be a nuisance – comedy sketch gold).

Inhaler are an easy listening. Indie pop but with plenty of depth in the guitars and bass. Elijah Hewson’s voice has that clear, light nasal, soft Dublin sound that unmistakably marks him as the son of his father. Much less frontman and more part of the band and playing guitar throughout. It is an overall sound I warm to with rarely a song I don’t like, but then less that I can pinpoint as highlights. This is whole album music. If I had to pick favourites, they would be the ones that obviously demand pride of place in the setlist still, with It Won’t Always Be Like This at the end of the main set and My Honest Face as the last of three songs in the encore.

Despite my lofty position in the balcony, and the peculiar lighting (I suspect the Albert Hall was the priority), it was uplifting to see youths going bonkers down the front, and it’s heavily female… more stories for girls than Stories For Boys perhaps.

The band makes a great sound – a few grumbles from friends downstairs mind – but it was loud so maybe any distortion didn’t travel upstairs.

The Royal Albert Hall is going it a bit but over the three albums since 2021 they have been impressive and not over toured and I hope they enjoyed that special night. I don’t suppose Bono was there… wouldn’t want to cramp his son’s style.

The Stranglers at 51 – live in Bristol

The Stranglers at Bristol Beacon (28.10.2025) with Buzzcocks supporting.

The Meninblack march on. Jet Black and Dave Greenfield have left us – RIP. Hugh Cornwell abandoned us. No more major tours they said. The 50th Anniversary came and went. The crowds still come. The performances get more polished.

The technical ability of Toby Hounsham on keyboards and Jim Macaulay on drums continues to impress. Baz Warne, guitar, vocals, gig raconteur and now author has been ‘inblack’ for 25 years. JJ (Jean-Jacques Burnel) is now 73, going on 45, remains our leader and a role model for our failing bodies.

No more heroes, eh?

…and no I haven’t forgotten Hugh Cornwell or left him behind.

Tonight, aside from the black comfort blanket of another Stranglers gig, and catching up with friendsinblack there’s an added interest in those less common inclusions in the setlist.

I’m 62 and tonight is my 34th Stranglers gig over a 45 year period. That’s a quite conservative tally compared to so many men and women inblack, but this band are the cornerstone of my gig going and record buying and listening. Where would we be without them. My wardrobe contents might be a bit lighter for a start.

The band open tonight’s set with Goodbye Toulouse from their debut album – Rattus Norvegicus was rereleased on green vinyl on National Album Day recently. No Waltzinblack tape as the walk on music. This old tradition is maybe over and instead it’s Je Ne Regrette Rien (JJ’s French influence).

The sound is excellent throughout. A combination of the thoroughly refurbished venue and the polished performances we get from the band, consistently these days. I am on the front row of a side balcony. An excellent view from here although getting in and out is a bit of squeeze – you don’t want to be popping in and out from a seat here, unless you’re at the end of the row.

I took a video of one song, as is my way, either gambling on one or recording on cue from an introduction or opening notes – Thrown Away, the chart single from the Gospel According to the Meninblack LP: one with JJ on vocals. This seems to be a track I’ve always liked more than most fans…. here on my YouTube channel (Thrown Away). The lone track played tonight from that 1981 concept album – I saw them twice on that tour so perhaps a reason to warm to it, unusual though it is.

A treat of a Stranglers gig these days is hearing some less aired tracks. Tonight there are two songs from the other 1981 LP, La Folie, which you don’t hear often: Tramp and Pin Up. The backdrop for Pin Up sees a series of small images flashed up in various windows, randomly – there must have been some cheeky ones in there.

Last time I saw The Stranglers here (blog link), it was a rearranged gig and it was seated downstairs, front row (so up on my feet). Tonight is standing down there, with some usual unreserved seating at the back, but the crowd are quite static. Something Better Change starts a bit of movement in pockets but I guess everyone’s legs are getting old. I noticed how many bald heads there were and commented, wondering what proportion of men over 60 were bald? It wasn’t long into the set that Baz Warne commented on the number of bald heads. Whatever the reason, the audience did seem a bit subdued . It’s Tuesday night but hey ho, it’s no Sunday/ Monday. I’m sure they haven’t all got work tomorrow.

One album that passed me by and I picked up later on CD was Giants. This 2012 release is the middle one of three with Baz Warne on lead vocals. They play a couple from this tonight: 15 Steps and Mercury Rising. I must dig this one out more often.

Yes, it’s still those hits that the crowd laps up most. The softer Golden Brown or Always the Sun, or the harder Peaches or Hanging Around (maybe my all time favourite Stranglers’ track).

There is still room for a few from the most recent LP, Dark Matters, and White Stallion, which appears to have established itself as a new anthem.

In the encores the old pub rock sound still has a place with Mean to Me, a track featured on the free white EP that came with the essential Black and White album, which is clearly being rested this tour. It’s hard to knock No More Heroes off its closing number perch these days. The first of their singles I bought when it hit the charts. I still remember buying it, closely followed by the album, from the Squeeze Inn record shop on the Staines Road West, Ashford Common. We’ve all come a long way since then. No more heroes, eh?

Annabella’s Bow Wow Wow live in London

Annabella’s Bow Wow Wow at London’s 229 venue (25.10.2025) with The Baby Seals supporting.

My ROCKtober continues to gather pace. Do I blog it all or spend a bit more time on some. No, I’ll hammer on through and perhaps I’ll have to be briefer.

Not many pics tonight as I’m without my trusty pocket zoom. This is a Saturday night out in London to live in the music, well and have a few beers – a top night out with old friends and “Annabella’s Bow Wow Wow“. As Annabella reminds us – she’s the one, she’s the voice but there’s another band about using the name. How can there be a Bow Wow Wow without Annabella? That voice and style is so distinct.

Only my second visit to 229, near to Great Portland Street tube (and a short walk from Regent’s Park tube) and opposite an extremely hospitable and convenient beer drinkers’ pub (The Albany). This all very handy.

I wasn’t expecting The Baby Seals tonight but this garage three piece from Cambridgeshire bought some punchy punky sounds to a filling venue.

Not a bad turn out already and as I eye the people coming in down the stairs by the bar, I can sense the trickle of history and old John Peel disciples coming in. The curious and the individual who probably saw Bow Wow Wow back in the day…I didn’t by the way, but went to a few gigs on the (English) Beat tour that they toured the UK with last time.

The Bow Wow Wow uniqueness comes from the drumbeats and the singing, often chanty singing, and that hallmark occasional shrillness that Annabella brought to the tunes in her early teens. The other uniqueness comes from that Your Cassette Pet, originally cassette tape only EP. (I still haven’t found a copy when casually browsing the second hand shops.) So, it’s a cracking start with Louis Quatorze and Sexy Eiffel Towers among the first songs, from that EP.

I moved down the left wall to get closer. (There are a few tables and chairs to sit, if you get in early – my legs survived with a ‘wall lean’.)

For me the essential C30 C60 C90 Go is soon after and See Jungle, a single I have since its release. The former is so Antmusic in its sound, unsurprisingly maybe as Malcolm McLaren took some Ants to play with Bow Wow Wow. C30.. is such an important marker for the early 80s music scene. And here we are 45 years later listening live. Lucky us eh. We are all still here.. cheers, I’ll have another pint. I’m enjoying this.

Annabella’s got a lot of energy and makes it all look natural and effortless. It all does the memories justice – very different to my Adam Ant experience a few days earlier.

I can’t help but focus on the most familiar tunes: they’re ingrained from the 80s and late nights with the John Peel show. So, it’s Go Wild In The Country – maybe a more conventional pop song and the cover of I Want Candy that round off the set. I guess from the cheers that I’m not the only one who remembers those best. (Go Wild... captured here on my YouTube channel.)

They return for an encore of Aphrodisiac, the opening track on the 1983 LP When The Going Gets Tough, The Tough Get Going. It all seems to have rushed by. Another Saturday night out in London is over… well nearly as we pop backstage with a beer to have a chat in rooms you don’t normally get to go – I was here with Annabella’s brother as well as my gig buddy Dave. Cheers. Great evening.

The classic moment has to be hearing C30 C60 C90 Go live.

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.