Gigs with Ivan

Sting and Blondie, live on Plymouth Hoe

Sting, Blondie, Germein (16.6.2024) live at The Summer Sessions, Plymouth Hoe

New venue for me – the historic Plymouth Hoe – my first Sting performance and a chance to see Blondie play again. A sunny day and dry evening, despite the awful weather warnings earlier in the week.

Plymouth Hoe from Crown Plaza restaurant

I didn’t see Blondie back in the 70s/80s. Realistically a bit early for my gig going but that Parallel Lines album was a regular on my turntable. Yup, I know it’s not the same now but it is what it is. I managed 1998 at Reading Leisure Complex and two gigs prior to this one in the last two years. (Last one blogged here at Dog Day Afternoon.) It is still special to see a Blondie in 2024, with Debbie Harry and Clem Burke drumming, from the original line up. Ex-Pistol Glen Matlock is on bass, as he has been on recent Blondie tours.

Clem Burke on drums, sound screened off from Debbie Harry

I confess to only hearing Germein, first band on, from the bar area – knee in a stretchy support thing and I’m grateful for a bench. I peered over a plastic hedge for one song and these three sisters from South Australia were being enjoyed. Poppy and danceable and a crowd happy in the realisation that it wasn’t raining, with blue sky emerging.

As Blondie came on stage I went into the main standing area, the right hand front premium priced bit. This was tarmac, sloping away right (to test any knee or foot weakness). I was expecting a slippery, muddy field earlier this week, so I am very again grateful.

Debbie Harry is 78 but this is still Debbie Harry live in front of us and I appreciate that. What an icon. As with last time I saw her, the voice works and well on most songs. Possibly the set list needs to accommodate the voice these days and I think that makes the shorter support sets work better.

They open with One Way or Another, then Hanging on the Telephone, preceded by the recorded phone ring.

Clem Burke’s drumming so distinctive and loud that he’s behind a plastic screen so the old girl can sing without bursting an eardrum.

Debbie Harry – Clem Burke – Blondie in Plymouth

A couple of older old ones from the first LP in 1976 appear: X-Offender and In the Flesh. Then later hits Rapture and The Tide is High. This gives Debbie Harry more of a chance for the toothy smile she can sing through, with an occasional lazy slur. Still the cool New Yorker in town. She has a few words between songs – just enough to know she’s real, and she’s enjoying it.

The 1999 single Maria has elevated in popularity as more time has passed on. That was the comeback single. I wander down front right for a pic but don’t linger as a posse of tall people are there. The venue isn’t huge but quite big enough (I think about 15,000 but not much info about on this) and there is a decent view even if you wander back to the mixing desk.

Heart of Glass gets the disco going. There are a few Debbie Harry solo numbers and Dreaming to end. It is all a bit dreamy really – 2024, aged 61 and standing on Plymouth Hoe seeing Debbie Harry sing live. Doesn’t seem that long since I was stood in Sunbury Record Scene in 1978, aged 15, clutching Denis single, picture cover.

No Denis today. Enjoyed this set enormously and nostalgically but a hint of regret at not hearing my picks that would include Presence Dear, Picture This and Union City Blue.

The blinding sun drops down below the level of the stage backdrop and apartment buildings behind. As a crocked gig-goer at the moment I had to retreat to the bar area and ‘my’ bench. I could hear the beginning of Sting and peer through a fence and I settled for saving myself for a bit and standing for the last estimated hour. This worked.

My first Sting gig and I didn’t see The Police either (my dad prohibited my attendance at Reading Rocks 1979). After the first few Police hit singles, which I still have, and a taped first album, I don’t remember having a particular interest. It was radio music from a band with a huge global following. Sting went solo and continued in that vein. Yes, I saw the appeal of Englishman in New York but that is about it. So I was pleasantly surprised by the crowd pleasing set. There were a few songs I’d never heard but a lot of Police songs and familiar tunes.

With Message in a Bottle second song in, I thought I may have messed up as I peered through the plastic hedge, resting my dodgy knee. All was fine.

When I joined the crowd about 40 mins in, I got a good view, crystal clear sound, and lighting to help the photos. Unlike other performers in their 60s, there is no need for Sting to lurk in the shadows from a backlit stage. It looks like Sting’s been in the gym and eating sensibly since the 1980s so hell, shine a light on it mate. I contemplate another beer and the kebab stall potential.

Can’t Stand Losing You, So Lonely (Sue Lawley) and Walking on the Moon in a 15 minute spell was the sort of thing I was hoping for but surprised to witness.

Sting had a bit to say but not too much – no preaching. He said he hadn’t played in Plymouth – “beautiful city”- since 1978 and said sorry. He came over as a normal guy just playing his best. No fancy stuff. A very good rock guitarist and a drummer (who has played with Devo and Mumford and Sons) with him so the old Police songs with pace could sound quite nicely raw. I suppose I was expecting backing singers, brass and a bit of overindulgence.

I say ‘just a normal guy’. He refers to his lovely little house in the English countryside and corrects himself: “well it’s more like a castle actually”.

My anthem for the day was King of Pain I guess – OK it wasn’t that bad but a burden. Maybe a good tune for an ibuprofen advert. A relaxed Every Breath You Take to end the set. An encore was inevitable. Minimum fuss and Roxanne. Brilliant to hear that once live in my life. It’s taken a surprisingly long time – maybe I’m surprised it happened at all but I’m glad it did.

To end, “a gentle, thoughtful one to say goodbye”, Fragile from his second solo album in 1987. Just Sting, sat on a stool, playing and singing on his own. That was good. I preferred Blondie, but that’s me and Sting was great. All in all, a super weekend away in Plymouth, with friends, and a well organised event.

Status Quo – live at Swansea Arena

Status Quo at Swansea Arena (4.6.2024) with Laurence Jones supporting

I still remember standing in a little record shop in the parade near Rowlands, Ashford Common (Middlesex) – Squeeze Inn – gazing at the albums displayed on the wall. It would have been 1977. There was Rockin’ All Over The World, one of Status Quo’s 33 albums. It was playing regularly in there and I recall returning a few times wondering whether to invest. I do like that title track and single (I didn’t know it was a cover of a song by John Fogarty of Creedance Clearwater Revival). Instead, after consultation with school friends and much deliberation, I opted for No More Heroes by The Stranglers, released a few months previously, and which I had the single from. My path was set. My post 1977 approach to music was up and running, not to be revisited for many years.

The Quo came to the fore in a big way again in 1985, with their stint at Live Aid, Wembley Stadium. From then on, in my mind, they’ve always been around: part of British rock’n’roll culture, on the fringes of my consciousness with the occasional single catching the ear. I picked up their 10 Gold Bars compilation album on used vinyl for 50p last year and that is the sum total of my Quo collection. But, when offered some free tickets I had little hesitation in saying yes. A band to see some time, surely, even if it was a bit of a trek – we made a 5-day holiday out of it.

I did see Francis Rossi at an interesting evening chat show at Poole Lighthouse (Theatre) a couple of years ago – he is an amusing raconteur and he has a lot of material- but this was my belated Quo debut. Some would say too late, especially given the death of Rossi’s partner in song and guitar, Rick Parfitt, in 2016. But the band still has history. Guitarist and keyboardist Andy Brown has been in the band since 1981 and bassist John Edwards has been with them since 1985.

Swansea Arena – a new one on me

The Swansea Arena opened in 2022. I am impressed. Perhaps the very word ‘arena’ makes me shudder a little – it smacks of all the wrong things about big gig, big business. This is no ‘arena’, it’s more a giant lounge. The maximum capacity is 3,500 when some standing – it’s all seats tonight (not that anyone down on the flat floor sits for Quo). More a Hammersmith Apollo or Plymouth Pavilions scale. I’d rename it.

Approached from the city centre by a gold bridge that everyone’s clearly quite proud off, it has a statement gold exterior.

Front doors of the Swansea Arena – before crowds gather

Inside the bar areas in the concourses have goldie lookin’ chains (sorry!), hanging in patterns. It’s spacious. I don’t find dreadful queues.

You can see from the photo below of support act, blues guitarist, Laurence Jones, that the stage front (front stalls on the flat) has an almost cosy feel for anything called an arena. The auditorium is not much wider than the stage. There are small, quite exclusive balconies each side, but where the room finds its capacity is from the bank of seats that goes beyond the rear stalls and on, up and up to the front and rear circle. It really goes up and steeply back a long way. What this means, I presume, is that for smaller shows the back sections can be blacked out and/or curtained off so that the place still looks full, even with half the crowd.

Considering I haven’t heard a thing by Laurence Jones, this really does the job. Loud, blues, guitar.

Status Quo tonight

The Quo open with Caroline. Immediately recognisable, even by me, and the whole of the seated flat section at the front rise up, and there they remain, heads a banging (a particularly hairy bloke continues to catch my eye down front right), and some just lolling from side to side. Good effort given that the audience is largely… well bloody old. I feel more youthful tonight in this company. The sloped seating must be an Everest to some, limping and clutching rails as they make their ascent….then down and back many times to use the facilities. Fair play – loyal fans – rock on.

Rossi says good evening and remarks on his own age, an age he escalates through the evening to nearer the truth of his 75 years.

It’s easy listening heavy – their distinctive full guitar sound, through the bank of beautiful looking Marshall amps and speakers, is loud but not excessive. My ears ride the storm without protection, maybe unwisely. The Quo are not so heavy – blues and pub rock – and almost Chas and Dave with guitars at times.

I’m not that familiar with the early songs – everyone else seems to be – but then an enormous non-stop medley, consisting of eight songs, including What You’re Proposing (can’t get that out of my head); Again and Again and Wild Side of Life. What a blitz of Quo classics.

Things slow a little for In The Army Now and another singalong chance. (Another one I didn’t realise was a cover.)

Rossi and the band really keep moving, playing together in a group and in pairs and I presume it was Andy Brown switching between keyboards and guitar. Rossi goes to face the drummer at regular intervals. He and the band all look slim and fit, as I sit lazily in my seat, with a very good view of it all.

Then the show comes in to land with the best known songs: Down Down; Whatever You Want and best of all – yes this is what I came for – Rockin’ All Over The World. I can visualise the Top of the Pops appearances to these. Well I got there in the end, thanks to my gig buddy’s spare tickets.

Keep rocking…all over the World.

Dexys find some old soul rebels in Poole

Dexys live at Poole Lighthouse (29.5.2024)

If you liked Dexys Midnight Runners, then I think it’s time you went to see Kevin Rowland perform live again, with Dexys, the current line-up. Dexys Midnight Runners (DMR) injected a new sound into the early 80s, bringing old sounds back together in Kevin Rowland’s special way. Albums in summer 1980 and autumn 1982 that sold millions. Then came one hell of a crash – such a height to fall from.

People turned their backs on the third album. I forgot about them as a current band. An occasional single play on the radio and that was it. The band split. Kevin had addiction problems – I listened recently to his references to this period on a Chris Difford podcast, I Never Thought It Would Happen.

Last time I saw Kevin Rowland was when he was canned off the main stage, wearing a skimpy dress at Reading Festival in 1999. Such a contrast to my only previous Dexys (DMR) gig, at the height of his/their powers, on 3 October 1982 at Birmingham Hippodrome Theatre. It was a matinee performance. We were seated quite near the front and a few of our party were threatened with ejection for dancing – a strange concept the matinee gig. I went with a group of geography students after we had infused the two Dexys’ albums into our systems via cassettes taken on a two week field trip in the south of France. Searching for the Young Soul Rebels, the first album, remains an all-time favourite.

So decades later, I noticed Dexys were touring in 2022 but this was cancelled due to Kevin Rowland’s motorbike accident and slower than expected recovery. When the dates for this current tour were announced, kicking off in Poole and walking distance for me, I jumped at the chance and here I am – one member of the 1981 geography Dexys field trip with me, gig buddy Plymouth Dave, who I went longer without seeing after leaving university than I did Kevin Rowland.

No support tonight. It seems very quiet in the main bar. The Lighthouse Poole seats 1476 but the balcony is closed for this one. It seems about two-thirds full tonight in the downstairs seating.

A colourful Kevin comes on to a very uncomplicated, spacious and brightly lit stage. No backdrop, few visible leads, amps or instruments. Along with Kevin, the only other Dexys (DMR) original is Big Jim Patterson on trombone but he no longer tours with the band.

The brass pair (trombone and sax) are a significant part of the sound and are often stage front (right in front of us). These are joined by a drummer and keyboardist.

On sax, I presume this is Sean Read – on stage in Poole

What is surprising tonight it that the new album, The Feminine Divine, barely makes an appearance – just three songs in a 13-song set that lasts a shade over an hour and a quarter. After the opening Bee Gees’ cover, To Love Somebody, we get into the classic Tell Me When My Light Turns Green. There’s only one other to cherish from the 1980 first album and that’s the number one hit single, Geno about halfway through.

The first few blasts on the brass of Geno and most of the audience are out of their seats. Wonderful. Kevin’s voice is still really good – he’s 70. It’s not just his singing voice but the talky bits that give him his unique style. He duets with sax guy Sean occasionally – the sort of singing arguments of some Dexys tunes.

It’s The Too-Rye-Ay that is given most attention – what a crowd pleasing set Kevin Rowland has given this evening. Jackie Wilson Said is followed by Until I Believe In My Soul. One from the new album and then – of course – Come On Eileen. Now there’s the track that you couldn’t really leave out of a Dexys’ gig. People would go home disappointed. Perhaps there is a shade of disappointment as that is the last song, bar the encore. That went quickly. I suppose an hour and a quarter is up the short end of the spectrum, unless it’s a new band.

The encore is from their 1985 album – a chatty interaction one (This is What She’s Like) – not one I know that LP, but hey ho that was a surprisingly good evening, or should that be reassuringly good. I know, I should have had more faith. Sorry Kevin. I believe in your soul.

Gary Numan: Replicas and The Pleasure Principle live in London

Gary Numan live at The Roundhouse, London (25.5.2024)

A Gary Numan retrospective and very much an old fan treat. Now I really like the new Numan, the recent albums but I didn’t want to pass up an opportunity to see him again and it was London and on a Saturday night with friends.

Last time was May 2022 in Plymouth and my 2019 Numan blog looks back my Numan encounters over the years, and recent years they are.

Numan and bassist Tim Slade – The Roundhouse May 2024

I will be brief. Let’s leave this one as photo heavy eh. A sell out gig and an extra date added. The man’s still pulling the fans back for more. There is no support band – it’s an hour and three quarters of Numan, playing all of the second Tubeway Army album, Replicas (1979), all of The Pleasure Principle, his first solo album (1979) and two b-sides of the era.

Gary Numan at The Roundhouse, London 25 May 2024

The stage is well defined by the lighting that creates a space like a room, and in a video. At the back a symbolic version of the Pleasure Principle pyramid. The flashing of light tubes is intense at times – very effective.

These old albums do get something of a makeover, with the heavier Numan sound. The man himself is no longer the mysterious man in a suit standing still but he is all over the stage in a manner that would wow a heavy metal crowd. He certainly has a more flexible spine than I could dream of. He plays guitar, keyboards at the rear of the stage, keyboards to the front and left. Both guitarists have keyboard stints. Great sound.

I’m pleased the showcased albums are mixed up and not just played through. Me I Disconnect From You is best for me, aside from the obvious singles with M.E. and Metal featuring high on my list as well.

The best? Down in the Park. It’s always my chosen old Numan one. I can eat up change in a juke box with that one (if I find one, and then it’s going cards and apps eh – a rare treat these days).

It’s an absorbing few hours, with the real crowd highs being the encores, the number one singles, Cars and Are Friends Electric? Who’d have thought when he wrote those, that 45 years later we’d be wondering if your car’s electric! They were revolutionary tracks that changed trends. Huge influences and here we all are, still listening..and now with a bit more oomph.

I was a little bit behind a pillar tonight but I adjusted with timing and leaning. I like it up in the small balcony – not every time but a leg saver.

More on The Roundhouse as a venue here in my Roundhouse venue blog.

That’s the balcony view without a zoom – looks closer when you’re there, I promise

As we filed out and up to the lifts of Chalk Farm tubestation the chatter from the hardcore fans (you know you can spot them) was excited and positive – I like that.

The Rifles live in Kentish Town

The Rifles at The O2 Forum Kentish Town, London (11.5.2024) with The Kairos + Turncoat Billy supporting

Bit of a gathering of the Rifles clan feel to this one – being the London gig for this band from Chingford it’s considerably bigger than the others on this little tour. Their first album No Love Lost was released 20 years ago now which is relatively new in my grey-haired gig going world.

It was 10 years on in May 2014 when I first saw them at The Brook in Southampton – bought three early CDs but really haven’t seen them much. The next time was Victorious Festival in 2019, followed by The Roundhouse gig with The K’s on the bill, in October 2019, now available as a 2020 live album and during which I proposed to my now wife Sally. (It wasn’t actually while they were playing – quite loud – didn’t want to shout.) My blog of the 2019 Roundhouse gig is here.

Venue – O2 Forum Kentish Town

This has had a load of names over the years, including The Town and Country, and another London venue I never found myself when living in the suburbs. Lovely architecture – proper old school venue. It wasn’t until 1999 I made it here for Stiff Little Fingers and then a jump to October 2010 to see the return home of US exiles, The Psychedelic Furs – an exciting one after a significant break from them touring the UK. I’ve picked up again since with Gene’s Martin Rossiter farewell gig, a special Steven Tyler performance (Aerosmith) and the extraordinary Flaming Lips a few years ago.

It was at the Flaming Lips gig that failing legs (been at the cricket at Lords all day) led me to exploring the huge upstairs balcony – I didn’t have a ticket but they let me up there. It’s unreserved seating on first come first serve basis. Not sure if it always is. The front of the balcony is bench seats and further back there are some private cubicle type things and other seats. Right up at the back on either side are two small standing areas, with a bar in between and thin walkway – not always open. Tonight the rear half of the balcony isn’t opened up until later when the place fills a bit. Most people are downstairs standing but this does me tonight.

The standing downstairs here requires tactics when busy. In the past, I have found the bars often almost impossibly busy, especially when bands are not on stage – just given up queuing a few times. Maybe it’s better now. Also, the mixing desk and photographers’ pit is across the middle of the venue with steps down to the front, either side of it. If a sell out and you want to go down the front, then I would ditch the beer idea and just stay down there for the whole gig. I have found myself wandering around at the back a few times not being able to see much – hence unreserved seat upstairs does me. Total capacity is 2300.

It is handy that it is almost opposite Kentish Town tubestation. It is not so handy that Kentish Town tube station is shut and has been for a year or so, for escalator replacement and more. Due open again this summer sometime. Tufnell Park tube was my chosen alternative and a half mile walk down from there. There are plenty on pubs south of the Kentish Town tube and a big one just around the corner (The Assembly which is spacious with decent beer) but the party always looks like it’s going on at the Bull and Gate as clientele spill onto the pavement outside, almost next door to the O2. The Fred Perrys, Lambrettas and Ben Shermans are out – it’s that sort of crowd. I feel comfortable. I bet everyone here has got Paul Weller albums. Sound.

Support Bands

First up is Turncoat Billy. New on me but a pop folk guy with some guitar and beat box backing. Entertaining. First time I have ever heard someone introduce a song they have written about watching Leyton Orient FC. His last song of the short set was called Wondergoal – about the best goal never televised and scored by his mate’s dad….apparently.

Many are still in the Bull and Gate, dodging the pricey O2 drinks I suppose. (These O2 venues must have worked it out. I suppose if it’s packed later the bars will be busy. I seem to be heading increasingly for an O2 beer boycott, but not here tonight as easy access in the balcony bar. Sucker?)

Next are The Kairos. I have had them recommended by two people who know my gig trail (Cheers Tone, and Francis). Had their Better Late Than Never EP on repeat in the weeks beforehand. Brilliant. Best support band for ages and right up there in my new bands to see again soon list. They clearly enjoyed themselves.

Noisy, charismatic Scousers: indie rock/ pop with an edge. Hardcore Cast sound at times and some creative guitar antics from front man Tom Dempsey. Yup – a winner. Here’s one of theirs I recorded on the trusty pocket zoom at is on my YouTube channel: Better Late Than Never.

Bring on The Rifles

The Rifles are on – Kentish Town on a Saturday night

The Rifles open with the very familiar She’s Got Standards, from the first album. The band have loads of room on stage – a simple set up – no gimmicks – they just play the songs that we want to hear. Indeed the setlist leans heavily on the first two albums No Love Lost and the Great Escape. A reflective tour.

The Great Escape title track and Peace and Quiet from the first album are the standout songs for my ears from the earlier part of the set, along with that opening number.

About an hour in there is an acoustic section of three songs, with Joel Stoker and Lucas Crowther being left to their own devices on stage in the smoke. These guys are what start The Rifles off and two decades on everyone’s still enjoying it.

Main man Joel Stoker has a solo album and has been doing some dates – I haven’t caught one yet.

The final song of the main set is The Rifles anthem Local Boy – of course it’s the best eh. I’m glad I made the trip up to London for this. It does feel like a big local gig more than ‘a London gig’. Happy faces – well maybe not those being told to calm down and get off the seats over on the left of the balcony.

A two song encore and it’s all over. Under and Over and another poppier anthem Romeo and Julie.

We file out onto the street. Cheers of woah oh ohoh ohhh.

The Stranglers – 50th Anniversary Tour – London and Bristol

The Stranglers live at The Royal Albert Hall, London (26.3.2024) and Bristol Beacon (5.5.2024)

The 50th anniversary tour – blimey, we are getting old – we are two Stranglers down having lost Dave Greenfield and Jet Black – Hugh Cornwell has long been ploughing his own furrow, but the ‘familyinblack’ is still holding it together, with Jean-Jacques Burnel the only original member and still looking much fitter and younger than his 70 years. For me it’s a mere 44 years of seeing The Stranglers, with my first gig not being until July 1980 at The Rainbow, Finsbury Park, London.

They have had their dips in popularity and performances but since Baz Warne joined in 2000, becoming the main guitarist and vocalist in 2006, they have continued to rise again. They said the last tour was the end of their big full tours but this year’s has still been a significant outing. I selected two gigs to go to on this tour – both were excellent in different ways. How long can we all go on? I’ll enjoy it while I can.

There was some uncertainty around these gigs. Bristol was supposed to be the day before the Royal Albert Hall but frontman Baz Warne had a bad throat, so it was put back – this gave 24 hours to recover for the Albert Hall gig. All the more grateful.

I’ve been to just a handful of gigs at the Albert Hall and different spots each time. This recent Stranglers opportunity came courtesy of… I’ll call him North London Dave, who sorted half a box out for four of us, almost hovering over the stage (right).

No support band on this tour but a long and diverse set in two halves, covering the breadth of material really well. The sets in London and in Bristol were identical. At the Albert Hall there was a fairly brief introduction to both halves by some drummers (Fugu Taiko), of the type that introduce martial arts bouts – a passion of bassist JJ.

A strange position perhaps, hanging above the stage, but that gave a wonderful sweeping view around the huge space of the building, the standing crowd below and the band, especially drummer Jim Macaulay (touring with the band since 2012, overlapping with Jet Black for a while before Jet retired) and keyboardist of the last few years, since Dave Greenfield died, Toby Hounsham. They do amazing jobs at filling the old boots.

Toby Hounsham, from our elevated position

It this all embracing set list, perhaps what surprised me most was the opening with two songs from ‘The Gospel According to the ‘Meninblack‘ album – not everyone’s cup of tea that one but I love it – I saw them twice on that tour when I’d not long been going to gigs, so it must command a special place. The Raven followed – one of my favourites, if not THE favourite…… no that has to be Hanging Around (also included in the first half).

I’ll mention more on this tour’s setlist later, but last song of the main set was Tank, from the Black and White album. A beauty and I grabbed a video from our unusual position, saved here on my YouTube channel.

Beer was flowing and the time rattled by. There was a bit of a feeling we were watching the gig rather than being part of it from our vantage point, but ease of seat access and the view made this novelty an enjoyable one. All this was in complete contrast to my front row seat, yes seat, at Bristol Beacon some weeks later. This opportunity courtesy of another Dave – you can’t have enough Daves eh. Plymouth Dave couldn’t make it to Bristol as the rearranged gig clashed with other sizeable gig-going arrangements – but I still get a seat in the front row, in front of JJ on the left hand side. I have never had such a great view of The Stranglers live.

I returned to the heavily refurbished Bristol Beacon, after my first visit in December to see The Darkness. The basic shape is as the old Colston Hall was, with the large atrium when you enter, whether to the back or front, whichever is the back or the front!

Stranglers fans flood out of Bristol Beacon post-gig

There was a bit of social media criticism of having the seated downstairs area for a Stranglers gig – I get it – yes it is good to have a standing/ seating split and it saves the irritation that often emerges from people who want or need to sit , with people leaping up in the way in front of them for a whole gig. As it happens, when I looked round after the standing and dancing started during the latter stages of part one of the set, most people seem to be on their feet on the ground floor.

For a lot of the set I have no one in front of me but I did enjoy it more when we were joined at the front by invaders from behind. Not so good was the invasion of security with a job they had been told to do. At one point the heavy handling on one particular female fan led to JJ crouching down and speaking to security. Baz looked on smiling and after it was sorted remarked that we were all lucky that wasn’t a few years back – it would have all kicked off…. with JJ getting stuck in, as a peacemaker of course.

Hanging Around and Down In The Sewer ended part one of the set. What a finish and that’s just the first half. It set the tone for the second half and when the band return most of the crowd downstairs are on their feet – not all and the central front was where most remained seated. They looked like they really wanted to/ needed to.

The playing was excellent – such a good sound – bloody loud at the front mind with some extra speakers right on the front of the stage. I took my muso ear plugs out quite early on. Sometimes I just think let’s go for it…but my ears were ringing well for a day afterwards. Bad idea in hindsight but great at the time. Throughout, neither Baz nor JJ said too much. JJ’s dedication of The Raven to Jet Black and Dave Greenfield was a bit of a choker (both gigs, but more notable when sat yards from JJ). It must have been so hard spending your whole musical career with the same guys and then losing them.

What more can anyone say about The Stranglers style – despite the loss of Jet and Dave G there is a new stability. The original four piece set up, with a powerful drumbeat, exceptional keyboard wanderings and layers of sound, JJ’s throbbing bass and deep vocals, leading on some songs and Baz on guitar and main vocals bringing it all together. Shouldn’t forget the vocals on Genetix, which were always Dave Greenfield’s and Toby delivers in part one.

My first Stranglers gig was the tour when Who Wants the World single was released, so when that started the second half, I of course loved it.

The part two set list is shown below – what a feast (displayed by friend Paul’s son, James, who had the seats next to me, and nabbed a list). There are not many bands I see live when I know every song, and well, but The Stranglers are one such band….OK OK I admit to not recognising Lost Control from The Norfolk Coast album. I can’t have played that for ages. This is followed by what seems to be the favoured live track now from the last album – White Stallion from Dark Matters, including the last work of Dave Greenfield.

After Tank to finish, as in London, it was encore time. JJ introduced the first Stranglers song ever, Go Buddy Go. Then the inevitable… No More Heroes.

Two more Stranglers gigs. Two very different gigs but the two are my top gigs of 2024 so far, early doors I realise, but I don’t know how these will be pipped. I hope there will be more opportunities to see these meninblack in 2025. Every yearinblack will be appreciated here.

Devo live in London.. for the last time (?)

Devo at Hammersmith Apollo 19.8.23

Another one of those notable gigs I went to last year but at the time I just didn’t get to leave a note on. It was my first Devo gig, and it seems my last Devo gig as this was billed at the last Devo gig in the UK and the only gig in England on their ‘Farewell Tour’ and ‘Celebration of the 50th year of the band’.

This art-punk band, formed in Ohio in 1973, brought some very different sounds and visual aspects to the music scene around the punk explosion. Always eye-catching in the music press around 1979/80 but I didn’t dive in, even when Whip It hit the charts – we cared about the charts then. Bit of electronica and a lot of Americana in their mix.

But I made it here eventually, here near the front of the balcony of the Hammersmith Apollo as we waited for what would be the last chance to see them. I remember the large number of Devo ‘energy dome’ hats – you can see them from up in the balcony (all the red dots). There were some of these ‘flowerpot men’ hats on show outside. Inside, the merch stand had done a roaring trade and sold out of stocks, so numbers were boosted.

Waiting, at Hammersmith Apollo – look at all those Devo hats

There was no support band… well a DJ set from Rusty Egan (Visage, Skids and more). This worked well as a warm-up, with predominantly early 80s electronic based tunes. It just helped the build-up rather than merely distract and delay.

Great view from up in the balcony. Not been up there many times: I do like the sloping downstairs standing here but, as my legs knock on, I appreciate the seat option. There’s also a bit of stability and opportunity to zoom in with my trusty pocket camera.

Three originals in the band still, a line-up that started out with two pairs of brothers. The Mothersbaugh brothers remain.

It was one of those gigs where I felt like an imposter, given most of the crowd seemed to be Devo obsessives. The start of virtually every song got a roar of approval. I like their sound but I never grew up with it, only the radio listens.

Whip It was the one that got my little roar. The one I knew well. It was just after that – one more song – that the guys disappeared to change from the energy dome hats into the classic Devo yellow plastic suits. Their cover of the Stones’ Satisfaction followed.

The pounding beat is such a classic early electronic sound – groundbreaking at the time most of this stuff was released. My musical tastes were a bit limited when Devo arrived on the scene, I guess. All thrash, chorus and guitars.

This was like watching a stage of mad scientists play rock stars. Unique.

Once you’ve heard Mongoloid it’s hard to get that one out of your head – it repeated on me for days. Not sure this tale of a guy with Downs syndrome who just gets on with life, is one which would hit the charts in this form today.

The suits come off for the last leg of the set, the last leg of touring live in the UK.

The title track of their third LP, Freedom of Choice (1980) gets its own backdrop and a massive cheer.

As this special and final evening of Devo live in the UK came to an end there was the tongue in cheek promise of 100 year anniversary. Yes funny but then sad. None of us will make that.

The last song, Beautiful World, was indeed the last song. No need for encores. The whole gig was something of an encore. The crowd dissolved away, still excitement in the air but turning to sadness. That was that. At least I had a peak at this special band from 70s Ohio.

Muse live at Plymouth Argyle – Summer 2023

Muse at Home Park, Plymouth (27.5.2023) supported by Royal Blood and The Warning

Sunny day at Home Park for Muse in the summer of 2023

This was a cracker. Probably the best stadium gig I’ve seen and that surprised me. At the time I didn’t get around to posting anything in a blog. In my current relatively quiet period of gig-going, I thought I’d just put a marker down on my Muse gig-going, and some pics.

This was my sixth Muse gig, but the previous five were all 2000-2003. A small window which indicates my early enthusiasm but they got so popular that gigs got bigger, ticket prices rocketed and I lost my way – that’s not to say that I wasn’t listening to the albums.

That first gig was in June 2000 with Coldplay supporting (pre-light up bracelet years), and the quite short lived My Vitriol. A sweaty one – I bought the classic t-shirt which I got too big for and the logo print slowly crumbled on. I could fit in it again now but it’s long disintegrated. (I do keep some of the nostalgic decaying garments in a bag in the loft but this one never made it.)

The following year it was Brixton Academy and then my first ever visit to Portsmouth Guildhall (before my south coast move) – both viewed from the balcony. (I remember my younger sister was messaging me from backstage at Brixton as she knew the tour manager.) After that, Reading Festival 2002 with Foo Fighters and one more at Bournemouth BIC in December 2003…and nearly 20 years on I finally see them again. The occasion: a meet up with gig buddy Dave and the Plymouth guys. A special one.

Support bands were firstly The Warning and Royal Blood. First time I saw Royal Blood was at Glastonbury Festival and I thought they were fantastic. A short, high impact festival set which really impressed. On that basis I bought tickets to see them on tour at Bournemouth BIC and after a great start they seemed to run out of steam…and then go on..without the material to support a longer set at that stage. It’s hard going with just drums and bass.

Mike Kerr – Royal Blood – in the Plymouth sunshine

With Royal Blood on, there was the feel that this was building to a really BIG gig. I enjoyed them – more so than the crowd at The Radio 1 Big Weekend in Scotland 2023, who didn’t cheer enough and the band stormed off. I get it. Not everyone’s cup of tea and they’re not that good to deal with it like that – up to them of course – rock’n’roll. They have a lot of punch though – maybe the lesson is Radio 1 punters are not for them.

It was still light. Beer was flowing…. but Muse time was coming and by the time they came on the fervour was there. Massive.

They started with mirror masks on, just to enhance the mystery and build up. It’s amazing seeing so few hold so many thousands in awe at their every move – but they do and I’m there.

I remember how, as the darkness came, the atmosphere intensified. The walkway down through the crowd became increasingly used. Matt Bellamy was able to be right in the centre of the Home Park pitch.

Full setlist here and a wonderful mix it was. During Behold, The Glove, Bellamy had a playable glove on, a musical robot arm, which he parades down the mid-pitch runway. It wasn’t that easy to get photos…too fast, dark and distant.

We are in the seats to one side with an elevated view over the pitch standing areas. This gives the full show view and the lights and all were pretty special.

Last song of the main part of the set was Starlight captured and stored here on my YouTube channel. Bellamy, by this time sporting a jacket that was its own little lightshow, on the walkway leading from the stage to an illuminated dancefloor at the end.

Bellamy had the whole stadium focused on him and carried it all. I am often sceptical of the big stadium gig: there is always compromise, but this was about as good as it gets for such an event.

Whether I get to see Muse again I don’t know but this was something to remember them well by.

Gig Venue: London Roundhouse

London Roundhouse, Chalk Farm Road, Chalk Farm, London NW1 8EH (Last updated 30.11.2024).

The architectural dream that is The Roundhouse remained elusive for me for so long, but as time goes on it’s a more regular trip. Strange, as when I started gig-going from the London suburbs in 1979 I didn’t get to go there – I had to wait until 2011, when living in Dorset. As a teenager I focused on West/Central London venues and very rarely ventured north to Camden or Islington.

The Roundhouse was first on the radar for me in 1977 when The Stranglers recorded much of their Live X-Cert album there and it’s now unlikely to be forgotten as I proposed to my wife there in 2019, at a Rifles gig. (My blog of that one linked here.)

My visits have taken in bands such as Sparks, Psychedelic Furs, The Lathums, Echo and the Bunnymen, Sisters of Mercy, The Skids and Killing Joke. I’ve always found I have enjoyed the venue. Latest visit was for Hard-Fi on 30.11.2024, before that The Jesus and Mary Chain on 30.3.2024. (Links to my blog of that one.)

It was once an old train shed that was used to turn engines around in on a turntable – hence the beautiful and unusual round shape.

Inside, the ornate arrangement of refurbished industrial ironworks supports the roof. The pillars do make for a reason to choose a standing position thoughtfully, and if able to get a relatively exclusive seat, then even more carefully.

The Roundhouse ironworks from the balcony

Standing just in front of a pillar limits passing traffic, pushing through to the front. It’s also handy for taking photos without getting in the way. Front left is a good spot and I’m also happy around the mixing desk.

View from front right – Echo and the Bunnymen 2024

There’s plenty of more detailed venue info on the Roundhouse website. The capacity is still a bit unclear. I think it’s 1800 for standing gigs, which includes the fairly small circular balcony.

At standing gigs there is that seated balcony. There are eight rows of balcony seats, curving right round between two private viewing areas, one to the left of the stage being the members’ bar.

Balcony view – Jesus and Mary Chain 2024

A downside is the toilet provision, unless you’re lucky enough to have access to the members’ area. Don’t bother fighting it in an interval. You need to pick your moments.

The ales in The Roundhouse are pretty good and service works. Rear of the main auditorium downstairs bar is often the best option.

The Lathums – mixing desk view March 2023

Pre-Gig Options

Camden is your oyster… and The Roundhouse is just north-west of the heart of it. So many options. As you come up from around Camden Town tube (or down a bit from Chalk Farm – also on the Northern Line) there are so many decent pubs (including the Hawley Arms; The Lock Tavern; Camden Assembly Pub). There are the food stalls in the market and the Vietnamese restaurant Thanh Binh, just north of the bridge.

The Muang Thai restaurant on the main drag opposite the venue is another great spot to eat and wait for doors to open or queues to subside.

I used to aim for Joe’s Bar on the main drag but it’s all closed up, making The Enterprise even more rammed than it might be on a gig night, good boozer though it is.

Another different option is Powerplant (89 Chalk Farm Road): vegan heaven, with some decent canned ales in the fridge.

The Roundhouse, from the Regents Park Road railway bridge

Venturing up passed the Roundhouse and over the railway bridge there is The Pembroke Castle, with decent outside space, just out of the way. Often pleasantly busy. Good ale selection on the pumps and if very full then pop and sit in the upstairs bar area.

The London Roundhouse continues to be a highlight of many a tour and I will never tire of the selection of pubs to enjoy before you get there.

Declan McKenna live in Bournemouth

Declan McKenna at O2 Academy Bournemouth (14.4.2024) with Wunderhorse supporting.

My first Declan McKenna encounter was in the Glastonbury June sunshine, 2022, led by my wife and our friend (Ann P) who had heard of him, to The Other Stage. We sat in our camping chairs with pint cartons of chilled white wine, around lunchtime (if we have ‘lunchtime’ at festivals). The songs were original and varied and he was putting in a shift and grabbing attention. I think the surroundings influenced me.

It was Glastonbury where he appeared in 2015, winning an emerging talent competition.

When his Bournemouth gig was mentioned I thought, go on then – tickets bought – I’ll give it a go – a bit of pre-gig ‘revision’ with top picks and latest album, What Happened to the Beach, on Spotify. I was still wondering if this was the right thing. Still, it’s local and I like the venue. More on the 02 Academy Bournemouth on this link.

I’m a bit the worse for wear after standing for five hours plus at The Vive Le Rock Magazine Awards event two days before, in Islington – great night that was with sets by Theatre of Hate, Ruts DC and Sham 69 and a range of appearances with the Vive Le Rock band for the evening. Hence I was relieved to find ‘The Gods’ open up the top of the O2 Academy Bournemouth, after a swift entry via the O2 phone contract queue jumping line – it doesn’t seem fair breezing passed a queue stretching a quarter of a mile down the road.

Support band Wunderhorse are on at O2 Academy Bournemouth

What I did find a few days before the gig was that a band called Wunderhorse were supporting. Playing their first album, Cub (2022), I realised that this lot were a band for me – I loved it, first hearing.

Lead singer, Jacob Slater sounds almost Lou Reed-like, hampered it seems by his ailing throat. He mentions this but the sound is still good. A few songs sound a bit early and earthy REM; shades of the solid rocky sounds of the likes of The Gaslight Anthem. Americana indeed.

The downstairs was packed. I’d already figured out I was just about the oldest person in the place – not just old enough to be mistaken for a supervising parent but possibly grandparent. Even for Wunderhorse they were singing all the words to a few songs.

Whether its Slater’s throat or just time pressures as support slot, they only do about five or six numbers. Although these were not, aside from Teal, on the album I’d been listening to, they offered familiar and appealing sounds. When they finished they were straight off. My first thought was when do I get to see them again then.

At a quarter to nine the mountainous backdrop is lit and one hell of a high pitched scream rises up from the crowd below – the screams tonight are louder than the music and demand the ear protective plugs for that alone. I can only remember McFly inducing such noises (I know, I’ve seen them twice somehow).

McKenna is something of a musical genius – he can play pretty much everything and does so on his albums, majoring on stage with guitar and keyboards. He dances around like a lad playing guitar in his bedroom – different styles come out, all with such enthusiasm – poppy, rocky, even glam – and matched every bit by the crowd. He really does look like he is enjoying himself massively onstage – no posing – no attitude – super lively. Complex guitar pedal arrangement, no doubt with baffling looping going on…..but he has the air of someone without a care in the World.

This was the last night of the tour and having played Ally Pally the night before it must have been a bit of a squeeze getting all those fake mountains onto the O2 Academy stage – unusual. This latest album is his third. He’s 25 and being writing songs for 10 years with the other two albums being released in 2017 and 2020. Nine tracks from the newest album tonight, interspersed throughout the set – the audience knew all the stuff anyway so no notable lulls for newer material.

The early part of the set had me bemused at times – I felt like I’d gate-crashed a student party – but the anthem of Brazil from his first album is quite irresistible (captured here on my zoom camera video: Brazil YouTube @grey-hairedgiggoer) (The Key to Life on Earth can also be found here, from earlier in the set).

As the steam heat rises from below (it’s not usually this warm in here) Declan McKenna’s jacket is eventually discarded. He leaps over for some songs at the piano – a bit calmer. With ten songs from the first two albums adding to the nine from the new one, there’s a good mix there which has sent everyone wild – I don’t feel involved in the wildness from my position up in the Gods but no way I was going down in there tonight.

After the main set he and the band return. He announces Paracetamol – quite apt as I’ve been popping a lot of those this weekend – from the first LP (What Do You Think About the Car?) and the first time they’ve played it on the tour. Then there is a new one, Phantom Buzz, before the 2019 song not on any albums: British Bombs. Dancing and jumping while singing the chorus of ‘Great Britain won’t stand for felons; Great British Bombs in the Yemen’, apparently written about the hypocrisy or the British arms trade.

Bit of an eye-opener this one. Maybe I strayed a little from my comfort zone but an enjoyable evening and an insight into some even younger appeal music than any others I have tried in recent years.