Gigs with Ivan

A week of 80s classics – Then Jerico; Martin McAloon; The Bluebells

Then Jerico at O2 Islington (29.11.2024); Martin McAloon at Poole Lighthouse Sherling Studio (4.12.2024); The Bluebells at 229, London (5.12.2024).

Gigs are coming in waves now as the end of year approaches. Hard to keep up, but I don’t do a blog for everything. The last week saw me embrace three 80s popsters so I thought I’d just do a quick round up.

Then Jerico at O2 Academy Islington

We were in London for Hard-Fi on the Saturday, so me and gig buddy Dave took in Then Jerico the night before. We got in early to meet lead singer and sole surviving band member, Mark Shaw. A lovely opportunity before he got into stage mode.

The Big Area was the big song (no.13) and big album (no.4) for the band in 1989. Really good to hear that tonight, eventually – they made us wait. But Sugar Box and The Motive from the same album were other familiar singles.

Mark Shaw is extremely energetic on stage. He’s 63 and after leaping on with a cane and looking rather ‘Dave Vanian’, the shirt buttons open and by the end the shirt is off.

An impressive stage presence and plenty to enjoy about this dip back to 80s pop.

Martin McAloon

Down to the Sherling Studio in Poole Lighthouse for the former bassist and brother of frontman for Prefab Sprout. It’s a solo gig. Prefab Sprout were such an amazing band, a wander down the road can’t be missed.

No pics for this..a no no on phones and cameras. Fine. No visual relaying to the outside world of the experience – if that’s what you want.

This was something for the Prefab Sprout purist. Plenty in the seated audience of about 80. It’s nearly full and a real close up and intimate experience.

Martin McAloon is friendly and appreciative, loving the three sided audience: “It’s like being Taylor Swift”.

He plays the songs with multiple guitar layers and his solo adaptations. This mostly works but I didn’t think always. I was transfixed but easy Prefab Sprout numbers could seem over complicated – the songs probably were then and fantastically produced.

A pause and a shout for requests led to one guy asking for Appetite before he had to leave early for his train. Martin hastily complied – he was flexible like that.

The Bluebells

The Bluebells, a band I never saw live but an important part of the jangling guitar Scottish indie breakthrough. It had to be done.

Support is DJ Gary Crowley. He spins some very appropriate discs.

Even Clare Grogan was here to enjoy the reunion gig of The Bluebells. I found later that The Bluebells were given an important early break by being offered a support slot on an Altered Images tour.

This whole gig was just great. Live music, with an appreciative and nostalgic audience, and I am with a selection of friends from various stages of my life – by chance really… cheers Dave, and Chris and Womble, sorry..Andrew.

My first time at this venue, near to Great Portland Street tube station. A clean and practical subterranean venue.

If I didn’t know all the songs, I just loved the jangly guitar and the live sound of The Bluebells. A proper band.

They came to entertain and enjoy themselves and that came over – nostalgic pleasure.

Of course Young at Heart was the anthem of the era, and maybe now, but there was Cath wooah as well, as the top songs.

Ken and David McCluskey – The Bluebells – 229 London

The band mingled afterwards and this weeknight reunion was a real pleasure that exceeded expectations.

Grey haired selfie with gig buddy Dave and Ken McCluskey

Hard-Fi: Live in London… near Staines

Hard-Fi at The London Roundhouse, Camden (30.11.2024) with Better Joy + The Velvet Hands supporting.

Been looking forward to this trip for a while. The last date of Hard-Fi’s Don’t Go Making Plans Tour – that’s the new EP, which they play three tracks from tonight.

The anticipation comes from seeing the band once back in 2007, having all of their three albums and then just having a festival live taster since they reformed in 2022, after an eight year break. That 2022 festival slot came at Victorious Festival.

At the 2007 Bournemouth BIC gig, the merch stand had signed live CDs from the Glasgow gig a few days earlier. I had to buy one.

Signed live CD bought at Bournemouth BIC 2007

I guess it’s the Staines thing that enhanced my early interest. I spent the first 16 years of my life living four miles from Staines (before it added its ‘upon Thames’ suffix), down the Staines Road West in Ashford Common. I can’t recall any other bands making it from Staines. Hard-Fi were formed there. I remember seeing a Dials gig in the Town Hall. I supported Staines Town FC and even worked in Staines McDonald’s for a bit.

Staines, this is Staines, with its bridge, Lino making history, station announcement in The Members’ Sound of the Suburbs single..and Ali G

Tonight, The Roundhouse. One of my favourite venues and sellout crowd on a Saturday night. (My venue blog of The Roundhouse is here.)

Two support bands tonight, that we watch from the side balcony members’ area. First, The Velvet Hands, London based but originally from Falmouth, Cornwall, and second, Better Joy, from Manchester. Both are bands I’d go and see again and I particularly liked The Velvet Hands on a first listen.

A side view may not seem ideal but it’s a relaxed raised bar to watch the support bands from, before moving round to tonight’s front row seats of the shallow circular Roundhouse balcony. Great crowd view.

The Velvet Hands are a brash, rough and thumping indie rock band. A short set was enough to have me interested. Garage rock you can dance to is a term they are using about themselves.

Better Joy maybe of broader appeal with a lighter sound, significantly fronted by Bria Keely who had the star quality look. Clearly wowed by the experience of the sellout crowd with a whoop of “We’re gonna have a good time tonight. Oh my god it’s the f*cking Roundhouse”. It is indeed. I’m excited as well.

The crowd swells even more as the concourse bars empty. We peer over the balcony in anticipation. It’s a beautiful sight.

An appreciative roar as Hard-Fi arrive on stage – it’s a celebration – the end of the tour – the London gig and as close a homecoming as Staines suburbanites can get.

An upbeat start with Middle Eastern Holiday. This is essentially a Stars of CCTV revisited tour, with the bonus of the new EP: Don’t Go Making Plans.

Richard Archer is clearly delighted to see everyone – what a grand final date – in what he exclaims is “the best f*cking city on the whole planet”. (One for further discussion, but not now!)

He says he’s struggling with his voice a bit and pleads for help – support and vocal assistance he gets throughout the set with the familiar CCTV songs. There are nine songs from that first album – no room for Feltham is Singing Out (not the only great song about the local borstal as Jimmy Pursey would say).

Hard-Fi are quite a mix of sounds and that first album was something a bit different at the time, certainly for me – it didn’t drop easily into a particular genre. The lyrics draw on everyday life scenarios and the music was a genuinely new mix with a bit of soul and pop on the indie rock base.

The start of Cash Machine with that distinctive harmonica brings a roar as we get to another anthem of the noughties, the band’s first single. Here’s a recording of that from my camera on my YouTube channel.

There is room for just two songs from the 2007 second album, Once Upon A Time In The West. The fabulous anthem for outer London, Suburban Knights and the slower I Shall Overcome.

The main set ends with the tight and abrupt, Hard to Beat. So good to hear all this played live again.

Richard Archer returns alone with his guitar for Move on Now. Then it was obvious what had to come next – the classics, Stars of CCTV and Living for the Weekend. It’s Saturday night after all. A joyous bouncing and singing along from a smiling crowd.

A really enjoyable night out this one. It had to be Saturday. It had to be London. Maybe a gig in Staines next time – I did notice they played a warm-up gig at the Thames Brewery in Staines a few weeks back. Next time eh.

The sound of the suburbs, 21st century style.

The Snuts – live in Bournemouth

The Snuts at O2 Academy Bournemouth (26.11.2024) with Siobhán Winifrid and Grace Bar supporting.

I’ve been wanting see The Snuts again, since catching them supporting Kings of Leon in July 2022 at O2 Arena, London – what a huge crowd that was to play to. (Link to that blog here.)

Back at the familiar local favourite venue, O2 Academy Bournemouth (My venue blog here.) The top floor seats aren’t open tonight. I have been getting used to that area being open but not tonight. Middle balcony standing open and all ‘rail with a view’ occupied by the time we arrive tonight at 7.30pm.

There’s someone onstage already. Who’s this? Not mentioned on any billing I’ve seen it’s Grace Bar…and that took me until the next day to confirm. No, I couldn’t hear what she said. Anyway, sounded fine but I sat in the balcony bar for this one, peering through legs for the occasional stage glimpse.

The next support was a notch up: Siobhán Winifred. Great voice, clear and confident above the guitars and band. I remain in my leg saving seat before the wander down to stand for The Snuts.

There are so many new, talented, female singer song writers out there at the moment I just don’t know how they get that break. Still, I thought that when stood in front of Rianne Downey with 25 people at Teddy Rocks main stage, 2023 – now she’s playing arenas with Paul Heaton and his band.

At a predictable 9pm, The Snuts come on. I’ve found a pillar spot towards the back. Sound good – it’s not too loud and no ear defences needed; view good, leaning potential great; camera shots without blocking others’ view – easy; chatty youth murmer, level quite high.

They have a 2024 album out – Millenials – which I have been playing a lot and they start with Millionares from that. It’s a goodie. Associated Lotto style merch available behind me. The stage has old big tv sets piled up all over it and there’s a street light on one side. They don’t appear to want the spotlight…a bit Echo and the Bunneymen in that respect.

The band have been going for about ten years, having started at school in their West Lothian home town of Whitburn – half way between Glasgow and Edinburgh. (Lewis Capaldi is also from there.) They have worked hard for this – Jack Cochrane reflects on this in the set – and had the Covid plague years to battle with and they seem all the more grateful for that. Millenials is their third album. It peaked at no.2 in the UK album chart (!) and later in the set frontman Jack shares a story about Rod Stewart pipping them to no.1 and sending pictures of all his Rolls Royces.

Jack Cochrane’s voice is so distinctive – seems to come from the back of his mouth giving a sound that reminds me of Passenger, maybe a bit of Cast’s John Power and songs do have that Cast stomping bounce to them. Guitar sounds right up front on many songs but in discrete riffs and jangles rather than a wall of sound.

It’s an old meets new sound. A modern layer – sometimes that’s the only layer you get these days – but on a classic indie rock’n’roll base.

There’s polite crowd acknowledgement and gratitude, without much fuss or hysteria. Proper rock’n’roll cool. Just play the songs boys.

The Snuts in the classic O2 Academy Bournemouth surroundings – beautiful architecture

I grab a video of the 2020 single Always..now on my YouTube channel. Already an anthem and featured on their W.L. from 2021.

Somebody Loves You prompts Jack to hestitantly invite the crowd to put their arm around someone next to them. I have my wife Sally and a pillar next to me so no awkwardness there.

There’s a section where the drummer (Jordan ‘Joko’ Mackay) comes forward to sing and play a smaller conga type set on stage front.

Novastar is a great track near the end of the mainset and it’s not long before a wonderful trio selected for the encore. Circles is just about the best track on the lastest album. Next, Jack quips ‘I don’t know why I enjoy this song so much’, before playing Glasgow, then Gloria to finish. Gloria is on the latest album but was a 2023 single and surely a staple now of any Snuts set.

It’s another really good gig. Time to head out to the cold wet rain of Boscombe high street on a Tuesday. A band to stick with I’d say.

The Clause – live in Southampton

The Clause at the Engine Rooms, Southampton (21.11.2024) with Tom A. Smith + Auden supporting.

It’s freezing – proper zero degrees. Weather reports and social media reaction has been hysterical for half the day, after some morning snow but a clear run on glistening roads across the New Forest to Southampton gets us to The Engine Rooms. (More notes on the venue here in my venue blog.)

I get a bench behind the mixing desk pen, once in, saving the knees and ankles for the main band. There are three bands tonight and I confirm who the supports are from the framed stage time listing near the entrance.

Auden are first up. Without the written clue I never would have fathomed what they said their name was. They are from Romsey, Hampshire… so, local and their set rumbles along nicely without me getting too involved. Just parked on the bench with a can of Guiness Zero. This isn’t a wild night – just glad to get here. Auden’s indie sounds good for a first hear mind.

(I catch up with Francis this evening, one of the friends who mentioned The Clause to me – thanks also to Tony and Tim – a good shout indeed. )

The Engine Rooms – behind the mixing desk

Next on is Tom A. Smith, from Sunderland who oozes confidence, with his band alongside. He’s just 20. On a browse I later I see he is playing a young Dave Stewart in a Eurythmics film coming out soon.

He is a notch up on quality and I peer over the mixing desk inquisitively. There’s something happening here and he deserves a bit more of a listen, but this half hour introduction is good.

I even forgive him an early introduction to Christmas (bah humbug) with his new seasonal track, This Christmas Time (Tom’s official YouTube link). “Sorry, it’s not December,” he apologises, before advertising his associated Christmas tree t-shirts on the merch stand, to make yourself look like a car air freshener, he warns.

The two opening bands hung together well – brief sets, long enough to find out about them, and complementary to the main act. No undue waiting about on a cold, alcohol free, mid-week for this grey-haired gig goer.

The Clause are from Birmingham and started out playing in 2016. It’s a long road – a trail of singles since 2017 but no albums to date. The Weekend Millionaire 5-track EP looks to be their most recent and significant release so far. They play all five tracks from it tonight.

Liam Deakin (guitar) and Niall Fennell (drums)

Initially, when the band start, I stand back a bit from the left speaker stack, against the side wall. Handy for pics but the sound, especially bass, was booming a bit, well a lot – maybe off the wall – and I moved back to the mix desk after a few songs and it sounded good so not sure if the sound got a tweak or what.

Frontman, Pearce Macca, is quick to rally the crowd – the place is about half full, maybe 300 in – with “are you ready, Southampton!” ..and “come on, Southampton, let’s hear yer”. It works. Everyone seems eager.

There’s some intricate guitar work (lead guitarist Liam Deakin) amid the choruses to get hooked on. This indie rock has variation – great guitar sounds and the delivery must come from their recent years developing a local Birmingham fan base – they know how to play to a crowd.

When I video bits at gigs, if I do, I generally just pick a couple of songs and try it, camera or phone. If I’m in the way, I don’t. Hence, I like side wall or the cover of pillars. Here, the mix desk rear barriers provide me with a sort of giant rock’n’roll Zimmer frame…a supportive lean. No one watching from behind so also convenient for a video. Tonight I grab one of the anthemic track, Time of Our Lives and, as it happens, it is one of my picks of the set. There’s almost a Liam growl in there somewhere. (Link is to my YouTube channel.)

It a bit surprising an album hasn’t emerged yet – plenty of really strong singles though and now this latest EP. It’s going to be worth having when it comes.

The Clause at The Engine Rooms, Southampton

They already have a clutch of firm crowd favourites to fit into this hour or so long set. Bassist, Jonny Fyffe, is up on his monitor enjoying the moment by the end.

I look forward to seeing this lot again. There’s plenty for me here.

They finish with In My Element, a single from 2019, which has a distinctive opening riff of fuzzed guitar – have a listen to the official video. (YouTube link). Love it.

Pearce Macca; rear Niall Fennell on drums

Jesus Jones – live in Esher, Surrey

Jesus Jones at Esher Theatre (16.11.2024) with No Imlay supporting.

A first visit to Esher (it’s just out of southwest Greater London boundaries) to see a band, in the small, 300 capacity theatre, just off the high street, next to and dwarfed by Elmbridge Borough Council Offices, with a handy large car park.

It’s a lovely little place with a small but smart and well-staffed bar… but how on earth do a once chart topping band decide to wind up their 35th anniversary, world tour here? I have scratched around a bit but the band are originally from Wiltshire and I haven’t come up with anything. Maybe some of them live round here? Anyone know?

The theatre dates back to 1936 and it was refurbished and reopened in September 2021. Toyah’s played here and Bobby Davro heads the panto cast this season.

There’s a bank of about 10 rows of seats to the back and the rest of this high ceiling room is standing this evening – handy for a sit down and save a grey-haired gig goer’s legs for the main band eh. The capacity reduces to 250 when all seated. There must be about 200 here tonight – there’s plenty of room – and there is a certain Jesus Jones look about them. I could have done with a ponytail. At least I didn’t have a haircut this week.

(Here tonight with a friend Keith, rediscovered in last few years, from school, when I bumped into him at the Vive Le Rock awards event in Shepherd’s Bush.)

The bar is congested and the room slow to fill during the oddly named support band, No Imlay. They said who they were which made me wonder if I was already going deaf. I looked on the small merch stand off the front right of the room in a cubby hole – no clues. Friend Keith went and asked them afterwards. It was No Imlay. Really? I looked up later to find that a key band member left at some point called Simon Imlay so they changed their name to No Imlay. Well, well, well. The possibilities are endless for similar band naming traditions.

No Imlay enjoyed their slot – experienced and relaxed – as did those in the room. An easy rocking listen with some good guitar sounds (and smart guitars) that wouldn’t be out of place in a Nashville bar.

So, Jesus Jones: formed in 1988, two US top five singles in 1990 and a UK number one album in 1991 – Doubt. Two years later and a number six UK album, Perverse, and nothing else came close, either side of the Atlantic. Six albums in total. Such amazing and rapid heights and then they were gone, it seemed. They kept going though, with the same line up, aside from drummer, Gen, leaving and returning.

I bought Doubt when it hit the charts in 1991 – looking for something different and off the back of their hit single (it reached no. 7 in the UK), International Bright Young Thing. (YouTube Top of the Pops link.) That album is all I know, so I’m not entirely sure what to expect tonight. There are only a handful of living bands left that I have bought material by and that I haven’t seen live. Jesus Jones are one of them.

A chap comes on to repeat the fire safety warning that he gave before the support band, pointing to the way we came in and to another route out behind a side curtain. This has ever happened at a gig? Should I be worried? Pyrotechnics?

I am instantly surprised when Jesus Jones come on, as to what a guitar-look they have, when the term techno indie rock is what springs to mind – all those weird electronic noises and beats in their singles. Two guitars and a bassist up front, with lead singer Mike Edwards always with his guitar.

Jesus Jones in Esher: Mike Edwards (frontman); Jerry De Borg on guitar (right)

The keyboards and electronic sounds are important mind – Iain Baker is mid-stage and side on, described also as ‘programmer’ and at the laptop between songs and writhing over the keyboard during them. He’s intense and enjoying himself immensely. We are among 200 people and the band are all playing it like they’re doing Wembley. Impressive and grateful commitment.

The ‘real’ Jesus Jones fans in the centre are leaping about. I’m more reserved and on the edge, but it’s very danceable stuff – ankles and knees will suffer tomorrow.

One nice small venue feature was a member of the bar staff diving between legs to collect discarded plastic glasses. A mop was out earlier. Safety first eh.

I do find I am waiting for the Doubt tracks a bit, and there’s a good handful of them and all a great experience – so pleased I eventually made it to see them. Right Here, Right Now… you must know that one. Another signature Jesus Jones track and later Real, Real, Real and Who, Where, Why. Great tunes that I feel I am unpacking after many years. (Setlist link)

I enjoyed the set as a whole but no Doubt as to my top picks.

The band seem to enjoy this end of tour evening as do this nostalgic gang of fans and the inquisitive extras like me. Who’s next for Esher Theatre – it’s one to keep an eye on for more surprises maybe?

Amyl and the Sniffers – live in Bristol

Amyl and the Sniffers at O2 Academy Bristol (11.11.2024) with Upchuck supporting.

Huge anticipation for this. I have seen Amyl and the Sniffers a couple of times at festivals but this is my first tour gig and indoors; packed indoors; sold out sweaty and expectant indoors.

Glastonbury John Peel Tent 2022 and Victorious 2023 (links to my YouTube channel) were tasters of what was possible. Now the room is filled with punters who know the songs and have come for this band only. What a buzz.

Upchuck, a rip-roaring and relatively new (2018) American punk band, from Atlanta, do a really good job of stirring the excitement and keeping the wait tolerable. The drummer sings a few songs, to give the main frontman KT a break from his stage workout – very visual.

For this one I’m tucked in on the small, raised area at the rear of the right side on dancefloor – favourite spot. I don’t move from here – no drinks option – I just don’t need the hassle for what’s on offer – I’ve been in The White Lion beforehand instead. (More on the venue here in my venue blog.)

On they come. Bright white spotlights illuminate Amy Taylor and another creative outfit with essence of 70s New York Debbie Harry. The click and clunk of guitar jack plugs going in. Crash – we’re off with Doing in Me Head a full-on instant hit from the new album. The place just explodes.

Straight into signature tune, Freaks to the Front. They’re going a bit early, aren’t they? Will they run out of steam? I needn’t have worried. Amy continues leaping, swearing, bending, smiling, bobbing and gobbing her way through the set.

So early in the set, but just about the best is Security. Beautiful mayhem re-erupts on the bouncing floor. This is non-stop. What a great compact venue for it – it’s Ally Pally later in the week.

I am standing here wondering when I last saw and felt a gig like this. My mind wanders back, and back, and back. I stall at memories of The Undertones at Hammersmith Palais and on back to standing four rows in front of a white spotlight illuminated Johnny Ramone at The London Rainbow – it’s THAT good.

There may be an increased intensity from that feel of a rare visit from an overseas band, making it more essential to saviour. How many overseas bands of this genre can ever generate this reaction?

The new album, Cartoon Darkness, is still growing into me and taking hold, so the run of Security, Guided by Angels and then Knifey (creepy and confident), all from the 2021 album Comfort to Me is lapped up.

The lyrics are so important, blunt and you can hear them – so much to sing along, chant along to. She wrote these lyrics and the crowd can sing them back to order when the mic is turned on them, or not. Some fabulous sweary stuff and the whole performance has a wonderful ‘I don’t give a shit’ stance – this is us; this is me. The rest of the band don’t share Amy’s exuberance – it would get a bit chaotic if they did – they concentrate on providing the sound canvas she needs.

Quite heavy rock guitar riffs are exposed in some songs by Declan Mehrtens – Chewing Gum a good example, and a song that really has ‘stuck on me’ since they performed it in the calm of the Later with Jools Holland studio a few weeks back – incongruously alongside Dave Gilmour and his daughter.

Drummer Bryce Wilson almost gets a look-in

As a change from the moshpit wildness – just about all of downstairs was the moshpit – Tiny Bikini sees women emerge on shoulders, in bikini tops in a show of strength. The lyrics are along the lines of I don’t care about the grief and others’ reactions, I am going to wear what I want.

The age and gender balance in here tonight is perhaps surprising. It is all ages and there are a fair few grey-haired and no-haired gig goers in. Good news travels through the generations.

Are they punk rockers? Are they pub rockers? They don’t care, do they? They’re from Melbourne, Australia and they are having an absolute blast and everyone is loving it.

They play all but two songs from the Cartoon Darkness album and it all almost as many from the Comfort to Me album. They finish, after a brief and uneventful wait for an encore, with GFY from their first and self-titled 2019 album, then an even earlier single/ EP track, Balaclava Lover Boogie, from a few years earlier.

Gig of the year – gig of the decade? I’ve waited 40 years to witness this sort of gig again. Fantastic night……and now off they go to conquer London. I retire to get a pint in the Mother’s Ruin bar with friends and chew it over.

My copy of the latest album, Cartoon Darkness, was delivered as I finished writing this …

The Blossoms with Red Rum Club – live in Bournemouth

The Blossoms live at O2 Academy Bournemouth (8.11.2024) with Red Rum Club supporting.

Back at The O2 Academy Bournemouth to see some familiar faces over recent years – on the stage and in the crowd. (Venue blog here). It’s fair to say that it’s Sally, my wife, who keeps the Blossoms gigs coming and for me Red Rum Club are as much of a draw – so what a double act on a Friday night. It’s the seventh time I’ve seen Blossoms and it’s a sixth time for Red Rum Club live and a third time this year – neither have been around that long, in my grey-haired gig-going book. (Red Rum Club March blog link.)

Blossoms were the last band I saw before the first Covid lockdown (detailed here) and at this venue. I remember a man coughing endlessly while we watched from the first floor balcony. My wife caught Covid just after. It wasn’t long after Covid that we saw them here again. They must like the place.

We are down front left for Red Rum Club, just in front of Joe the Blow on trumpet. It’s a short and very sweet set. A handpicked selection of eight songs to warm up the audience, including faves Vibrate; Eleanor; Kids Addicted and Would You Rather Be Lonely. Glad we got in early.

Front man Fran Doran is clearly restraining himself and respectfully delivering the support band role, without stealing the show. He mentions the ‘warm-up’ aspect of the appearance a few times, just in case anyone wondering. This is a double header in my book so I have to take the unavoidable disappointment of the short, half hour, set leaving me looking for more.

You know when the drummer is pushed forward and to one side that this really is the support slot. Going along to see a band you really like and are familiar with, in the support role, always requires some tempering of expectations…. but I forgot didn’t I 😉 Looking forward to the next one already.

Red Rum Club – Bournemouth November 2024

Rationing my standing, I go for a hike upstairs and find a seat in The Gods to wait for Blossoms. It is a lovely audience. Lovely = no beer throwing and a polite gathering with healthy gender mix and lots of ‘excuse me’ replacing drunken toe mashing stumbles through to the front.

The crowd sing along to The Human League’s Don’t You Want Me Baby, a pause and the lights go down. Blossoms are on and familiar tunes of Your Girlfriend and I Can’t Stand It to start off.

Tom Ogden still looking superbly 70s Top of the Pops set material and is his cheery self.

The set doesn’t feel overstuffed with the new album – albeit seven tracks from it – which I’m grateful for. Maybe it’s familiarity but I am preferring previous ones, best for me being the 2018 Cool Like You, I think.

The Blossoms poppy tunes are hugely better in a venue of this sort, a medium size, nothing too huge. I wander down and around the first floor balcony to get some pics – as usual quite hard to see much with the naked eye around that balcony – by this stage the front rail is a few deep.

Bit of a Queen, Bohemian Rhapsody moment at one point when the band huddle together.

Meanwhile, some of Red Rum Club watch from one of the private balconies.

The gorilla, Gary, is wheeled on for the encores bit. The title track of latest album, Gary, may be a little too quirky for me. Perhaps it’s supposed to be just a bit if fun. I’m sure I will be exposed to the other Gary tracks s bit more and my enthusiasm for this album might pick up. For now, it’s the gorilla in the room.

I get back down to the ground floor for a few crackers to finish and round off a good afternoon and evening out. Off to the M2 bus stop for trip home.

Tonight’s setlist – sticker added from guy at the bus stop after

The Cult – live in Portsmouth

The Cult live at Portsmouth Guildhall (1.11.2024) with Jonathan Hultén supporting.

Despite seeing Southern Death Cult in the early days – forty odd years back – it wasn’t until 2001, when The Cult, with a more conventional hard rock sound, and having reformed after a four-year break, that I saw Ian Asbury live again, then with guitarist Billy Duffy on board, at Reading Festival. The Cult had another four-year break prior to 2006, since when they have continued. Ian Astbury and Billy Duffy remain the long-term core, although drummer John Tempesta has had an 18-year stint.

Yes, I did see the more recent special Death Cult tour (Bournemouth Death Cult blog link) but an indoor Cult gig has been a long time coming for me….so here we are, having been driven from Poole by my rediscovered mate Graham, who I went to gigs with around early 80s London.

This is The Cult’s 40th anniversary tour.

2024 Tour with the London Roundhouse to add at the end

Portsmouth Guildhall is one of those semi-regular trips for me – about as far as I want to go for night out these days, without a stopover. More venue details in my Portsmouth Guildhall venue blog.

We are perched on the front row, centre, of the balcony. First time I’ve noticed the warning for the first two rows there, not to stand up. Ahh my legs have an excuse.

Support act tonight is Jonathan Hultén, a Swedish guitarist. An extraordinary visual image, while the music is not as weird as I was expecting.

Vaguely haunting music that sounds folky, maybe medieval. Something to relax to with a jug if mead. He sings as well as plays guitar and captures the audience. The eyes of the room are on him certainly.

The Cult live tonight

A good varied selection in the setlist tonight with three tracks being the most from any one album – both Sonic Temple (1989) and Love (1985) get three songs aired.

Ian Astbury skips around the stage and I have to admire his fitness as the set progresses. He’s a year older than me and I’d be in a heap after a few songs. At one point he sinks to his knees around the mic stand and I’m thinking, that would be me done and how is he going to get up…up he bounces.

Billy Duffy studiously gets on with his guitar playing and adopts a less energetic role, bringing that wonderful Cult sound to the room.

Not long before the tambourine is out and juggled by Astbury as he skips and sings. He has to tape up an early tambourine flipping induced finger injury, without halting the proceedings.

It’s loud and the sound is great but I don’t know the earlier songs in the set as well as I might – maybe the audience don’t as it’s quite restrained down there in front of me. Single, Resurrection Joe gets things moving.

I was wondering if the band had one eye on the big London dates that round off the tour at The Royal Albert Hall and The Roundhouse – do bands pace themselves at this stage of their careers? It is a special one to get them down here in Portsmouth, and not so long since the Death Cult Bournemouth gig last year.

Ian and Billy take a seat for a quieter acoustic Edie (Ciao Baby), the first of the three from the 1989 Sonic Temple album, picking up the pace with Sweet Soul Sister.

I’m quite impressed when Ian Astbury whizzes a tambourine in the direction of a young woman on someone’s shoulders, who catches it with one hand…and joins in on beat. I notice a few being waved in the audience, still in a bag – they must be on the merch stand.

The place is buzzing now. Mosh pits shrink with the age of us all off course, but it’s off and running now. I wonder if I can work myself up for one of those again. Some more gig training required, I think.

The Cult – great view from balcony front row centre

It is, inevitably, the classics that win out – Rain and Spiritwalker (links to my YouTube clips). What fantastic songs they are. Real stompers, with the Duffy echoing guitar riffs and a howling Astbury. Another unmissable one from the Love album ends the show – She Sells Sanctuary (YouTube clip), played after they return to the stage for Brother Wolf, Sister Moon. Songs like these are worth a ticket alone and I am so pleased to see these big songs to end to the set – I’ve waited so long for my proper Cult gig and I left very happy, with ears ringing (I just had to take my ear plugs out for a lot of this one.)

The Cult – Sanctuary – Rain – Spiritwalker

Charlie Harper; The Mistakes: The Anvil, Bournemouth

Charlie Harper solo acoustic live at The Anvil, Bournemouth (25.10.2024) with The Mistakes.

The Anvil is a small venue – a few hundred fills the place – that sits in the small cluster that includes The Bear Cave and larger Old Fire Station just over the road. I did see The Mistakes here at the Anvil before, supporting The Professionals in 2019 (featured here in my 2019 blog ).

This evening starts with a few pints of Brewdog Black Heart, which I was pleased to find, in The Bear Cave opposite – Anvil shutters firmly down until doors open, indeed it looks quite intimidating when it’s closed.

(Out tonight with Poole mate Andy.)

A good combination this billing: Charlie Harper doing one of his solo sets with acoustic guitar, along with local punk band The Mistakes, from Poole, on first.

The Mistakes were guests at a UK Subs’ 100 Club gig in 2022, covered here along with my previous Subs gigs in an earlier UK Subs blog . It was around this time I bought the Mistakes’ Head Full of Damage CD (2021) and why it’s these songs that are most familiar for me. Charlie Harper guests on that album with vocals on one track and harmonica on another.

I will have to give their more recent album – A Good Hill To Die On – more of a go, not that much there is much of it to hear tonight. Just a couple of tracks – Heathens is a good’un ✊️

There is no hanging about once The Mistakes are unleashed, starting with Underdogs and then another, Brainstorm from their 2019 album, Upstarts and Heretics. It’s that album that provides two-thirds of the set.

Lead singer Ross is the only one afforded a bit of room to move about on this low, tight stage. Dark and sweaty down here but while busy it’s not rammed. I must have seen them five times altogether and it is live that I prefer to hear them. Their engine of sounds is perfect for a small venue.

The Mistakes are just back from playing some dates in Europe, I read on their Facebook page – Berlin, Stuttgart, Vienna get a mention.

Poole punks – The Mistakes – live at The Anvil

Never Be Quiet, to get the air punching really going, is my favourite of the set but maybe it’s because of its familiarity. Form Square – the only song played from the CD I have, another cracker, before another anthemic one: Self Control from the 2019 album. This is what Friday nights are all about eh.

Charlie Harper has been at the merch stand – I bought some Charlie Harper Christmas cards – and is wandering and moving forward to take up his stage seat.

He couldn’t have started with anything better – Stranglehold. I remember hearing it in bed one morning in 1979, on the radio, aged 16. I got up and went and bought it down at Sunbury Record Scene. That was me fixed on the UK Subs. 45 years later here we both are.

Just Charlie and his acoustic guitar – a run of faves – CID, I Live in a Car and shortly after, Tomorrow’s Girls. This is quite a treat for us old boys.

Charlie Harper – yes I can see if that chap keeps his head just there

A run of Charlie’s solo material and a few covers get us to the end of set that has us all transfixed on the master – lots of respect in the room.

Warhead to end the main set. Sing-a-long-a-Charlie. A bit of guitar support towards the end but it’s basically raw Charlie.

A few encores, of course, including a near Halloween special cover – I Walked With A Zombie, from the 1943 horror movie of the same name.

A very enjoyable night. £12. Keep rocking.

Gig Venue: Portsmouth Guildhall

Portsmouth Guildhall, Guildhall Square, Portsmouth PO1 2AB. (Last updated 31.1.2026)

Portsmouth Guildhall has a very grand exterior. It was built in 1890 but it was bombed heavily in WW2 and only the outer walls survived, with the interior being rebuilt and completed in 1959. Inside there is that 60s civic building feel which doesn’t match the grandeur of outside. Perfectly good for a gig though.

It’s just a couple of hundred metres from Portsmouth and Southsea train station and plenty of parking nearby – I’ve often ended up in the Isambard Brunel car park – I don’t think he built this concrete multi-storey (!), just 150 metres from the Guildhall. (You can pay for your parking at the box office on arrival for a swifter exit later – this can also be pre-paid for and box office validate your exit ticket – check still available on Guildhall website getting to us pages.)

Brunel was born here and the nearby Wetherspoons on the edge of the Guildhall square also bears his name. The Wetherspoons is extremely convenient, just over the road from the queues to get into the Guildhall.

When staying over, the Premier Inn does the job and a very short walk to the venue, near the station.

The Brewhouse and Kitchen brewpub is another spot I’ve visited beforehand, just a few hundred yards off the Guildhall Square and along passed the closer Wetherspoons option. Opposite the Brewhouse is the Guildhall Village pub which I liked on my recent visit. Good pizzas and a room upstairs also.

Just along towards the venue from here is The Dockyard pub – spacious with many TV screens and a good craft ale selection.

The bars in the venue are fine if heading straight in. Nice bright bar with some seating off the main auditorium downstairs (featuring old photos from performances last time I visited) and a spacious standing bar upstairs, behind the balcony entrances.

Inside the auditorium there are the options of upstairs reserved balcony seating, to the rear or down the sides; downstairs standing usually or unreserved seating to the rear on a first come first serve basis.

It is a superb view from the front of this venue’s balcony. Not much knee room but hey, it’s good and this grey-haired gig goer is into saving his legs a bit these days.

I noticed a sign on the front of the balcony on my last visit, requiring those in the front two rows to remain seated, as well as some caution from inadvertently showering the crowd below with your drinks.

There are also those unreserved seats downstairs at the back of the standing area if saving your legs mid-gig with a standing ticket. Capacity is 2500 with downstairs standing and the seated balcony.

The room is wider than it is deep and view and sound are good.

It’s just on the limits of an evening out by car for me, from Poole, but I have always enjoyed my trips here.

My last visit was for Suede on 31/1/2026. Previous gigs here have included these:

Bit of a run on Decembers there and other visits included The Reytons, The Stranglers and Beady Eye when Liam Gallagher was cutting his post-Oasis teeth.