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.
Tuesday, September 7, 2004
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?
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