Friday 26th May 2006, Liverpool Academy 2
Set list: The Sea is Wide, Small World, Black Lucia, Stray, Rock Gods, Western Skies, How Men Are, The Birth of the True, Down the Dip, Hymn to Grace, Reason for Living, Bigger Brighter Better, Somewhere in my Heart, Oblivious, The Boy Wonders, We Could send letters, The Bugle Sounds Again, Over You.
Roddy Frame is another of those musicians who has undeservingly dropped off the cultural radar but is an artiste that is producing work comparable to his halcyon days.
With a new album ‘Western Skies’ to promote Frame, was back in Liverpool one of his favourite stomping grounds just one of many dates on a fairly comprehensive UK tour.
It is probably the last time for a while that the audience could probably see Roddy in this intimate acoustic setting, recent interviews have indicted that he is looking to put together a new touring band.
‘Surf’ and the latest record are records that are suited to being played in this style given the stripped down nature of the recordings. There is a healthy dose of older material played tonight as well and it is interesting to hear the older Aztec Camera material given a new lease of life in this format.
Roddy Frame stepped out to a rapturous applause, which showed no sign of abating all night. His beaming smile and his opening chat with the crowd indicated that he was up for tonight’s performance. He was playing to a partisan crowd who were up for old and new tunes in equal measure.
They even cheered the opening chord – which prompted Frame to tease the audience with a couple of bars from a Bob Dylan tune. ‘You are cheering and you don’t even know what is yet,’ he joked.
He didn’t disappoint with the choice of songs played tonight. The second song tonight was ‘Small World’ a song non-partisans would be familiar with as it is the tune for BBC’s Early Doors.
The newer stuff from ‘Western Skies’ was well received, especially ‘Rock God’ which began with Frame talking about his own heroes and Edwyn Collins who had recently visited. Frame informed the audience that he was on the mend and in good form after his brain haemorrhage last year.
The crowd were in as equally good voice as the turn they had come to see. ‘Oblivious’ ‘The Boy Wonders’ and ‘How Men Are’ were all sung with as equal aplomb by the audience as they were by the guy who had crafted them.
He finished with a number of classics from ‘Hard Land, Hard Rain’ – with ‘Down the Dip’ mutating into Dylan’s ‘It’s Alright, Ma’ with an extended section that saw Frame’s silhouette projected onto the backdrop in true rock god pose.
Tonight was something else and if he can be this good in this acoustic setting, one can only imagine how good he would be with a band behind him.
Showing posts with label Live. Show all posts
Showing posts with label Live. Show all posts
Friday, May 26, 2006
Friday, April 21, 2006
Ian McNabb
Live at the Southport Arts Centre, Friday 21st April 2006
A Friday night sojourn up the Mersey coast for Ian McNabb as his brief spring acoustic tour calls into the Southport Arts Centre – a suitable night to visit the seaside town on the year’s first spring like day.
What the venue lacked in dynamics tonight’s two-part set more than made up for the lack of rock and roll credentials of the setting. The Arts Centre is a pleasant enough venue – but probably one more suited to academic lectures and the odd amateur dramatics event.
It was a good turn out tonight for Ian. The audience was made up of the usual partisan diehards out in force, all hollering for songs from all points in McNabb’s career. McNabb more than encouraged this participatory heckling.
He seemed a little subdued at the start of the proceedings, but the longer the gig went on he came into his own. Some inspired song selection and a smattering of witty anecdotes made the first part fly by. My favourite tale was the £500 Rickenbacker guitar which is now worth £4,000 – which his Mum implores him to sell because as s says:' Your always complaining your fucking skint.’
The first set had some sort of a set list – with the second half left open to the wishes of the crowd.
One of the many highlights of the night for me was certainly ‘Fire Inside My Soul’. The evenings closer ‘Love Is A Wonderful Colour’ sounded great with the accompaniment of the audience – a tune that more than whetted the appetite for The Icicle Works forthcoming anniversary gigs in October.
The second half saw Ian getting a little bit frustrated by the lack of atmosphere in the venue. He gently goaded a majority of the crowd from their seats to fill the vast space between the seats and the stage. The crowd in turn were treated to a rock-n-roll medley, with one of the crowd who had left his seats treating the crowd to a stunning display of dad dancing.
Another great McNabb gig. As you would come to expect no one gig is like the other, hence the anticipation for McNabb’s forthcoming gigs later on in the year.
A Friday night sojourn up the Mersey coast for Ian McNabb as his brief spring acoustic tour calls into the Southport Arts Centre – a suitable night to visit the seaside town on the year’s first spring like day.
What the venue lacked in dynamics tonight’s two-part set more than made up for the lack of rock and roll credentials of the setting. The Arts Centre is a pleasant enough venue – but probably one more suited to academic lectures and the odd amateur dramatics event.
It was a good turn out tonight for Ian. The audience was made up of the usual partisan diehards out in force, all hollering for songs from all points in McNabb’s career. McNabb more than encouraged this participatory heckling.
He seemed a little subdued at the start of the proceedings, but the longer the gig went on he came into his own. Some inspired song selection and a smattering of witty anecdotes made the first part fly by. My favourite tale was the £500 Rickenbacker guitar which is now worth £4,000 – which his Mum implores him to sell because as s says:' Your always complaining your fucking skint.’
The first set had some sort of a set list – with the second half left open to the wishes of the crowd.
One of the many highlights of the night for me was certainly ‘Fire Inside My Soul’. The evenings closer ‘Love Is A Wonderful Colour’ sounded great with the accompaniment of the audience – a tune that more than whetted the appetite for The Icicle Works forthcoming anniversary gigs in October.
The second half saw Ian getting a little bit frustrated by the lack of atmosphere in the venue. He gently goaded a majority of the crowd from their seats to fill the vast space between the seats and the stage. The crowd in turn were treated to a rock-n-roll medley, with one of the crowd who had left his seats treating the crowd to a stunning display of dad dancing.
Another great McNabb gig. As you would come to expect no one gig is like the other, hence the anticipation for McNabb’s forthcoming gigs later on in the year.
Wednesday, March 22, 2006
The Raconteurs
Liverpool Carling Academy, Monday 20th March 2006
Set List: Level, Intimate Secretary, Hands, Steady as She Goes, Together, This House Is Not A Motel, Store Bought Bones, Call It A Day, Yellow Sun, Broken Boy Soldier, 5 On The 5, Blue Veins, Headin’ For The Texas Border.
Tonight had the feeling of one those seminal gigs that everyone in attendance will talk about in years to come.
This is no newly fated NME hope. This is something different. Not many new bands receive the kind of rapturous applause that they did on their entrance to the Academy’s stage. No other band that have yet to release an album would see their new material applauded like old favourites. In fact most new bands would normally expect a passive crowd with arms folded in the come on entertain us stance.
Well no other band contains both Jack White and Brendan Benson – two old friends from Detroit all the way over in Liverpool for the debut for their new musical venture.
The word side-project is a word that often provokes dread. It’s a term that usually provokes fear of something woeful and self-indulgent. But that is certainly not the case with the Raconteurs.
Augmented by Patrick Keeler on drums and ‘little’ Jack Lawrence from The Greenhornes on bass - as well as Dean Fertita. It is these extra hands on deck that allows Jack White the luxury of being able to cut loose musically. In the White Stripes the onus is on White to carry the sound – tonight he can revel in fact that he has a band to help him out.
‘Level’ is a swirling psychedelic beast that opens the proceedings to the second biggest cheer of the night. The first biggest comes three songs in when White removes his leather jacket.
They aired the yet to be released new album ‘Broken Boy Soldier’ in full with the addition of new song ‘5 on the 5’ as well as a couple of covers the highlight of which was Love’s ‘A House Is Not A Motel’ – a song dedicated especially to Liverpool by Jack White - seemingly pleased that his band had chosen the city for his first live venture.
The limited release single ‘Steady as She Goes’ went down well with the capacity crowd at the Carling Academy as well as its b-side ‘Store Bought Bones’. Were again treated like old favourites.
They played for over an hour with a set of songs that are certainly in keeping with the influences of the illustrious front two. The sound has been described in some quarters as Cat Stevens meets Led Zeppelin. Benson’s pop sensibilities certainly compliment the bluesier guitar work of White.
They finish with the Flamin Groovies cover and they certainly know how to leave their crowd wanting for more.
Roll on the release of the album in May – which from tonight’s expectant audience is almost an eternity away.
Set List: Level, Intimate Secretary, Hands, Steady as She Goes, Together, This House Is Not A Motel, Store Bought Bones, Call It A Day, Yellow Sun, Broken Boy Soldier, 5 On The 5, Blue Veins, Headin’ For The Texas Border.
Tonight had the feeling of one those seminal gigs that everyone in attendance will talk about in years to come.
This is no newly fated NME hope. This is something different. Not many new bands receive the kind of rapturous applause that they did on their entrance to the Academy’s stage. No other band that have yet to release an album would see their new material applauded like old favourites. In fact most new bands would normally expect a passive crowd with arms folded in the come on entertain us stance.
Well no other band contains both Jack White and Brendan Benson – two old friends from Detroit all the way over in Liverpool for the debut for their new musical venture.
The word side-project is a word that often provokes dread. It’s a term that usually provokes fear of something woeful and self-indulgent. But that is certainly not the case with the Raconteurs.
Augmented by Patrick Keeler on drums and ‘little’ Jack Lawrence from The Greenhornes on bass - as well as Dean Fertita. It is these extra hands on deck that allows Jack White the luxury of being able to cut loose musically. In the White Stripes the onus is on White to carry the sound – tonight he can revel in fact that he has a band to help him out.
‘Level’ is a swirling psychedelic beast that opens the proceedings to the second biggest cheer of the night. The first biggest comes three songs in when White removes his leather jacket.
They aired the yet to be released new album ‘Broken Boy Soldier’ in full with the addition of new song ‘5 on the 5’ as well as a couple of covers the highlight of which was Love’s ‘A House Is Not A Motel’ – a song dedicated especially to Liverpool by Jack White - seemingly pleased that his band had chosen the city for his first live venture.
The limited release single ‘Steady as She Goes’ went down well with the capacity crowd at the Carling Academy as well as its b-side ‘Store Bought Bones’. Were again treated like old favourites.
They played for over an hour with a set of songs that are certainly in keeping with the influences of the illustrious front two. The sound has been described in some quarters as Cat Stevens meets Led Zeppelin. Benson’s pop sensibilities certainly compliment the bluesier guitar work of White.
They finish with the Flamin Groovies cover and they certainly know how to leave their crowd wanting for more.
Roll on the release of the album in May – which from tonight’s expectant audience is almost an eternity away.
Thursday, October 13, 2005
Half Man Half Biscuit
Thursday 13th October 2005, Live at the Liverpool Carling Academy
Set List: The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train), Fuckin’ ‘Ell It’s Fred Titmus, CORGI Registered Friends, Running Order Squabble Fest, If I Had Possession Over Pancake Day, Restless Legs, Turned Up Clocked On Laid Off, For What Is Chatteris, Monmore Hare's Running, Them's the Vagaries, 99% Of Gargoyles Look Like Bob Todd, - Hallelujah/Vatican Broadside, C.A.M.R.A. Man, Shit Arm, Bad Tattoo, P.R.S. Yearbook, Quick The Drawbridge, Paintball's Coming Home, Tending the wrong Grave for 23 Years , All I Want For Christmas Is A Dukla Prague Away Kit , Them’s The Vagaries , Letters Sent , The Len Ganley Stance , Footprints, Look Dad No Tunes , I Think We're Alone Now , We Built this City on a Trad. Arr. Tune, Everything's A.O.R., Twenty-Four Hour Garage People, A Country Practice. Encores: Venus in Flares, Joy Division Oven Gloves, The Trumpton Riots.
Has it really been seven years since the four lads that shook the Wirral ventured through the Birkenhead tunnel to perform in Liverpool?
The band would baulk at the use of the word career to describe what they do. They would no doubt be as shocked by that statistic as would they by the fact that they are now in the third decade of their existence as a functioning band.
Tonight was certainly a good night to reflect on what had gone before given that tonight was the culmination of day of celebration for the life of the late great John Peel who passed away last year.
Today up and down the country events were taking place to celebrate the life of the DJ that had enjoyed the music of Half Man Half Biscuit and had afforded the band numerous Peel sessions. In attendance tonight was Peel’s wife Sheila and family.
Tonight’s set covered all points of the bands career as well as including a number from the latest album ‘Achtung Bono’. Highlight were my personal favourites from the new album ‘Shit Arm, Bad Tattoo’ and ‘We Built this City on a Trad. Arr. Tune’.
The set also included the now traditional cover version – to some bands the selection would seem slightly ironic but for Half Man Half Biscuit there covers are always played in all seriousness. Tonight’s chosen tune was 80s pop starlet Tiffany’s hit – I Think We’re Alone Now’ – And to think I thought the fact they did Status Quo’s Caroline all them years back was strange.
All the ‘Twenty-Four Hour Garage People’ and ‘99% Of Gargoyles Look Like Bob Todd’ were wheeled out and sung word-for-word by the majority of the audience.
‘All I Want For Christmas Is A Dukla Prague Away Kit’ was greeted with cheers especially by those resplendent in afore mentioned football kit. The band finished with ‘The Trumpton Riots’ and it is hard to feel disappointed by any song omissions from the set list. It certainly felt like a greatest hits set tonight
Here’s to the next Liverpool gig let’s hope we don’t have another seven years before we wait to see them cross the Mersey.
Set List: The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train), Fuckin’ ‘Ell It’s Fred Titmus, CORGI Registered Friends, Running Order Squabble Fest, If I Had Possession Over Pancake Day, Restless Legs, Turned Up Clocked On Laid Off, For What Is Chatteris, Monmore Hare's Running, Them's the Vagaries, 99% Of Gargoyles Look Like Bob Todd, - Hallelujah/Vatican Broadside, C.A.M.R.A. Man, Shit Arm, Bad Tattoo, P.R.S. Yearbook, Quick The Drawbridge, Paintball's Coming Home, Tending the wrong Grave for 23 Years , All I Want For Christmas Is A Dukla Prague Away Kit , Them’s The Vagaries , Letters Sent , The Len Ganley Stance , Footprints, Look Dad No Tunes , I Think We're Alone Now , We Built this City on a Trad. Arr. Tune, Everything's A.O.R., Twenty-Four Hour Garage People, A Country Practice. Encores: Venus in Flares, Joy Division Oven Gloves, The Trumpton Riots.
Has it really been seven years since the four lads that shook the Wirral ventured through the Birkenhead tunnel to perform in Liverpool?
The band would baulk at the use of the word career to describe what they do. They would no doubt be as shocked by that statistic as would they by the fact that they are now in the third decade of their existence as a functioning band.
Tonight was certainly a good night to reflect on what had gone before given that tonight was the culmination of day of celebration for the life of the late great John Peel who passed away last year.
Today up and down the country events were taking place to celebrate the life of the DJ that had enjoyed the music of Half Man Half Biscuit and had afforded the band numerous Peel sessions. In attendance tonight was Peel’s wife Sheila and family.
Tonight’s set covered all points of the bands career as well as including a number from the latest album ‘Achtung Bono’. Highlight were my personal favourites from the new album ‘Shit Arm, Bad Tattoo’ and ‘We Built this City on a Trad. Arr. Tune’.
The set also included the now traditional cover version – to some bands the selection would seem slightly ironic but for Half Man Half Biscuit there covers are always played in all seriousness. Tonight’s chosen tune was 80s pop starlet Tiffany’s hit – I Think We’re Alone Now’ – And to think I thought the fact they did Status Quo’s Caroline all them years back was strange.
All the ‘Twenty-Four Hour Garage People’ and ‘99% Of Gargoyles Look Like Bob Todd’ were wheeled out and sung word-for-word by the majority of the audience.
‘All I Want For Christmas Is A Dukla Prague Away Kit’ was greeted with cheers especially by those resplendent in afore mentioned football kit. The band finished with ‘The Trumpton Riots’ and it is hard to feel disappointed by any song omissions from the set list. It certainly felt like a greatest hits set tonight
Here’s to the next Liverpool gig let’s hope we don’t have another seven years before we wait to see them cross the Mersey.
Tuesday, July 5, 2005
Coldplay
Coldplay
Live at the Reebok Stadium, Bolton, Tuesday 5th July 2005
Set List ‘Square One’ ‘Politik’ ‘Yellow’ ‘God Put A Smile Upon Your Face’ ‘Speed Of Sound’ ‘Low’ ‘Warning Sign’ ‘Everything’s Not Lost’ ‘White Shadows’ ‘The Scientist’ ‘Till Kingdom Come’ ‘Don’t Panic’ ‘Clocks’ ‘Talk’ ‘What If’
‘In My Place’ ‘Fix You’ played again for a video shoot ‘Fix You’.
You buy your tickets for these events in the hope that it will be a balmy summer night, which will add to the spectacle that is an outdoor summer gig, but what greets you as you drive to the stadium is rain that makes visibility through the car windscreen something of a lottery. Luckily the rain relents as soon as the car pulls up to the car park at the Reebok Stadium.
Coldplay touring the country after the recent release of the rapturously received third album ‘X&Y’ tonight is the second of two gigs held at Bolton Wanderers ground.
They are ably supported by local lads Doves, fresh from supporting Oasis and U2 on their recent stadium gigs they have certainly justified their elevation to the big league and with performances like tonight, it certainly wont be long before they are packing these places out in their own right. The set was a brisk run through the highlights of their three-album career to date and ‘There Goes The Fear’ was a fitting climax to a well-received set by the audience arriving for the main turn.
Fresh from Live 8 at the weekend it was back to the day job for singer Chris Martin and his band; the lobbying is put to one-side, he has an album to promote. Though judging by the charts it seems that he is preaching to the converted.
The new album is a lot more an expansive sound that its predecessors and prior to tonight ‘X&Y’ had left me feeling a little disappointed, but in the live arena, some of these songs seem to have an added dimension when belted out into the back of the arena, even when they slow things down with an intimate acoustic set with ‘Don’t Panic’ and the song written for Johnny Cash ‘Til Kingdom Come’ these more subtler songs work in the vast expanses of a football stadium.
With the bands elevated status it is now apparent that Coldplay now have their own resident guitar hero in Will Champion and on the new tunes such as ‘White Shadows’ and ‘Talk’ his skills are pushed to the limit to great effect.
Coldplay certainly have what it takes to be a stadium band and if U2’s star begins to wain then, it is likely that Coldplay can fill the void, but for the punter I’m still left a little cold by the stadium experience, but it was a good gig and one that justified the price of the ticket.
Live at the Reebok Stadium, Bolton, Tuesday 5th July 2005
Set List ‘Square One’ ‘Politik’ ‘Yellow’ ‘God Put A Smile Upon Your Face’ ‘Speed Of Sound’ ‘Low’ ‘Warning Sign’ ‘Everything’s Not Lost’ ‘White Shadows’ ‘The Scientist’ ‘Till Kingdom Come’ ‘Don’t Panic’ ‘Clocks’ ‘Talk’ ‘What If’
‘In My Place’ ‘Fix You’ played again for a video shoot ‘Fix You’.
You buy your tickets for these events in the hope that it will be a balmy summer night, which will add to the spectacle that is an outdoor summer gig, but what greets you as you drive to the stadium is rain that makes visibility through the car windscreen something of a lottery. Luckily the rain relents as soon as the car pulls up to the car park at the Reebok Stadium.
Coldplay touring the country after the recent release of the rapturously received third album ‘X&Y’ tonight is the second of two gigs held at Bolton Wanderers ground.
They are ably supported by local lads Doves, fresh from supporting Oasis and U2 on their recent stadium gigs they have certainly justified their elevation to the big league and with performances like tonight, it certainly wont be long before they are packing these places out in their own right. The set was a brisk run through the highlights of their three-album career to date and ‘There Goes The Fear’ was a fitting climax to a well-received set by the audience arriving for the main turn.
Fresh from Live 8 at the weekend it was back to the day job for singer Chris Martin and his band; the lobbying is put to one-side, he has an album to promote. Though judging by the charts it seems that he is preaching to the converted.
The new album is a lot more an expansive sound that its predecessors and prior to tonight ‘X&Y’ had left me feeling a little disappointed, but in the live arena, some of these songs seem to have an added dimension when belted out into the back of the arena, even when they slow things down with an intimate acoustic set with ‘Don’t Panic’ and the song written for Johnny Cash ‘Til Kingdom Come’ these more subtler songs work in the vast expanses of a football stadium.
With the bands elevated status it is now apparent that Coldplay now have their own resident guitar hero in Will Champion and on the new tunes such as ‘White Shadows’ and ‘Talk’ his skills are pushed to the limit to great effect.
Coldplay certainly have what it takes to be a stadium band and if U2’s star begins to wain then, it is likely that Coldplay can fill the void, but for the punter I’m still left a little cold by the stadium experience, but it was a good gig and one that justified the price of the ticket.
Tuesday, February 15, 2005
Paul Weller
Liverpool Royal Court Theatre, Tuesday 15th February 2005
The second of two nights in Liverpool and two nights that have been appended to the rescheduled winter tour of 2004, cancelled due to tonsillitis.
You would not have thought he’d been struggling with his vocals last year as Weller rattled through tunes from his vast collection of the last 25 years.
Drummer Steve White was welcomed back into the fold after a non-appearance last night, due to cited personal reasons. Despite the drummer’s kit making an appearance, the drummer was a no show, much to the annoyance of the reviewer in tonight’s Liverpool Echo. Last night the set was semi-acoustic, with Weller berating the audience to see him if they wanted their money back after the show.
Tonight, Weller was on top form and despite notable omissions from the set list the night included tunes that appealed to the cross section that is Paul Weller’s audience. Five Style Council tunes were played and they all sounded great with the addition of the backing musicians adding brass accompaniment.
Weller even included a trio of new songs amongst the crowd favourites, ‘Golden Sands’ was the pick of these tunes. The writing block that Weller has talked about now seemingly behind him and the respite of the ‘Studio 150’ release, should see an imminent bunch of new tunes in the offing.
The only possible disappointment of the night was the omission of now traditional encore finisher ‘Town Called Malice’, in favour of an impromptu rendition of ‘Heatwave’ which the band pulled off despite Weller’s reservations Weller thought he would make a mess off. A tune that The Jam used to play and one that was a welcome addition to the current set list.
A brilliant gig, by an artist that just gets better and better, the album buying public may have decided to take or leave the newer records, but the scramble for tickets for tonight proves that as a live entity Weller is second to none.
The second of two nights in Liverpool and two nights that have been appended to the rescheduled winter tour of 2004, cancelled due to tonsillitis.
You would not have thought he’d been struggling with his vocals last year as Weller rattled through tunes from his vast collection of the last 25 years.
Drummer Steve White was welcomed back into the fold after a non-appearance last night, due to cited personal reasons. Despite the drummer’s kit making an appearance, the drummer was a no show, much to the annoyance of the reviewer in tonight’s Liverpool Echo. Last night the set was semi-acoustic, with Weller berating the audience to see him if they wanted their money back after the show.
Tonight, Weller was on top form and despite notable omissions from the set list the night included tunes that appealed to the cross section that is Paul Weller’s audience. Five Style Council tunes were played and they all sounded great with the addition of the backing musicians adding brass accompaniment.
Weller even included a trio of new songs amongst the crowd favourites, ‘Golden Sands’ was the pick of these tunes. The writing block that Weller has talked about now seemingly behind him and the respite of the ‘Studio 150’ release, should see an imminent bunch of new tunes in the offing.
The only possible disappointment of the night was the omission of now traditional encore finisher ‘Town Called Malice’, in favour of an impromptu rendition of ‘Heatwave’ which the band pulled off despite Weller’s reservations Weller thought he would make a mess off. A tune that The Jam used to play and one that was a welcome addition to the current set list.
A brilliant gig, by an artist that just gets better and better, the album buying public may have decided to take or leave the newer records, but the scramble for tickets for tonight proves that as a live entity Weller is second to none.
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.
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?
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.
Saturday, November 22, 2003
Radiohead
Manchester Evening News Arena, Saturday 22nd November 2003
Set List: There There; 2 + 2 = 5, Lucky; Myxomatosis; Where I end You Begin; Backdrifts; fake Plastic Trees; Paranoid Android; Sail To The Moon; I Might Be Wrong; Climbing The Walls; My Iron Lung; Sit Down, Stand Up; Scatterbrain; National Anthem; Exit Music; Idioteque; The Gloaming; Go To Sleep; The Bends; Street Spirit; A Wolf At The Door; Karma Police; Everything In It’s Place.
Back in the big arenas after this tours various warm up shows and the last major tours use of big top circus tents. Radiohead may have found the perfect place to deliver to the music they are now performing; the sparse electronica that can sound a little cold and digitised on record, but in this sort of arena bounces around this vastness of the place.
The energetic Asian Dub Foundation, are the tour band of choice for Radiohead. They are a band with a similar message to deliver though from a slightly different direction. There set is one that goes down well with tonight’s audience.
At 9 o’clock sharp the lights dim and the band emerge to electronic white noise. The band launches into in my opinion the single of the year ‘There There’. On record this is a fantastic 5-minute experience – live it is something else, with Guitarist’s Ed O’Brien and Jonny Greenwood pound away thrashing out tribal rhythms at two drums. Before grabbing the guitars to take the song to a different level altogether.
One song in and you wonder how they follow that? Instead of relying on the sure fire crowd pleasers, Radiohead explore the more avant-garde output of their last three albums. The reaction from the crowd to these songs is fairly good. You get the feeling that majority of the crowd haven’t just come to see if they’ll play ‘Creep’ (which they don’t) but that they’ll give the rest of the bands output a listen.
The set draws heavily from the politicised last album ‘Hail To The Thief’. As well as from the other electronic based ‘Kid A’ and ‘Amnesiac’.
The other albums are not neglected though. ‘Fake Plastic Trees’ is given a great reception at its start as to did songs like ‘My Iron Lung’ and ‘Paranoid Android’ a song that just gets better every time that you hear it.
Front man Thom Yorke doesn’t go much on the between song banter but he has something of magnetic personality about him that keeps the crowd enthralled. He was a bundle of nervous energy as he spins around the stage like a whirring dervish. While the band solidly concentrate on getting the sound across.
It was an astonishing performance from a band very much at the top of their game. Tonight was very much the end of phase one as a band what with the soon to expire record contract. Here’s hoping that the next phase is as exciting and varied as the last.
Set List: There There; 2 + 2 = 5, Lucky; Myxomatosis; Where I end You Begin; Backdrifts; fake Plastic Trees; Paranoid Android; Sail To The Moon; I Might Be Wrong; Climbing The Walls; My Iron Lung; Sit Down, Stand Up; Scatterbrain; National Anthem; Exit Music; Idioteque; The Gloaming; Go To Sleep; The Bends; Street Spirit; A Wolf At The Door; Karma Police; Everything In It’s Place.
Back in the big arenas after this tours various warm up shows and the last major tours use of big top circus tents. Radiohead may have found the perfect place to deliver to the music they are now performing; the sparse electronica that can sound a little cold and digitised on record, but in this sort of arena bounces around this vastness of the place.
The energetic Asian Dub Foundation, are the tour band of choice for Radiohead. They are a band with a similar message to deliver though from a slightly different direction. There set is one that goes down well with tonight’s audience.
At 9 o’clock sharp the lights dim and the band emerge to electronic white noise. The band launches into in my opinion the single of the year ‘There There’. On record this is a fantastic 5-minute experience – live it is something else, with Guitarist’s Ed O’Brien and Jonny Greenwood pound away thrashing out tribal rhythms at two drums. Before grabbing the guitars to take the song to a different level altogether.
One song in and you wonder how they follow that? Instead of relying on the sure fire crowd pleasers, Radiohead explore the more avant-garde output of their last three albums. The reaction from the crowd to these songs is fairly good. You get the feeling that majority of the crowd haven’t just come to see if they’ll play ‘Creep’ (which they don’t) but that they’ll give the rest of the bands output a listen.
The set draws heavily from the politicised last album ‘Hail To The Thief’. As well as from the other electronic based ‘Kid A’ and ‘Amnesiac’.
The other albums are not neglected though. ‘Fake Plastic Trees’ is given a great reception at its start as to did songs like ‘My Iron Lung’ and ‘Paranoid Android’ a song that just gets better every time that you hear it.
Front man Thom Yorke doesn’t go much on the between song banter but he has something of magnetic personality about him that keeps the crowd enthralled. He was a bundle of nervous energy as he spins around the stage like a whirring dervish. While the band solidly concentrate on getting the sound across.
It was an astonishing performance from a band very much at the top of their game. Tonight was very much the end of phase one as a band what with the soon to expire record contract. Here’s hoping that the next phase is as exciting and varied as the last.
Sunday, June 1, 2003
Paul McCartney
Liverpool Kings Dock, Sunday 1st June 2003
There is always something special about being on the banks of the River Mersey in the summertime. Especially when an event like this is taking place. The setting sun over the disused docks on the Birkenhead side of the water offers a backdrop that is hard to beat. Even the faint hint of rain is not likely to wash away the atmosphere that had built up in the afternoon preceding the gig.
In front of 35,000 fans from around the world, Macca was coming home – the conclusion of his Back In The World tour.
With no support – who would want that unenviable task. The proceedings started with a dance troop which seemed to go on for an age and just as you beginning to think turn this in, the familiar figure of Paul McCartney appeared on the large screens at the back of the stage, holding that familiar Hofner bass, accompanied by the crashing opening chords of ‘Hello, Goodbye’. Thirteen years on since his last visit, he was indeed back home.
The set list covered all phases of his illustrious 40-year career and was one that owner’s of the Back in The World DVD or CD or visitors to previous concerts would be familiar with, with a few notable additions for the home crowd – ‘Maggie May’ and his first-ever composition ‘I Lost My Little Girl’. With a back catalogue like Paul McCartney’s, the hard part was probably what to leave out.
The classic songs where treated with the respect that they deserve by the fantastic band that McCartney has put together for this our, though with a few embellishments of their own. No more so was this highlighted with the powerhouse drumming of Abe Laboriel during ‘Maybe I’m Amazed’ that took a great song to another level.
The set that ran to over three hours had something for everyone and left you not only impressed by the quality of his songwriting, but his stamina too. At 63 years young this was some feat.
The pace at the start of the gig was something else as he rattled through his hits from Wings and The Beatles. As the pace slowed down McCartney turned his thoughts to absent friends. Linda his wife who was up on stage the last time he played here. To John Lennon and George Harrison sadly no longer with us he shared some memories of growing up in Liverpool as well as treating us to a playful tribute to George by playing his classic ‘Something’ on the ukulele.
The band returned and the hits kept on coming. The pyrotechnics on ‘Live and Let Die’ were a particular highlight. This tour contained the most Beatles songs that McCartney has performed live. Some that he had performed live for the first time ever. The time ticked on and the hits kept on coming and the crowd could not have asked for anymore with trusty crowd pleasers such as ‘Let It Be’ and ‘Hey Jude’ being sung with equal gusto to that of the band.
Sadly all good things have to come to end and after a generous encore, in which Paul McCartney clearly emotional at the reception he had received. Summed up his feelings by saying. “To be on the banks of the Mersey with you lot is special. Word’s can’t express how I feel tonight.”
‘Sergeant Pepper/ The End’ closed the night’s proceedings leaving those who witnessed the event traipsing off into the night thoroughly entertained and hoping that McCartney would hold his promise to come back and perform much sooner than the last wait for a hometown gig. On the evidence of tonight’s performance one night wont be enough.
There is always something special about being on the banks of the River Mersey in the summertime. Especially when an event like this is taking place. The setting sun over the disused docks on the Birkenhead side of the water offers a backdrop that is hard to beat. Even the faint hint of rain is not likely to wash away the atmosphere that had built up in the afternoon preceding the gig.
In front of 35,000 fans from around the world, Macca was coming home – the conclusion of his Back In The World tour.
With no support – who would want that unenviable task. The proceedings started with a dance troop which seemed to go on for an age and just as you beginning to think turn this in, the familiar figure of Paul McCartney appeared on the large screens at the back of the stage, holding that familiar Hofner bass, accompanied by the crashing opening chords of ‘Hello, Goodbye’. Thirteen years on since his last visit, he was indeed back home.
The set list covered all phases of his illustrious 40-year career and was one that owner’s of the Back in The World DVD or CD or visitors to previous concerts would be familiar with, with a few notable additions for the home crowd – ‘Maggie May’ and his first-ever composition ‘I Lost My Little Girl’. With a back catalogue like Paul McCartney’s, the hard part was probably what to leave out.
The classic songs where treated with the respect that they deserve by the fantastic band that McCartney has put together for this our, though with a few embellishments of their own. No more so was this highlighted with the powerhouse drumming of Abe Laboriel during ‘Maybe I’m Amazed’ that took a great song to another level.
The set that ran to over three hours had something for everyone and left you not only impressed by the quality of his songwriting, but his stamina too. At 63 years young this was some feat.
The pace at the start of the gig was something else as he rattled through his hits from Wings and The Beatles. As the pace slowed down McCartney turned his thoughts to absent friends. Linda his wife who was up on stage the last time he played here. To John Lennon and George Harrison sadly no longer with us he shared some memories of growing up in Liverpool as well as treating us to a playful tribute to George by playing his classic ‘Something’ on the ukulele.
The band returned and the hits kept on coming. The pyrotechnics on ‘Live and Let Die’ were a particular highlight. This tour contained the most Beatles songs that McCartney has performed live. Some that he had performed live for the first time ever. The time ticked on and the hits kept on coming and the crowd could not have asked for anymore with trusty crowd pleasers such as ‘Let It Be’ and ‘Hey Jude’ being sung with equal gusto to that of the band.
Sadly all good things have to come to end and after a generous encore, in which Paul McCartney clearly emotional at the reception he had received. Summed up his feelings by saying. “To be on the banks of the Mersey with you lot is special. Word’s can’t express how I feel tonight.”
‘Sergeant Pepper/ The End’ closed the night’s proceedings leaving those who witnessed the event traipsing off into the night thoroughly entertained and hoping that McCartney would hold his promise to come back and perform much sooner than the last wait for a hometown gig. On the evidence of tonight’s performance one night wont be enough.
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