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.
Wednesday, May 5, 2004
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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