Friday 17th December 2004
Liverpool Carling Academy
Set List: Going Up, With a Hip, Rescue, Seven Seas, Dancing Horses, Buried Alive, Crocodiles, Back Of Love, The Killing Moon, Never Stop, Zimbo, Villiers Terrace, Show Of Strength, Lips Like Sugar, The Cutter, Nothing Lasts Forever, Loose, Joe, Over The Wall, Ocean Rain.
In what looks like becoming a regular occurrence the Bunnymen took to the stage for this pre-Christmas show, with no album to promote Ian and Will rattled through a set of classics and old favourites; that kept the audience, who had braved Liverpool’s traditional Christmas party night suitably rewarded.
Ably supported by actor John Simms’s band Magic Alex, who share The Bunnymen’s, Velvet Underground fixation highlighted by including a version of the Velvet’s ‘Here comes The Man’ in their set.
The Bunnymen started off with tunes from the first two albums ‘Crocodiles’ and ‘Heaven Up Here’ ‘Going Up’ and With a Hip - a departure from their usual opener ‘Rescue’.
Mac was his usual self as a front man engaging in a bit of banter with the crowd; it must have been Christmas as he even had something positive to say regarding Liverpool’s recent derby defeat by Everton.
The set list covered the usual territory with songs from various points of their collection.
The encore saw the usual standards, ‘Nothing Lasts Forever’, ‘Over The Wall’, ‘Ocean Rain’. All delivered impeccably and in good voice from Mac. These tunes were interspersed ‘Loose’ the Stooges cover last played under the guise of Electrafixion.
They even had time to include a new song ‘Joe’ which augers well for the new album due next summer. Without doubt a top gig it had every element that a great Bunnymen gig should have. The band is certainly maturing into the great British band that they had always promised to become, but had always managed to find a way in shooting themselves in the foot.
Friday, December 17, 2004
Friday, October 29, 2004
The Finn Brothers
Tuesday 26th October 2004, Liverpool Empire Theatre
Not the best of days to perform a gig in Liverpool, What with the passing of John Peel, but New Zealand’s finest certainly are what’s required to lift the mood of any crowd
Supported by Minnie Driver, the Hollywood Actress seemed to be visibly nervous during her 30 minute set. The music was pleasant enough in an inoffensive way - musical wallpaper. It was listenable but it didn’t make you want to rush out and buy the album.
The brothers Neil and Tim Finn took to the stage and before the rest of the band joined them they played a couple of new tunes from their latest album ‘Everyone is Here’.
The new album is a quality collection of songs from the Finn’s; from the latest single ‘Won’t Give In’ which has all the Finn trademarks – a cracking melody and an unexpected twist in the tune towards the end. ‘Edible Flowers’ is also a potential classic and was performed tonight immaculately.
All points of the duos careers were also visited, Split Enz classics such as ‘I Got You’ ‘Six Months in a Leaky Boat and Crowded House hits such as ‘Weather with You’ and ‘Don’t Dream It’s Over’ were played much to the delight of the crowd.
The surprise of the night came when Manchester’s finest Johnny Marr took the stage, accompanied by good-natured boos – because of his Mancunian heritage, to join his friend Neil Finn for a rendition of The Smiths ‘There is a Light That Never Goes Out’.
As this was the day that Peel died, Neil Finn had remarked about the passing, whilst doing so a member of the audience called out to Marr to play The Undertones ‘Teenage Kicks’, Marr duly obliged with an impromptu rendition that almost brought the house down, it was rough and ready in a style that Peel would have admired. Marr admitted afterwards he’d played it in the wrong key and this gave him problems when it came to singing the song.
Neil Finn gigs are never really a passive experience for the audience and more often than not he will make his way into the crowd or beckon them forward. Tonight he incurred the Roth of the Liverpool Empire security when he did so.
A great night of music after what could be argued as the worst day for music what with Peel’s passing.
Not the best of days to perform a gig in Liverpool, What with the passing of John Peel, but New Zealand’s finest certainly are what’s required to lift the mood of any crowd
Supported by Minnie Driver, the Hollywood Actress seemed to be visibly nervous during her 30 minute set. The music was pleasant enough in an inoffensive way - musical wallpaper. It was listenable but it didn’t make you want to rush out and buy the album.
The brothers Neil and Tim Finn took to the stage and before the rest of the band joined them they played a couple of new tunes from their latest album ‘Everyone is Here’.
The new album is a quality collection of songs from the Finn’s; from the latest single ‘Won’t Give In’ which has all the Finn trademarks – a cracking melody and an unexpected twist in the tune towards the end. ‘Edible Flowers’ is also a potential classic and was performed tonight immaculately.
All points of the duos careers were also visited, Split Enz classics such as ‘I Got You’ ‘Six Months in a Leaky Boat and Crowded House hits such as ‘Weather with You’ and ‘Don’t Dream It’s Over’ were played much to the delight of the crowd.
The surprise of the night came when Manchester’s finest Johnny Marr took the stage, accompanied by good-natured boos – because of his Mancunian heritage, to join his friend Neil Finn for a rendition of The Smiths ‘There is a Light That Never Goes Out’.
As this was the day that Peel died, Neil Finn had remarked about the passing, whilst doing so a member of the audience called out to Marr to play The Undertones ‘Teenage Kicks’, Marr duly obliged with an impromptu rendition that almost brought the house down, it was rough and ready in a style that Peel would have admired. Marr admitted afterwards he’d played it in the wrong key and this gave him problems when it came to singing the song.
Neil Finn gigs are never really a passive experience for the audience and more often than not he will make his way into the crowd or beckon them forward. Tonight he incurred the Roth of the Liverpool Empire security when he did so.
A great night of music after what could be argued as the worst day for music what with Peel’s passing.
Friday, October 8, 2004
The Wonder Stuff
Liverpool Academy 2, Wednesday 6th October 2004
The Wonderstuff ride again the staple of that indie disco are back as a full-time touring outfit with an album to promote, the bristling ‘Escape from Rubbish Island’.
Shorn of drummer Martin Gilks and Martin ‘Fiddly’ Bell the band are now down to two of the original line up - main-man and mouthpiece Mile Hunt and guitarist Malcolm Treece. They are augmented by Miles’ compadre in the Miles Hunt Club drummer Andreas Karu and bassist Mark McCarthy, whom Miles has described as the first serious contender for the sadly late and lamented Bass-thing’s role.
No keyboards or fiddle player for this tour, so that meant a return to the tunes of the ‘Eight Legged Groove Machine’ and ‘Hup’ era.
The hardcore of fans who came out for this trip on a cold October Wednesday were probably not too fussed at the omissions of songs such as ‘Dizzy’ and ‘Size of Cow’ these were the hardcore, the fans were rewarded to a smattering of rarely heard classics and forgotten b-sides to warm the souls on this autumn evening.
Miles’ was his usual crowd baiting best and any rumours of his mellowing were dispelled with a couple of diatribes at the current state of popular music…bands such as Coldplay were in Miles’ line of vision.
The new material complimented the older ‘Hup’ era material with tunes such as ‘Don’t Let Me Down, Gently’ sung with as much gusto by the thirty-something audience as it was by the band themselves. It is fair to say the crowd were suitably rewarded with a set of sing-along classics that harked back to days when the hair was longer and the t-shirts were a little less figure hugging.
The NME may not want to know these days but as long as they are producing tunes such as ‘Bile Chant’ and the audience are coming to the gigs. The Wonderstuff will be a welcome addition to a bill near you.
The Wonderstuff ride again the staple of that indie disco are back as a full-time touring outfit with an album to promote, the bristling ‘Escape from Rubbish Island’.
Shorn of drummer Martin Gilks and Martin ‘Fiddly’ Bell the band are now down to two of the original line up - main-man and mouthpiece Mile Hunt and guitarist Malcolm Treece. They are augmented by Miles’ compadre in the Miles Hunt Club drummer Andreas Karu and bassist Mark McCarthy, whom Miles has described as the first serious contender for the sadly late and lamented Bass-thing’s role.
No keyboards or fiddle player for this tour, so that meant a return to the tunes of the ‘Eight Legged Groove Machine’ and ‘Hup’ era.
The hardcore of fans who came out for this trip on a cold October Wednesday were probably not too fussed at the omissions of songs such as ‘Dizzy’ and ‘Size of Cow’ these were the hardcore, the fans were rewarded to a smattering of rarely heard classics and forgotten b-sides to warm the souls on this autumn evening.
Miles’ was his usual crowd baiting best and any rumours of his mellowing were dispelled with a couple of diatribes at the current state of popular music…bands such as Coldplay were in Miles’ line of vision.
The new material complimented the older ‘Hup’ era material with tunes such as ‘Don’t Let Me Down, Gently’ sung with as much gusto by the thirty-something audience as it was by the band themselves. It is fair to say the crowd were suitably rewarded with a set of sing-along classics that harked back to days when the hair was longer and the t-shirts were a little less figure hugging.
The NME may not want to know these days but as long as they are producing tunes such as ‘Bile Chant’ and the audience are coming to the gigs. The Wonderstuff will be a welcome addition to a bill near you.
Tuesday, September 7, 2004
Love with Arthur Lee
Liverpool Summer Pops, Wednesday 7th July 2004
One of the expected highlights of this years somewhat disappointing Summer Pops line up, last year promised and delivered us artists of the calibre of Paul Weller, James Brown and Burt Bacarach, this year has delivered the likes of Donny Osmond, Busted and Lulu.
A bit of a dream double header on paper; a quality band of today alongside a great band of yesteryear, sadly the crowd in the half-full arena did not seem to share the enthusiasm of the bands on tonight. The Zutons limbered up with a set comprising of their latest album ‘Who Killed The Zutons’ sadly the apathy of the crowd was apparent during their set as Dave McCabe The Zutons singer implored the audience to at least look interested. They seem to get better and better with each performance and they are certainly a band to see when they are performing in front of their own partisan audience.
Tonight and previous tours have been billed as the Forever Changes tour but Arthur Lee is keen to stress that he has more to offer than a justifiably classic album written and recorded almost thirty five years ago.
Unlike previous tours the band launched into a classic from Forever Changes straight away; ‘A House Is Not a Motel’, which certainly highlights the talents of Baby Lemonade, the new band performing under the guise of the Love brand.
‘Alone Again Or’ was again a highlight of the set as it always is and saw the arrival of the string quartet not for the last time tonight.
Arthur Lee was in prickly mood tonight and was slightly unhappy with the crowds’ demands for songs only from Forever Changes. He stressed hat he was in the process of writing some new material. He was trying to push some of his newer stuff, especially the catchy ‘All I Want Is You’ which is quite a entertaining tune but played in the company of his back catalogue it is obvious that the better stuff was written back in the 60’s.
Lee finally relented and played more tunes form the Forever Changes and other songs from that era. Lee’s mood wasn’t helped by the calls to halt is set at 10.30, the curfew time. This meant that a couple of songs had to be discarded before they finished with ‘She Comes In Colours’.
It was a bit of disappointing night a far cry from their previous gig in Liverpool, last year. No doubt the poor crowd didn’t help the atmosphere or Lee’s not so cheery demeanour.
One of the expected highlights of this years somewhat disappointing Summer Pops line up, last year promised and delivered us artists of the calibre of Paul Weller, James Brown and Burt Bacarach, this year has delivered the likes of Donny Osmond, Busted and Lulu.
A bit of a dream double header on paper; a quality band of today alongside a great band of yesteryear, sadly the crowd in the half-full arena did not seem to share the enthusiasm of the bands on tonight. The Zutons limbered up with a set comprising of their latest album ‘Who Killed The Zutons’ sadly the apathy of the crowd was apparent during their set as Dave McCabe The Zutons singer implored the audience to at least look interested. They seem to get better and better with each performance and they are certainly a band to see when they are performing in front of their own partisan audience.
Tonight and previous tours have been billed as the Forever Changes tour but Arthur Lee is keen to stress that he has more to offer than a justifiably classic album written and recorded almost thirty five years ago.
Unlike previous tours the band launched into a classic from Forever Changes straight away; ‘A House Is Not a Motel’, which certainly highlights the talents of Baby Lemonade, the new band performing under the guise of the Love brand.
‘Alone Again Or’ was again a highlight of the set as it always is and saw the arrival of the string quartet not for the last time tonight.
Arthur Lee was in prickly mood tonight and was slightly unhappy with the crowds’ demands for songs only from Forever Changes. He stressed hat he was in the process of writing some new material. He was trying to push some of his newer stuff, especially the catchy ‘All I Want Is You’ which is quite a entertaining tune but played in the company of his back catalogue it is obvious that the better stuff was written back in the 60’s.
Lee finally relented and played more tunes form the Forever Changes and other songs from that era. Lee’s mood wasn’t helped by the calls to halt is set at 10.30, the curfew time. This meant that a couple of songs had to be discarded before they finished with ‘She Comes In Colours’.
It was a bit of disappointing night a far cry from their previous gig in Liverpool, last year. No doubt the poor crowd didn’t help the atmosphere or Lee’s not so cheery demeanour.
Thursday, July 29, 2004
Simple Minds
Liverpool Summer Pops, Saturday 24th July 2004
Back at the Summer Pops after last years triumphant performance under the big top at the Kings Dock. The bands heyday may have seen them play football stadiums, but this venue seems to be made for Jim Kerr as he uses ever inch of the stage to get the crowd up and ready for the gig.
He need not have bothered, no doubt the capacity crowd had been tipped off from last years performance and were up on their feet from the off, as the band launched into a set that was predominately their greatest hits.
At times it felt like being at the Nuremberg rally especially with the crowds collection of hands waving in the air. Kerr worked the crowd and his stage moves defy a man into his mid forties. He promised at the start that they would destroy the place and it was very nearly mission accomplished.
There were numerous highlights tonight ‘New Gold Dream; sounded fantastic and as fresh as it did when it was first released. There was very much something for everyone in the set tonight. No doubt the band probably wished they had written some popular slower songs, that would have enabled Kerr to take a well earned mid set breather.
Simple Minds certainly didn’t let the audience down with its choices on the set list and they managed to keep some energy in reserve for the pulsating encore that saw ‘Waterfront’, ‘Somewhere in The Summertime’, ‘Alive & Kicking’ and ‘Sanctify Yourself’ leaving the audience in no doubt that they had received value for money.
The rousing reception from the audience and Kerr’s reciprocal appreciation of the crowd left the audience looking forward to next year and on this form they may actually bring down the big top.
Back at the Summer Pops after last years triumphant performance under the big top at the Kings Dock. The bands heyday may have seen them play football stadiums, but this venue seems to be made for Jim Kerr as he uses ever inch of the stage to get the crowd up and ready for the gig.
He need not have bothered, no doubt the capacity crowd had been tipped off from last years performance and were up on their feet from the off, as the band launched into a set that was predominately their greatest hits.
At times it felt like being at the Nuremberg rally especially with the crowds collection of hands waving in the air. Kerr worked the crowd and his stage moves defy a man into his mid forties. He promised at the start that they would destroy the place and it was very nearly mission accomplished.
There were numerous highlights tonight ‘New Gold Dream; sounded fantastic and as fresh as it did when it was first released. There was very much something for everyone in the set tonight. No doubt the band probably wished they had written some popular slower songs, that would have enabled Kerr to take a well earned mid set breather.
Simple Minds certainly didn’t let the audience down with its choices on the set list and they managed to keep some energy in reserve for the pulsating encore that saw ‘Waterfront’, ‘Somewhere in The Summertime’, ‘Alive & Kicking’ and ‘Sanctify Yourself’ leaving the audience in no doubt that they had received value for money.
The rousing reception from the audience and Kerr’s reciprocal appreciation of the crowd left the audience looking forward to next year and on this form they may actually bring down the big top.
Sunday, June 20, 2004
Paul Weller
Delamere Forest Park, Sunday 20th June 2004
For someone who has released a song called ‘Wildwood’ it was perhaps inevitable for Paul Weller to take to the stage in the setting of a forest. In the impressive setting that Is Delamere Forest, in one of a series of concerts organised by the Forestry Commission.
With midsummer’s night just around the corner the audience were dressed for the changeable climate that is the English summer. Despite the ominous ever-present black clouds, thankfully the heavens did not open on the exposed crowd.
Weller has admitted a few problems with writers block of late, and perhaps this is the reason the release of a cover versions album is imminent, but as a live performer Weller is still on top of his musical game.
Before the main attraction Liverpool band The Stands ably started the proceedings with a set that stretched out the better songs from their patchy debut album and showed a tight nit band that is far better live then what was produced on record.
Weller came on as the night drew in and launched into ‘Out of the Sinking’ which set the scene for tonight’s performance. He looked up for it tonight and this was shown in the passion and enthusiasm of his performance of the songs he played. Though he nearly lost half of the audience with his ‘Welcome to Scousestock’ declaration.
He managed to get the non-scouse contingent back onside with a few well-chosen oldies from his Jam and Style Council repertoire. ‘In The Crowd’ was superb and is fast becoming a welcome mainstay of his solo set which is no bad thing. ‘Man in the Cornershop’ was also brilliant tonight also.
The now seemingly fixed line up of White, Craddock, Minchella, and Beagan was at times augmented by the adding of a saxophonist which added a new depth to some of the numbers especially ‘Peacocks Suit’.
The set had a bit for everyone; the diehard Jam fan and the Style Councillor would no doubt have no complaints about the set list tonight. It was hard to think what he had left out that he could have played. Predictably he finished the main part of the set with Wildwood before coming back for the encore.
The loudest cheer of the night was reserved for the familiar opening bars of ‘Town Called Malice’ – it was a fantastic rendition of the Jam classic even with Weller forgetting the words halfway through. He didn’t have to worry as the crowd managed to fill in the gaps for him.
Top gig. The crowd loved it, Weller and the band looked liked they loved it. A recipe for a good night and it didn’t rain too.
For someone who has released a song called ‘Wildwood’ it was perhaps inevitable for Paul Weller to take to the stage in the setting of a forest. In the impressive setting that Is Delamere Forest, in one of a series of concerts organised by the Forestry Commission.
With midsummer’s night just around the corner the audience were dressed for the changeable climate that is the English summer. Despite the ominous ever-present black clouds, thankfully the heavens did not open on the exposed crowd.
Weller has admitted a few problems with writers block of late, and perhaps this is the reason the release of a cover versions album is imminent, but as a live performer Weller is still on top of his musical game.
Before the main attraction Liverpool band The Stands ably started the proceedings with a set that stretched out the better songs from their patchy debut album and showed a tight nit band that is far better live then what was produced on record.
Weller came on as the night drew in and launched into ‘Out of the Sinking’ which set the scene for tonight’s performance. He looked up for it tonight and this was shown in the passion and enthusiasm of his performance of the songs he played. Though he nearly lost half of the audience with his ‘Welcome to Scousestock’ declaration.
He managed to get the non-scouse contingent back onside with a few well-chosen oldies from his Jam and Style Council repertoire. ‘In The Crowd’ was superb and is fast becoming a welcome mainstay of his solo set which is no bad thing. ‘Man in the Cornershop’ was also brilliant tonight also.
The now seemingly fixed line up of White, Craddock, Minchella, and Beagan was at times augmented by the adding of a saxophonist which added a new depth to some of the numbers especially ‘Peacocks Suit’.
The set had a bit for everyone; the diehard Jam fan and the Style Councillor would no doubt have no complaints about the set list tonight. It was hard to think what he had left out that he could have played. Predictably he finished the main part of the set with Wildwood before coming back for the encore.
The loudest cheer of the night was reserved for the familiar opening bars of ‘Town Called Malice’ – it was a fantastic rendition of the Jam classic even with Weller forgetting the words halfway through. He didn’t have to worry as the crowd managed to fill in the gaps for him.
Top gig. The crowd loved it, Weller and the band looked liked they loved it. A recipe for a good night and it didn’t rain too.
Tuesday, June 1, 2004
England expects
Even the least observant amongst us, will have noticed the steady increase in the amount of flags, bearing the cross of St George, clinging to the windows of the humble family saloon car and white transit van on our streets. And it’s not because England has won a test series again! – Euro 2004 is just around the corner.
This phenomenon has brought varying responses from people saying that it is in poor taste, especially considering the prevalence of the BNP campaigning during the recent European and local elections. The BNP, the so-called human face of the far right, has seemingly taken the flag of St George, as it’s, own. Even the RAC has expressed the opinion that they are dangerous and that they should be banned.
For many though, this overt display of loyalty is a little unpalatable and that it construed as racist. The problem stems from the fact that this flag has been taken by the far right as a symbol of their own and its display draws up all sorts of unpalatable connotations.
I attended my first England football match the other week and for one who is not in the least bit patriotic, I found myself caught up in the emotion of the night and wishing that I had something bearing the cross of St George to show my appreciation of the team – despite a humble draw with Japan.
The game at the magnificent City of Manchester stadium saw women and children, decked out in the red and white colours of England and in certain cases sitting with supporters of Japan. It was certainly a night that I felt proud to be English.
Previously I had been put off attending England matches by the stereotyped Hackett t-shirt wearing, Chelsea FC tattooed, lager lout who thinks he’s doing the nation a service by putting one up Johnny Foreigner.
It’s certainly a time for the average man or women to take pride in the flag of our nation. The Scot’s do, in their all to brief flirtations with major sporting occasions and the Millennium Stadium is a great sight with the Welsh flags billowing to the strains of Men of Harlech. So why cant we as English take pride in our flag?
If the more widespread use of the flag is by the average person in the street the least likely the far right can claim it as there own. I would rather the flag of St George be associated with my knackered old Ford Fiesta than some far- right fascist. The time is now for us all to be proud of our nation, no matter what race or colour that you are.
This phenomenon has brought varying responses from people saying that it is in poor taste, especially considering the prevalence of the BNP campaigning during the recent European and local elections. The BNP, the so-called human face of the far right, has seemingly taken the flag of St George, as it’s, own. Even the RAC has expressed the opinion that they are dangerous and that they should be banned.
For many though, this overt display of loyalty is a little unpalatable and that it construed as racist. The problem stems from the fact that this flag has been taken by the far right as a symbol of their own and its display draws up all sorts of unpalatable connotations.
I attended my first England football match the other week and for one who is not in the least bit patriotic, I found myself caught up in the emotion of the night and wishing that I had something bearing the cross of St George to show my appreciation of the team – despite a humble draw with Japan.
The game at the magnificent City of Manchester stadium saw women and children, decked out in the red and white colours of England and in certain cases sitting with supporters of Japan. It was certainly a night that I felt proud to be English.
Previously I had been put off attending England matches by the stereotyped Hackett t-shirt wearing, Chelsea FC tattooed, lager lout who thinks he’s doing the nation a service by putting one up Johnny Foreigner.
It’s certainly a time for the average man or women to take pride in the flag of our nation. The Scot’s do, in their all to brief flirtations with major sporting occasions and the Millennium Stadium is a great sight with the Welsh flags billowing to the strains of Men of Harlech. So why cant we as English take pride in our flag?
If the more widespread use of the flag is by the average person in the street the least likely the far right can claim it as there own. I would rather the flag of St George be associated with my knackered old Ford Fiesta than some far- right fascist. The time is now for us all to be proud of our nation, no matter what race or colour that you are.
Wednesday, May 5, 2004
Supergrass
Liverpool Academy, Sunday 2nd May 2004
Is it really ten years since Supergrass released their first single? From those bygone days of Britpop. An era where bands were formed, and adorned on the next available magazine cover, that would have them.
Not much of that era, ahem, talent are still in business. Its testimony that Supergrass is 10 is down to fact that they had a modicum of talent that their peers could only dream off.
The current extensive tour of the UK is designed to promote the forthcoming compilation and remind everyone of what Supergrass is about.
The prospect of the band playing all the hits is certainly one to be savoured. There has always been something to engage the casual listener to the albums, but this is often failed to be replicated over a full album.
That is why a Supergrass compilation is certainly a must-have addition to anyone’s collection. Scarily lead singer Gaz Coombes is still the right side of thirty and retains the youthful look of the Britpop era.
The night started well enough with ‘In it For The Money’ and the still brilliant ‘Richard III”. ‘Mary’ sounds great live despite the awful rhyming couplet of Mary and Basis Daily.
The much maligned acoustic bit in the middle of a bands set was given a new twist tonight with an Acoustic Sofa being brought on stage for Gaz and Mikey to reinterpret a few of the old tunes with ‘ Caught By the Fuzz’ being reworked to good effect.
New song ‘Kiss of Life’ was given an airing and may well take a few more listens to get into. Old favourites were wheeled out such as ‘Alright’ and ‘Pumping on Your Stereo’ and still sounded as fresh as the first time you heard them.
The set finished with two of the oldest songs in Supergrasses repertoire ‘Mansize Rooster’ and ‘Sitting Up Straight’ both were delivered with a slickness that was not apparent on the original release.
All in all a good night and here’s to ten more years and the transition from a singles band into one that finally delivers that essential album.
Is it really ten years since Supergrass released their first single? From those bygone days of Britpop. An era where bands were formed, and adorned on the next available magazine cover, that would have them.
Not much of that era, ahem, talent are still in business. Its testimony that Supergrass is 10 is down to fact that they had a modicum of talent that their peers could only dream off.
The current extensive tour of the UK is designed to promote the forthcoming compilation and remind everyone of what Supergrass is about.
The prospect of the band playing all the hits is certainly one to be savoured. There has always been something to engage the casual listener to the albums, but this is often failed to be replicated over a full album.
That is why a Supergrass compilation is certainly a must-have addition to anyone’s collection. Scarily lead singer Gaz Coombes is still the right side of thirty and retains the youthful look of the Britpop era.
The night started well enough with ‘In it For The Money’ and the still brilliant ‘Richard III”. ‘Mary’ sounds great live despite the awful rhyming couplet of Mary and Basis Daily.
The much maligned acoustic bit in the middle of a bands set was given a new twist tonight with an Acoustic Sofa being brought on stage for Gaz and Mikey to reinterpret a few of the old tunes with ‘ Caught By the Fuzz’ being reworked to good effect.
New song ‘Kiss of Life’ was given an airing and may well take a few more listens to get into. Old favourites were wheeled out such as ‘Alright’ and ‘Pumping on Your Stereo’ and still sounded as fresh as the first time you heard them.
The set finished with two of the oldest songs in Supergrasses repertoire ‘Mansize Rooster’ and ‘Sitting Up Straight’ both were delivered with a slickness that was not apparent on the original release.
All in all a good night and here’s to ten more years and the transition from a singles band into one that finally delivers that essential album.
Friday, April 30, 2004
The Zutons
Liverpool Carling Academy, Thursday 29th April 2004
It was a homecoming night for the latest band hot off Liverpool’s musical production line and tonight’s proceedings certainly showed the fact that Liverpool’s musical legacy is still in fine fettle.
The atmosphere at the Carling academy it almost felt like you had stumbled into someone’s family party. No doubt the various Zuton – aunties and uncles gave the atmosphere that feeling. Prior to the arrival of the latest hometown favourites, Liverpool’s future stars were on display.
First up tonight was the Jones’s fronted by Edgar Jones, veteran of numerous ‘I can’t believe they were never bigger’ Liverpool bands The former Stairs front man’s band has certainly raided the Motown albums for inspiration. They are certainly one’s to watch for the future
The Dead 60’s label mates of the Zutons due to release their first single, displayed a two-tone element that has always been lacking from the Liverpool scene.
It’s good to see Liverpool taking their inspiration these days from a wider source than is usually the case and no doubt the future looks good.
The crowd had been suitably warmed by the exceptional support acts, it was time for the main attraction, buoyed by a top ten album and headlining national tour was certainly out to prove what they had to offer.
Drawing heavily from their debut album the Zutons the band played with a swagger that was pleasing to see. The only thing that averted their concentration was the odd shout from people they knew in the audience.
They kicked into life with ‘Zuton Fever’, which had the Carling Academy crowd bouncing off the walls, of this homely venue. ‘Pressure point’ followed and was a real tour de force as the band belted out the recent single as one at the front of the stage.
The varied nature of the Zutons set meant that there was something for everyone from their mixed bag of musical influences, scallydelic is the term that the NME has dubbed this style of music, but whatever it is it certainly has mass appeal.
The somewhat skewed tribute to a night out in the city of culture, ‘Dirty Dancehall’ was delivered to an appreciative audience who sang back the mocking lyrics.
The encore delivered the crowd favourite ‘You will, You Wont’ and the crowd went home happy having heard the new album near enough track for track.
It was a homecoming night for the latest band hot off Liverpool’s musical production line and tonight’s proceedings certainly showed the fact that Liverpool’s musical legacy is still in fine fettle.
The atmosphere at the Carling academy it almost felt like you had stumbled into someone’s family party. No doubt the various Zuton – aunties and uncles gave the atmosphere that feeling. Prior to the arrival of the latest hometown favourites, Liverpool’s future stars were on display.
First up tonight was the Jones’s fronted by Edgar Jones, veteran of numerous ‘I can’t believe they were never bigger’ Liverpool bands The former Stairs front man’s band has certainly raided the Motown albums for inspiration. They are certainly one’s to watch for the future
The Dead 60’s label mates of the Zutons due to release their first single, displayed a two-tone element that has always been lacking from the Liverpool scene.
It’s good to see Liverpool taking their inspiration these days from a wider source than is usually the case and no doubt the future looks good.
The crowd had been suitably warmed by the exceptional support acts, it was time for the main attraction, buoyed by a top ten album and headlining national tour was certainly out to prove what they had to offer.
Drawing heavily from their debut album the Zutons the band played with a swagger that was pleasing to see. The only thing that averted their concentration was the odd shout from people they knew in the audience.
They kicked into life with ‘Zuton Fever’, which had the Carling Academy crowd bouncing off the walls, of this homely venue. ‘Pressure point’ followed and was a real tour de force as the band belted out the recent single as one at the front of the stage.
The varied nature of the Zutons set meant that there was something for everyone from their mixed bag of musical influences, scallydelic is the term that the NME has dubbed this style of music, but whatever it is it certainly has mass appeal.
The somewhat skewed tribute to a night out in the city of culture, ‘Dirty Dancehall’ was delivered to an appreciative audience who sang back the mocking lyrics.
The encore delivered the crowd favourite ‘You will, You Wont’ and the crowd went home happy having heard the new album near enough track for track.
Thursday, April 29, 2004
Tears For Fears
Wednesday 27th April 2004,Manchester Carling Apollo
Set List: (Famous Last Words intro), Secret World, Call Me Mellow, Who You Are, Sowing the Seeds of Love, Closest Thing to Heaven, Everybody Loves a Happy Ending, The Devil, Mad World (new version), Quiet Ones, Size of Sorrow, Snow Hill, Who Killed Tangerine, Break it Down Again, Everybody Wants to Rule the World, Pale Shelter, Head Over Heels, Encore: Woman in Chains, Shout.
A gig for those who viewed the eighties and all that came with that decade, not with any sense of irony as is the current vogue, but because it was the formative years of most of tonight’s audience.
The reunited duo of Curt Smith and Roland Orzabal, childhood friends who succumbed to the age-old cliché of musical differences, seemed relatively at ease with each other and the audience, with a smattering of Little Britain impressions! And the relaying of the score from tonight’s Champions League semi-final.
The set drew heavily from the latest album ‘Everybody Loves a Happy Ending’ and fitting it was that the house PA played ‘Famous Last Words’ the last track from the duos last album together ‘Sowing the Seeds’, an album of similar influences the latest release.
The new album is the traditional game of two halves, for every great track there is one that is at best take it or leave it, though tonight in the live arena, some of the those songs seem to come alive, songs such as ‘The Devil’ which on record didn’t appeal. The stand out tracks from the new album - ‘Closest Thing to Heaven’ and ‘Everybody Loves a Happy Ending’ will no doubt become staples of the set for years to come.
The crowd came alive later in the set when the band rattled through the hits. Curt alluded to the Gary Jules version of the song ‘Mad World’ before they put a new slant on the bands eighties classic.
The subdued audience eventually got what they came for, when they launched into the more familiar closing numbers of Break It Down Again, ‘Everybody Wants to Rule the World’, ‘Pale Shelter’ and ‘Head Over Heels’, and for encore ‘Woman in Chains’, ‘Shout’.
A good gig but one highlighting the age-old problem for an act returning to the fold. Do they promote the new material or mine that back catalogue that an audience are baying for?
Set List: (Famous Last Words intro), Secret World, Call Me Mellow, Who You Are, Sowing the Seeds of Love, Closest Thing to Heaven, Everybody Loves a Happy Ending, The Devil, Mad World (new version), Quiet Ones, Size of Sorrow, Snow Hill, Who Killed Tangerine, Break it Down Again, Everybody Wants to Rule the World, Pale Shelter, Head Over Heels, Encore: Woman in Chains, Shout.
A gig for those who viewed the eighties and all that came with that decade, not with any sense of irony as is the current vogue, but because it was the formative years of most of tonight’s audience.
The reunited duo of Curt Smith and Roland Orzabal, childhood friends who succumbed to the age-old cliché of musical differences, seemed relatively at ease with each other and the audience, with a smattering of Little Britain impressions! And the relaying of the score from tonight’s Champions League semi-final.
The set drew heavily from the latest album ‘Everybody Loves a Happy Ending’ and fitting it was that the house PA played ‘Famous Last Words’ the last track from the duos last album together ‘Sowing the Seeds’, an album of similar influences the latest release.
The new album is the traditional game of two halves, for every great track there is one that is at best take it or leave it, though tonight in the live arena, some of the those songs seem to come alive, songs such as ‘The Devil’ which on record didn’t appeal. The stand out tracks from the new album - ‘Closest Thing to Heaven’ and ‘Everybody Loves a Happy Ending’ will no doubt become staples of the set for years to come.
The crowd came alive later in the set when the band rattled through the hits. Curt alluded to the Gary Jules version of the song ‘Mad World’ before they put a new slant on the bands eighties classic.
The subdued audience eventually got what they came for, when they launched into the more familiar closing numbers of Break It Down Again, ‘Everybody Wants to Rule the World’, ‘Pale Shelter’ and ‘Head Over Heels’, and for encore ‘Woman in Chains’, ‘Shout’.
A good gig but one highlighting the age-old problem for an act returning to the fold. Do they promote the new material or mine that back catalogue that an audience are baying for?
Tuesday, April 20, 2004
Nora Jones
Manchester Apollo, Tuesday 20th April 2004
When you see a Man with a jumper draped over his shoulders heading for the front row of a gig, you certainly know that you haven’t purchased tickets for Motorhead.
If you were looking for someone to blame for the current crop of jazz-lite artists currently clogging up the charts, non-entities such as Jamie Callum and Katie Melua Nora Jones is an easy target. Her success has brought a deluge of similarly jazz crossover acts.
Though not my artist of choice – I was very much the plus one equation in the purchase of these tickets, an Evening with Nora Jones is not too arduous a task as I thought it might be.
In the quite expansive arena that is the Manchester Apollo the feel of the show, is that of a bar room band playing in a smoky saloon bar.
Nora Jones cuts a somewhat down to earth presence as she kicks off her shoes to open the proceedings with ’Cold Cold Heart’. The set features many of the tracks from her two successful albums, plus the odd other song thrown in for good effect, including a country version of AC/DC’S ‘Ride on me’.
She was equally at home on her own at the piano or backed by her band and she carried the songs though the night. The pace of the set was good, but perhaps a little too similar throughout. One criticism that people level at her is that live she sounds no different than she does on record. Where as on record it makes perfect background music or something relaxing, live it needs to be a bit more panoramic to catch the attention.
It certainly was a pleasant enough experience, but not one that gets me rushing out to buy the records or witness her next gig.
When you see a Man with a jumper draped over his shoulders heading for the front row of a gig, you certainly know that you haven’t purchased tickets for Motorhead.
If you were looking for someone to blame for the current crop of jazz-lite artists currently clogging up the charts, non-entities such as Jamie Callum and Katie Melua Nora Jones is an easy target. Her success has brought a deluge of similarly jazz crossover acts.
Though not my artist of choice – I was very much the plus one equation in the purchase of these tickets, an Evening with Nora Jones is not too arduous a task as I thought it might be.
In the quite expansive arena that is the Manchester Apollo the feel of the show, is that of a bar room band playing in a smoky saloon bar.
Nora Jones cuts a somewhat down to earth presence as she kicks off her shoes to open the proceedings with ’Cold Cold Heart’. The set features many of the tracks from her two successful albums, plus the odd other song thrown in for good effect, including a country version of AC/DC’S ‘Ride on me’.
She was equally at home on her own at the piano or backed by her band and she carried the songs though the night. The pace of the set was good, but perhaps a little too similar throughout. One criticism that people level at her is that live she sounds no different than she does on record. Where as on record it makes perfect background music or something relaxing, live it needs to be a bit more panoramic to catch the attention.
It certainly was a pleasant enough experience, but not one that gets me rushing out to buy the records or witness her next gig.
Monday, March 29, 2004
Super Furry Animals
Liverpool Royal Court, Saturday 27th March 2004
Expect the unexpected - that is something that you come to take for granted with a Super Furry Animals live set these days. For a band that has made the live experience something different this tour saw the Super Furries with a hard act to follow.
Sadly no Quadraphonic sound, Inflatables, or Tanks this time - upon entering the Royal Court tonight the stage is set up with huge cardboard cut outs of the animals that adorn the latest album ‘Phantom Power’.
The show starts surreally enough with lead singer Gruff wandering on wearing what looks like a cross between Darth Vader’s helmet and a Bikers helmet.
The set covers all points of a career, which has been very productive in the extreme. Some of the songs they played I had forgotten that they had done them, but I was grateful for them for reacquainting me with them. Wonderful tunes were unearthed from the classic debut album ‘Fuzzy Logic’.
Newer songs held up quite well too. ‘Hello Sunshine’ has the potential to be a future summer hit and the recent single ‘Golden Retriever’ was played with gusto, but sadly not in the costumes that accompanied the video.
The bi-lingual band also played songs from the Welsh Language album Mwng– songs such ‘Calimero’ were aired much to the delight of the audience, with no doubt a few punters from across the border singing along.
Visuals were used to good effect when accompanied with the songs, especially on the final song of the night ‘The Man Don’t Give A Fuck’. The screens flashed the slogan “All Governments are Liars and Murderers” while subliminal images of Blair and Bush appear.
The song mutates into a fifteen minute DJ set before the band return in the Golden Retriever costumes to finish off a wonderfully varied and interesting set.
Expect the unexpected - that is something that you come to take for granted with a Super Furry Animals live set these days. For a band that has made the live experience something different this tour saw the Super Furries with a hard act to follow.
Sadly no Quadraphonic sound, Inflatables, or Tanks this time - upon entering the Royal Court tonight the stage is set up with huge cardboard cut outs of the animals that adorn the latest album ‘Phantom Power’.
The show starts surreally enough with lead singer Gruff wandering on wearing what looks like a cross between Darth Vader’s helmet and a Bikers helmet.
The set covers all points of a career, which has been very productive in the extreme. Some of the songs they played I had forgotten that they had done them, but I was grateful for them for reacquainting me with them. Wonderful tunes were unearthed from the classic debut album ‘Fuzzy Logic’.
Newer songs held up quite well too. ‘Hello Sunshine’ has the potential to be a future summer hit and the recent single ‘Golden Retriever’ was played with gusto, but sadly not in the costumes that accompanied the video.
The bi-lingual band also played songs from the Welsh Language album Mwng– songs such ‘Calimero’ were aired much to the delight of the audience, with no doubt a few punters from across the border singing along.
Visuals were used to good effect when accompanied with the songs, especially on the final song of the night ‘The Man Don’t Give A Fuck’. The screens flashed the slogan “All Governments are Liars and Murderers” while subliminal images of Blair and Bush appear.
The song mutates into a fifteen minute DJ set before the band return in the Golden Retriever costumes to finish off a wonderfully varied and interesting set.
Saturday, January 24, 2004
Ryan Adams
Liverpool Royal Court Theatre, 22nd January 2004
Set List: Luminol; So Alive; 1974; Note to Self: Don’t Die; Do Miss America; This is it; Love is Hell; Anybody Wanna Take Me Home? Shallow; To be young (is to be sad, is to be high); Please Don’t Let Me Go; I See Monsters; La Cienega just smiled; New York City Cops; Last Nite; Oh My Sweet Carolina; New York, New York; Come Pick Me Up; Sylvia Plath; My Blue Manhattan; Shadowlands.
A gig scheduled on a cold mid-week in that post-Christmas lull that is known as January is certainly not one that will grab the punters off the street. This is though was not any other gig – tonight is Ryan Adams - on a brief sojourn across the country promoting three records.
Well one in truth – Rock n Roll, the proper album. Love is Hell – the record that met with record company horror on completion and has so far been released as two Ep’s on import only.
Ryan Adams is no ordinary artist and this was certainly no ordinary gig. This was shown when Adams appeared as a drummer halfway through support act Jesse Mallin’s set.
Mallin and Adams both contemporaries of the New York music scene and members of the side project The Finger – yet another Adams release in 2003. Jesse Mallin’s set was a perfect introduction to Ryan Adams, which soon followed.
The early part of Ryan Adam’s set drew heavily from the Rock n Roll album and used the full band to full effect. The album seemed to make more sense live, than it does on record. A record that was born of frustration and sombre in tone is a perfect way for Adams to let loose some of the demons within on this tour.
Adams a prolific artist and usually engaging stage presence was in fairly subdued mood for the first part of the proceedings – interaction with the audience was minimal, as he rattled through the best bits of the new album.
He ended the first part of the set with To Be Young (is to be sad, is to be high) from Heartbreaker.
After a short break Adams came back refreshed; in many senses of the word accompanied with a guitar. He played a selection of his vast body of work – interspersed with light-hearted versions of The Stroke’s New York City Cops and Last Nite.
The band came back for New York, New York - a song that has added significance in that the video was filmed using The Twin Towers as the backdrop in the week before September 11th.
In his refreshed state, Adams clamoured up on the speaker stack at the right to serenade a poor spectator, unbeknown to Adams, who had been moved when a impressively inebriated punter had projectile vomited all over her in her seat in the stalls.
The band reconvened for Shadowlands with Adams now safely down from the teetering speaker stack was moving perilously close to the front of the Royal Court’s stage. To the audience’s horror Ryan Adams fell into the pit in front of the stage that separates the audience and performers.
An almighty thud followed by Adams heroically completing the lyrics to the song. The band played on waiting for Adams to return. Helped up by the attendant security guards, Adams clutching his arm ran from the stage in obvious discomfort. The band completed the song and then left the stage. Drummer Johnny T shouted from the stage ‘that’ll be the last gig for a while’. It transpires that Ryan Adams has broken his arm and Johnny T’s prophecy is an apt one.
This was certainly a memorable gig - what with the sideshows involving the crowd. (I never had time to mention the fight that went off in the crowd tonight also). Despite Ryan Adams sombre nature, musically the gig was top notch too.
It’s hard to sum tonight’s events really, maybe just to say get well soon Ryan and I’ll certainly be at the front of the queue when the next tour’s tickets go on sale.
Set List: Luminol; So Alive; 1974; Note to Self: Don’t Die; Do Miss America; This is it; Love is Hell; Anybody Wanna Take Me Home? Shallow; To be young (is to be sad, is to be high); Please Don’t Let Me Go; I See Monsters; La Cienega just smiled; New York City Cops; Last Nite; Oh My Sweet Carolina; New York, New York; Come Pick Me Up; Sylvia Plath; My Blue Manhattan; Shadowlands.
A gig scheduled on a cold mid-week in that post-Christmas lull that is known as January is certainly not one that will grab the punters off the street. This is though was not any other gig – tonight is Ryan Adams - on a brief sojourn across the country promoting three records.
Well one in truth – Rock n Roll, the proper album. Love is Hell – the record that met with record company horror on completion and has so far been released as two Ep’s on import only.
Ryan Adams is no ordinary artist and this was certainly no ordinary gig. This was shown when Adams appeared as a drummer halfway through support act Jesse Mallin’s set.
Mallin and Adams both contemporaries of the New York music scene and members of the side project The Finger – yet another Adams release in 2003. Jesse Mallin’s set was a perfect introduction to Ryan Adams, which soon followed.
The early part of Ryan Adam’s set drew heavily from the Rock n Roll album and used the full band to full effect. The album seemed to make more sense live, than it does on record. A record that was born of frustration and sombre in tone is a perfect way for Adams to let loose some of the demons within on this tour.
Adams a prolific artist and usually engaging stage presence was in fairly subdued mood for the first part of the proceedings – interaction with the audience was minimal, as he rattled through the best bits of the new album.
He ended the first part of the set with To Be Young (is to be sad, is to be high) from Heartbreaker.
After a short break Adams came back refreshed; in many senses of the word accompanied with a guitar. He played a selection of his vast body of work – interspersed with light-hearted versions of The Stroke’s New York City Cops and Last Nite.
The band came back for New York, New York - a song that has added significance in that the video was filmed using The Twin Towers as the backdrop in the week before September 11th.
In his refreshed state, Adams clamoured up on the speaker stack at the right to serenade a poor spectator, unbeknown to Adams, who had been moved when a impressively inebriated punter had projectile vomited all over her in her seat in the stalls.
The band reconvened for Shadowlands with Adams now safely down from the teetering speaker stack was moving perilously close to the front of the Royal Court’s stage. To the audience’s horror Ryan Adams fell into the pit in front of the stage that separates the audience and performers.
An almighty thud followed by Adams heroically completing the lyrics to the song. The band played on waiting for Adams to return. Helped up by the attendant security guards, Adams clutching his arm ran from the stage in obvious discomfort. The band completed the song and then left the stage. Drummer Johnny T shouted from the stage ‘that’ll be the last gig for a while’. It transpires that Ryan Adams has broken his arm and Johnny T’s prophecy is an apt one.
This was certainly a memorable gig - what with the sideshows involving the crowd. (I never had time to mention the fight that went off in the crowd tonight also). Despite Ryan Adams sombre nature, musically the gig was top notch too.
It’s hard to sum tonight’s events really, maybe just to say get well soon Ryan and I’ll certainly be at the front of the queue when the next tour’s tickets go on sale.
Love with Arthur Lee
Friday 24th January 2004, Liverpool Academy
The current vogue is for nostalgia tours for bands trying to eek out one last big payday before Butlins and summer season beckons, bands who meant nothing in the first place trading on perceived former glories. You can see it now – summer 2010 - Blue, Busted and Blink 182. Performing on Hear and Now 2010.
This is certainly not the case with Love who are touring an album that was released thirty years ago and still sounding fresher and more interesting than anything that is currently being released. It’s payback time for Arthur Lee whose life can certainly be described to be colourful, to say the least.
Arthur Lee released a couple of years ago after a twelve year stretch in prison, having fallen foul of the three strikes and you are out rule, Lee is certainly is in the mood to make up for lost time.
Though not strictly Love - Arthur Lee’s current incarnation backed ably by the band Baby Lemonade are about fulfilling the legendary status of Arthur Lee.
It could be argued that Liverpool is Lee’s spiritual home and tonight’s audience was certainly a who’s who of the Liverpool music scene – both new and old. It is one of the requirements in this cities musicians apart the obvious albums to own a copy of ‘Forever Changes’.
The band was greeted by a rapturous reception by the audience much to the delight of Lee. The night started off with a storming version of ‘Little Red Book’ and a few other tunes warming up to the main part of the show. Love were soon down by a string quartet for the start of the run through of ‘Forever Changes’ from start to finish.
The familiar tones of ‘Alone Again or’ written by Brian McLean (sadly no longer with us) prompted the crowd to acknowledge their appreciation. They continued to do so at every change of tempo during the song. The band could have gone of there and the ticket price would have been more than covered.
Thankfully they didn’t and the rest of ‘Forever Changes’ was brilliantly played by the musicians on stage and received by the Liverpool crowd. ‘A House is not a motel’ was superbly executed and was given a fresh impetus by the band. Though liberties weren’t taken with the music, the band did add their own stamp on the songs. Even the string quartet seemed to be enjoying the songs as much as the audience.
The later section of the gig saw other Love albums showcased – songs such as ‘signed DC’, ‘My Flash On You’ and ‘She Comes in Colours’. He paid tribute to his friend John Lennon, before playing ‘Everybodies Gotta Live’ which segued into ‘Instant Karma’.
Lee even slipped in a new song ‘My Anthem’ though sounding a little too much like Big Country for comfort; this was well received by the audience. To be fair he could have played a Spice Girls song tonight and the reception would not have been any less ecstatic.
The sad part about tonight’s gig was certainly that it had to end, but not before the promise of a return from Arthur Lee. If that gig is half as good as tonight’s then it will be one that I won’t want to miss. Tonight was nothing short of brilliant and was well worth leaving the house on a cold January night.
The current vogue is for nostalgia tours for bands trying to eek out one last big payday before Butlins and summer season beckons, bands who meant nothing in the first place trading on perceived former glories. You can see it now – summer 2010 - Blue, Busted and Blink 182. Performing on Hear and Now 2010.
This is certainly not the case with Love who are touring an album that was released thirty years ago and still sounding fresher and more interesting than anything that is currently being released. It’s payback time for Arthur Lee whose life can certainly be described to be colourful, to say the least.
Arthur Lee released a couple of years ago after a twelve year stretch in prison, having fallen foul of the three strikes and you are out rule, Lee is certainly is in the mood to make up for lost time.
Though not strictly Love - Arthur Lee’s current incarnation backed ably by the band Baby Lemonade are about fulfilling the legendary status of Arthur Lee.
It could be argued that Liverpool is Lee’s spiritual home and tonight’s audience was certainly a who’s who of the Liverpool music scene – both new and old. It is one of the requirements in this cities musicians apart the obvious albums to own a copy of ‘Forever Changes’.
The band was greeted by a rapturous reception by the audience much to the delight of Lee. The night started off with a storming version of ‘Little Red Book’ and a few other tunes warming up to the main part of the show. Love were soon down by a string quartet for the start of the run through of ‘Forever Changes’ from start to finish.
The familiar tones of ‘Alone Again or’ written by Brian McLean (sadly no longer with us) prompted the crowd to acknowledge their appreciation. They continued to do so at every change of tempo during the song. The band could have gone of there and the ticket price would have been more than covered.
Thankfully they didn’t and the rest of ‘Forever Changes’ was brilliantly played by the musicians on stage and received by the Liverpool crowd. ‘A House is not a motel’ was superbly executed and was given a fresh impetus by the band. Though liberties weren’t taken with the music, the band did add their own stamp on the songs. Even the string quartet seemed to be enjoying the songs as much as the audience.
The later section of the gig saw other Love albums showcased – songs such as ‘signed DC’, ‘My Flash On You’ and ‘She Comes in Colours’. He paid tribute to his friend John Lennon, before playing ‘Everybodies Gotta Live’ which segued into ‘Instant Karma’.
Lee even slipped in a new song ‘My Anthem’ though sounding a little too much like Big Country for comfort; this was well received by the audience. To be fair he could have played a Spice Girls song tonight and the reception would not have been any less ecstatic.
The sad part about tonight’s gig was certainly that it had to end, but not before the promise of a return from Arthur Lee. If that gig is half as good as tonight’s then it will be one that I won’t want to miss. Tonight was nothing short of brilliant and was well worth leaving the house on a cold January night.
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