24 Feb

Del Amitri & Mandrake Handshake, The Boiler Shop, Newcastle, 1 December 2024

Posted by vintagerock in Del Amitri, Mandrake Handshake. Tagged: , , , , , .

Del Amitri are one of those bands whose music sneaks up on you. You think you know a couple of songs, then you find yourself at a gig remembering far more than expected, realising just how many great tracks they’ve released over the years.

I first saw them ten years ago at Newcastle City Hall in 2014, and back then, I was mainly there to hear my favourite song by them: “Move Away Jimmy Blue”. What struck me that night was just how many excellent songs they had in their catalogue. This time around, it was a chance to see them in a far more intimate setting at The Boiler Shop—a venue that suited them well.

Support came from Mandrake Handshake, a London/Oxford-based eight-piece with a sound that’s hard to pin down—somewhere between new wave, psych rock, and experimental folk. I hadn’t heard much about them before, but they delivered a mesmerising performance, filled with hypnotic rhythms and swirling instrumentation.

There’s something timeless about Justin Currie’s voice. As soon as they launched into “Nation of Caners”, it was clear that his delivery carries a perfect mix of melancholy, cynicism, and warmth, effortlessly drawing the crowd into their world. “Kiss This Thing Goodbye” and “Always the Last to Know” were early highlights, their melodic hooks and lyrical wit still sounding as sharp as ever. The beautifully wistful “Driving With the Brakes On” was another standout, delivered with a delicate intensity that had the whole room spellbound.

The set also included material from their upcoming album, which is due for release in 2025. “The Ones That You Love Lead You Nowhere” and “All Hail Blind Love” blended in seamlessly with their older songs, proving that Del Amitri still have plenty to say.

If the gig had been strong throughout, the final stretch was outstanding. “Move Away Jimmy Blue” was every bit as intense as I’d hoped, Currie’s voice carrying all the weight of its bittersweet storytelling. For the encore, they returned with “This City Loves You Back”, before leading the audience in a singalong of “Nothing Ever Happens”, a song that, even 35 years on, still resonates with its soaring chorus mixed with quiet sadness.

It was the perfect ending to a gig that proved Del Amitri are still as vital as ever.
Del Amitri have always had a way of sneaking up on you, and tonight was no different. They played with the confidence of a band that knows exactly what they’re doing, delivering a set that mixed nostalgia with fresh energy.

Many thanks to Elaine for the photographs and Laura and Chris for assistance with the blog entry.

Setlist: Nation of Caners, Opposite View, Not Where It’s At, Kiss This Thing Goodbye, Always the Last to Know, It’s Never Too Late to Be Alone, Missing Person, Driving With the Brakes On, Buttons on My Clothes, Don’t Cry, Don’t Cry, Just Like a Man, Lonely, The Ones That You Love Lead You Nowhere, All Hail Blind Love, Move Away Jimmy Blue.
Encore: This City Loves You Back, Nothing Ever Happens, Be My Downfall

22 Feb

Paul Heaton, Utilita Arena, Newcastle, 9 December 2024

Posted by vintagerock in Paul Heaton, The Zutons. Tagged: , , , , .

This was a gig I had been looking forward to for a while. Though I never saw The Beautiful South, I did see The South fairly recently, and I’ve always appreciated Paul Heaton’s knack for storytelling through song. Originally, this concert was meant to be held at Newcastle City Hall, but demand was so high that it was moved to the Utilita Arina, a testament to the enduring popularity of Heaton’s music.

Supporting on this tour were The Zutons, a band I’ve seen twice before—once supporting Paul McCartney (I think Laura was with me for that one) and another time supporting The Who at Harewood House (I believe David came to that). They delivered a solid, energetic set, kicking things off with “Zuton Fever” before running through tracks like “Pressure Point” and their famous cover of “Back to Black”. Of course, the highlight was their most well-known song “Valerie”, which had the whole crowd on their feet, proving that even after all these years, it remains a massive crowd-pleaser.

His former Beautiful South colleague Jacqui Abbott was due to be Heaton’s co-vocalist for the tour, but unfortunately, she was unwell and unable to perform. Rianne Downey stepped in as her replacement, and I have to say, she did a fantastic job. Her vocals blended beautifully with Heaton’s, capturing the spirit of those classic duets while bringing her own energy to the performance. Before the band even took to the stage, the intro music of “Blaydon Races” had the Newcastle crowd in full voice, setting the scene for a night of nostalgia, humour, and top-tier songwriting.

Heaton’s set covered all bases, from Housemartins classics to Beautiful South favourites, right through to his solo material. Opening with “Just Another Family”, he quickly moved through a mix of crowd-pleasers and deeper cuts. “Sheep” and “The People Who Grinned Themselves to Death” were reminders of his time with the Housemartins, while “Bell Bottomed Tear” and “Old Red Eyes Is Back” showcased the storytelling charm of the Beautiful South era. Of course, it wouldn’t be a Paul Heaton gig without “A Little Time”, which remains one of his most iconic songs.

Downey handled the vocal parts effortlessly, ensuring the song retained all its emotional weight. “Song for Whoever” and “Don’t Marry Her” were other highlights, with the audience singing along word for word. The set had its fair share of humour too—“Fish ‘N’ Chip Supper” and “Heatongrad” brought that cheeky, satirical edge that Heaton has always done so well. The whole arena bouncing along to that unmistakable intro.

The encore saw Heaton roll out more fan favourites. “One Last Love Song” and “You Keep It All In” were warmly received, but it was “Rotterdam (Or Anywhere)” and “Caravan of Love” that truly brought the house down, sending everyone home on a high.

Paul Heaton is one of Britain’s finest songwriters, and this gig only reinforced that fact. His lyrics are sharp, witty, and often deeply moving, and hearing them performed live in a packed Utilita Arena was a real treat. While I might not have followed his music as closely as some in the audience, the sheer familiarity and warmth of these songs made for a brilliant night.

Many thanks to Elaine for the photographs and to Laura and Natalie for helping with the blog entry. Thanks also to Wikimedia Commons for the photograph of the Zutons.

Setlist: Just Another Family, Sheep, Bell Bottomed Tear, Quicksand, The People Who Grinned Themselves to Death, Old Red Eyes Is Back, A Little Time, H Into Hurt, Moulding of a Fool, Silly Me, We’re Not Deep, Fish ‘N’ Chip Supper, Song for Whoever, Small Boat, Me and the Farmer, I’ll Sail This Ship Alone, Don’t Marry Her, Heatongrad, Happy Hour, Perfect 10, Good as Gold (Stupid as Mud) Encore 1: One Last Love Song, You Keep It All In Encore 2: Rotterdam (Or Anywhere), Caravan of Love

20 Feb

The Skids & Spear of Destiny, Wylam Brewery, Newcastle, 21 November 2024

Posted by vintagerock in Skids, Spear of Destiny. Tagged: , , , , , .

There’s always a mix of excitement and nostalgia when going to see a band you first watched over forty years ago. The Skids were one of the most explosive and unforgettable live acts I saw in my youth, back when punk and new wave were at their peak. The memories of their gigs at Middlesbrough Rock Garden in 1979 and Newcastle City Hall later that year are still burned into my mind—packed venues, wild pogoing crowds, and anthemic singalongs to “Into the Valley” and “The Saints Are Coming”. It was raw, chaotic, and thrilling.

Fast forward to 2024, and The Skids, now fronted only by Richard Jobson, after the sad passing of guitarist Stuart Adamson were back, sharing a bill with Spear of Destiny at Wylam Brewery. Would they still have the same fire, or would this be a gentle nod to the past? The answer became clear as soon as they hit the stage: The Skids may be older, but they’ve lost none of their energy.

Before The Skids took the stage, we were treated to a short but intense set from Spear of Destiny. Led by the ever-charismatic Kirk Brandon, who I last saw as front man for his previous band, Theatre of Hate, their sound was just as grand and dramatic as I remembered seeing Kirk in his previous band. They worked through a tight selection of tracks, including “Rainmaker”, “Liberator”, “Mickey”, and “World Service”. Though it was a short set, it was enough to remind everyone why they were such a force in the 80s post-punk scene.

Richard Jobson took to the stage with all the energy of a frontman half his age, delivering a performance that was both nostalgic and full of life. His voice still carries that unique Scottish edge, and his stage presence remains as boisterous and animated as ever. They opened with “Animation”, immediately setting the tone for the night. As the first chords of “Thanatos” rang out, it became clear that this wouldn’t be a polite run-through of old hits—it was going to be a proper Skids gig.

Hearing tracks from Days in Europa, which was celebrating its 45th anniversary, was a highlight. “A Day in Europa” and “Dulce Et Decorum Est (Pro Patria Mori)” were performed with all the theatrical intensity and pounding rhythms that made the original album such a standout. “Masquerade” and “Charade” still sounded fresh, and “The Olympian” was a reminder of just how forward-thinking their sound was at the time.

Then came the big anthems, the ones everyone had been waiting for. “The Saints Are Coming” was an absolute standout, and “Into the Valley” turned Wylam Brewery into a massive, bouncing singalong. There was a real sense of community in the crowd, everyone revelling in the nostalgia of a song that, decades later, still feels like a battle cry.

They rounded off the set with “TV Stars”, a song that used to be a chaotic highlight of their early gigs, with the crowd chanting the now-famous roll call of “Albert Tatlock!”. It was rowdy, fun, and exactly what a Skids gig should be.For the encore, they returned with “A Woman in Winter”, a beautifully melancholic contrast to the power of the rest of the set. It was a perfect way to close the night.

There’s something incredibly special about seeing a band like The Skids in a small, intimate venue like Wylam Brewery. It brought me right back to those wild late-70s gigs, but with the added appreciation of just how well these songs have held up. Richard Jobson may be the only original member left, but his passion for these songs hasn’t faded one bit. The Skids are still a band worth seeing, not just for the nostalgia, but because they remain a genuinely great live act.

As I walked out into the Newcastle night, I couldn’t help but think back to Middlesbrough Rock Garden in 1979, when the gig was so packed we could barely move, and fights were breaking out all around us. Things were a little more civilised at Wylam Brewery, but the spirit of The Skids was still there, loud and defiant, 45 years later.

Treated myself to a copy of the lyrics to “Charade” signed by Richard Jobson himself (see image). Many thanks to Jackie for the photographs and to Laura and Natalie for helping me create the blog entry.
Setlist: Animation, Thanatos, Charade, Pros and Cons, Working for the Yankee Dollar, The Olympian, Masquerade, A Day in Europa, The Saints Are Coming, Into the Valley, Circus Games, TV Stars, Dulce Et Decorum Est (Pro Patria Mori), Grey Parade, Hurry On Boys.
Encore: A Woman in Winter

19 Feb

Richard Hawley, The Fire Station, Sunderland, 3 December 2024

Posted by vintagerock in Bernard Butler, Richard Hawley. Tagged: , , , , .

Seeing Richard Hawley live is always a pleasure, and his return to The Fire Station in Sunderland was no exception. Over the years, I’ve watched him evolve from a support act for Nancy Sinatra in 2005 to one of Britain’s most treasured songwriters, capable of selling out venues and captivating audiences with his unique blend of rockabilly, crooner ballads, and twangy guitar work.

I last saw him here at The Fire Station in December 2022, and again in 2023 for his collaboration with John Grant, performing “Richard Hawley and John Grant Play Patsy Cline.” Each time, he brought something special, and this night was no different. Touring in support of his latest album, In This City They Call You Love, Hawley took to the stage with his usual understated charm. His presence is effortless—there’s no need for theatrics or drama, just impeccable musicianship and that rich, velvety voice that seems to have been made for venues like this.

Support came from Bernard Butler, “who formed the group Suede co-writing and playing guitars on every recording until 1994,1992’s classic debut “The Drowners”, followed by hits “Metal Mickey”, the top 10 “Animal Nitrate” and the number 2 epic “Stay Together”. “(From his website). I have happy memories of seeing Suede with Laura in Manchester Ritz nightclub. (Back to the website) “The Mercury Prize winning debut Suede became the fastest selling record in years. The defining Dog Man Star, a sprawling concept of rare ambition culminated in Butler’s exit. The group continued but Butler’s contribution will remain the defining moment in the band’s history.” Bernard is now an accomplished solo artist who warmed up the crowd well for the main act.

Hawley opened the night with “She Brings the Sunlight,” a highly atmospheric track that immediately drew the audience into his world. From there, the set wove between new material and old favourites, showcasing the depth of his songwriting. As always, Hawley sounded great and his warm baritone added weight and depth to every lyric. Whilst I cannot claim to be a huge Hawley fan, in so much as that I have not listened to a lot of his recorded music, I never fail to be impressed and entranced by his live performances, and hearing it in such an intimate setting was a reminder of just how timeless his work is.

His vocals and swirling guitars filled the venue with a dramatic energy. Richard dresses almost as a rockabilly dude complete with cowboy shirt, jeans, winkle picker boots and quiff. My favourite song is “Where The Streets Have No Name” which has a 50s/60s feel about it. He also treated us to a Johnny Cash cover, “Hear That Lonesome Whistle Blow”, proving once again how well his voice lends itself to the country greats.

Hawley has a wry sense of humour, and his interactions with the crowd were as enjoyable as the music itself. There’s no pretence with him, just an easy, down-to-earth charm that makes every gig feel personal. Whether he was introducing a song with a self-deprecating joke or sharing a story from the road, he had the audience completely onside. As the main set came to a close with “Heart of Oak,” the applause was thunderous.

He returned for a three-song encore, closing the night with the breathtaking “The Ocean”—a song that swells and soars, perfectly capturing the grandeur and romance that defines so much of his music. Richard Hawley has a way of making every show feel intimate, whether he’s playing in a packed theatre or a smaller venue like The Fire Station.

His ability to craft songs that feel both nostalgic and timeless is rare, and his live performances are always great fun. Walking out into the cold December night, I was once again reminded why I kept coming back to see him. Whether it’s 2005 at The Sage Gateshead, 2022 at The Fire Station, or tonight in 2024, Hawley’s music has a way of sticking with you—like an old friend whose stories you never tire of hearing.

Many thanks to Jackie for the photographs and to Laura and Chris for helping me construct the blog entry.

Setlist: She Brings the Sunlight, Two for His Heels, Prism in Jeans, Open Up Your Door, Standing at the Sky’s Edge, Deep Space, Just Like the Rain, Hear That Lonesome Whistle Blow, Tonight the Streets Are Ours, Alone, Coles Corner, Leave Your Body Behind You, Heavy Rain, Don’t Stare at the Sun, Is There a Pill?, Heart of Oak. Encore: People, I’m Looking for Someone to Find Me, The Ocean.

17 Feb

Julia Fordham, The Fire Station, Sunderland, 11 November 2024

Posted by vintagerock in Julia Fordham. Tagged: , , , .

I’ll admit, before this gig, I wasn’t particularly familiar with Julia Fordham’s music. I’d read about her and knew she was highly regarded, so when I saw that she was playing The Fire Station, I thought … why not?! Sometimes it’s good to take a chance on something new. From the moment she stepped on stage, it was clear that Julia Fordham is a class act. Elegant and effortlessly charismatic, she engaged the audience with a mix of wit, charm, and a voice that radiated warmth. The New York Times once described her contralto as “one of the most strikingly beautiful new voices in pop,” and hearing it live, I could see exactly why.

From her website “Julia started writing her own songs and performing them at local folk clubs in the south coast of England when she was 14. A few years later she was invited to be a guest singer with the UK’s National Youth Jazz Orchestra which sparked a lifelong love of the Jazz genre. When she was 16 Julia started working at Radio Victory in Portsmouth where she loved being in the studio singing jingles and doing the voice overs for commercials. In 1988 Julia signed with Virgin/Circa Records and released her debut album simply titled, Julia Fordham… In 1989 Julia’s follow up album Porcelain became her landmark work…

Successive albums followed with Falling Forward ,… China Blue ,…Under The Rainbow,…The Language Of Love, in 2014. 2018 marked the start of a new venture for Julia Fordham as she embarked on two sold out tours in the UK with fellow female singer songwriters Judie Tzuke and Beverley Craven. Their album Woman To Woman showcased their combined writing talents with a fine collection of songs with beautifully blended harmonies.

In 2020 Julia released her album Cutting Room Floor, a collection of songs that had been written for films. Followed by another sold out concert tour around the UK in 2022 with Woman to Woman. The Julia Fordham Collection, Julia’s Best of Album, is now at just under 10 million streams. 2024 will be filled with new music from Julia. Her next album Earth Mate will be released in early October to coincide with her U.K November tour. A fine collection of songs recorded in a live setting with an excellent assortment of acclaimed musicians including Gordon Giltrap and Leland Sklar.”

Her vocals are rich, velvety, and deeply expressive, the kind of voice that instantly transports you to another place. From the opening song, “Lock and Key”, I was drawn in. Even though I wasn’t overly familiar with her material beforehand, the emotion in her delivery made it easy to connect with each song. The setlist covered a mix of classic hits and new material from her new album. Porcelain. “Where Does the Time Go?” and “Love Moves (In Mysterious Ways)” both drew huge applause, clearly striking a chord with long-time fans in the audience.

One of the standout aspects of the night was Fordham’s easy rapport with the audience. She told stories, joked about life on the road, and reflected on past collaborations with artists like Michael McDonald and India Arie. Despite playing to a packed venue, the atmosphere felt incredibly intimate, as though we were gathered in a small jazz club rather than a concert hall.

By the time the set closed with “Done and Dusted”, I was completely sold. I’d come in curious but uninformed and I left as a new fan, wondering how I hadn’t given Julia Fordham more of my attention before. Many thanks to Elaine and Wikimedia Commons for the photographs and to Laura and Chris for helping me construct the blog. Thank you also to the Fire Station, which is a fantastic venue, and to Sunderland Music City for bringing such artists to the city for us all to enjoy.

Setlist: Lock and Key, The Comfort of Strangers, Few Too Many, Cocooned, Girlfriend, Porcelain, Earth Mate, My Old Table, Minor Victories, The Other Woman, Genius, Invisible War, Home (If That’s What Love Is), Where Does the Time Go?, Love Moves In Mysterious Ways, Happy Ever After, Stay; Behind Closed Doors, Done and Dusted.

16 Feb

The Corrs, Newcastle Utilita Arena, 15 November 2024

Posted by vintagerock in The Corrs. Tagged: , , , , .

I never expected to be at a Corrs concert in 2024, but when I saw, they were heading to Newcastle Arena, it felt like a chance to revisit a piece of the 1990s soundtrack that once filled my house. Back when Talk on Corners was first released, my daughter Laura had the album, and I became familiar with many of their songs just through hearing them played endlessly at home.

Though I never actively followed their music, it’s funny how some songs embed themselves in your memory, tied to a specific time and place. Going in, I had certain expectations—the smooth, radio-friendly blend of Irish folk and pop that had made them famous. What I didn’t expect was the slightly darker edge that some of the material had when played live.

At times, it was very dramatic, with theatrical lighting, layered harmonies, and the weight of their folk influences coming through more strongly than I remembered. From the moment they opened with “Only When I Sleep”, there was a moody intensity that took me by surprise.

Andrea Corr’s voice remains as striking as ever—clear, emotive, and rich with an timeless quality that set the tone for the night. With this being the Talk on Corners Tour, it was no surprise that many tracks from that album made their way into the setlist. “Give Me a Reason” and “What Can I Do” were early crowd favourites, sounding every bit as polished and heartfelt as they did in the late ‘90s. There was also a deep respect for traditional Irish music, something I hadn’t appreciated as much when they first emerged.

Their rendition of “Lough Erin Shore” was stunning, and later in the set, we were treated to an exquisite version of “Spancil Hill,” its haunting melody filling the arena with an almost spiritual atmosphere. “Joy of Life” and “Ellis Island” brought a lively folk energy, showcasing the band’s incredible musicality—Sharon’s violin and Caroline’s percussion work being particularly impressive. A couple of covers were highlights for me. Their take on Jimi Hendrix’s “Little Wing” was unexpected, drenched in atmosphere and melancholy.

“Old Town,” a cover of the Phil Lynott classic, was another standout, and it was clear the audience loved every second of it. Then, of course, came the biggest hits. “Dreams” (their Fleetwood Mac cover) had the whole arena singing along, while “So Young” and “I Never Loved You Anyway” lifted the energy further still.

The encore was perfectly chosen. “My Lagan Love” showcased their deep connection to Irish folk music before they launched into “Breathless”, perhaps their most famous pop anthem, and one that had everyone singing along. Finally, “Toss the Feathers” brought the night to a thunderous close, a full-throttle instrumental piece that reminded everyone just how talented they are as musicians.

For a band I’d never seen before, and hadn’t really followed closely, The Corrs delivered a fantastic show, far more musically rich, dramatic, and powerful than I’d expected. The folk influences, the haunting harmonies, and the more atmospheric side of their sound really stood out in a live setting. Looking around at the audience, it was clear that for many this was a nostalgic night, but for me, it was a genuine discovery, a reminder that even bands you think you know can surprise you in the best possible way. Bought myself a programme.

Many thanks to Jackie for the photographs and to Laura and Chris for helping me construct the blog entry.

Setlist: Only When I Sleep; Give Me a Reason; Lough Erin Shore; Forgiven, Not Forgotten; Summer Sunshine; What Can I Do; White Light; Closer; Don’t Say You Love Me; Little Wing; Joy of Life; Ellis Island; Spancil Hill; Old Town; Radio; Queen of Hollywood; Dreams; So Young; I Never Loved You Anyway; Runaway. Encore: My Lagan Love; Breathless; Toss the Feathers.

14 Feb

Becoming Led Zeppelin Omniplex Sunderland 10 February 2025

Posted by vintagerock in Led Zeppelin. Tagged: , , , , .

I am a massive Led Zeppelin fan and have been lucky enough to see them on six occasions. The first was in 1971. In November 1971 I went to see Led Zeppelin two nights in a row, something I have very rarely done. I saw them first at Newcastle City Hall and then the following evening at Sunderland Locarno. They were magnificent on both occasions, starting with “The Immigrant Song”, Robert Plant screeching out those opening vocals, Jimmy Page playing those magnificent riffs, John Paul Jones providing the steady bass lines and the late great John Bonham sitting centre stage banging away at his drums. The next event was the following year at another unbelievable performance at Newcastle City Hall. My fourth encounter with Led Zeppelin was in 1975 at London Earls Court with my friends Ian , Pete and John, more of whom later. Then in 1979 I went with my late wife Marie and many friends to see what was to be their last UK performance at Knebworth Park. My sixth and last Led Zeppelin experience was at the O2 reunion concert in 2004 with Marie and my two youngest children David and Laura. Each of these concerts were magnificent and momentous in their own way.

So how could I resist going to see this film which examines the beginnings of the band. I went along to my local cinema with my carer Chris to see the film a few days ago. My aforementioned friend, John who now lives in the USA, also went to see it over in the States. John has written a full account for me of seeing the film over there which I reproduce below. His thoughts of the experience are similar to mine, so I have used his account for my blog entry today. Thank you so much John for allowing me to do so. Over to you John.

Becoming Led Zeppelin is a movie about the genesis of the band and its first exciting chapter. It’s strange that there has been very little promotion for this event and it’s very difficult to know if it’s officially authorized by the band. However, as it does include extensive fairly recent interviews with the three surviving members and legacy discussions with John Bonham , I assume it must be. For me I am happy to see anything that documents Led Zeppelin from the past.

So, I approached tonight with mixed feelings, excitement and trepidation. What should we expect, what will it be like? Is there really enough “new” vintage material to make the story interesting and compelling? History had led me to believe that there isn’t too much material from their early days as they were not well documented. I was the first person to buy tickets for tonight’s opening event and as we approach showtime there are only about a dozen people in the cinema. Unbelievable. Peter Grant must be turning in his grave!! But as we get near to the start time it does fill up somewhat, but it’s still a rather meagre crowd given the magnitude of the artist and this event.

The movie is a well put together story which opens with context on Post War Britain, then documents the impact of American Rock and Roll on our deprived society, before moving on to the genesis of the band. Jimmy Page and John Paul Jones emerge as the real musical talent in the band during these early days. We learn about the early life of the four members with good natured humor in typical British self- deprecating manner. The story then moves to the legendary first rehearsal in a basement studio in London where the band played “Train Kept A Rollin’” and realized something special could be happening. It describes the Scandinavian tour where the band honor some commitments by the now defunct Yardbirds and they are billed as The New Yardbirds. In these early days Jimmy clearly had the vision and was the driving force behind the band, supported by Peter Grants emphatic belief in his talent.

After recording the first album in late 1968 and fueled by interest from Atlantic Records, the band embark on a series of shows across the US, from West to East. Vintage footage is peppered throughout the movie, some of which I’ve seen before but to see it in a truly glorious technicolor on a giant screen with a sensational sound system is really exciting. We learn about the reaction of American audiences to the first album and tour; with the music critics being rather unkind with their views. We hear how the second album, which broke the band worldwide, was recorded between gigs during this hectic touring schedule with both albums being ultimately released in 1969. What really comes over is the excitement around the process and the groundbreaking nature of what they were doing. And don’t forget the speed at which this all happened and how Robert and John Bonham were young and very inexperienced at the time. It all seems incredible by today’s standards.

While I am a reasonable Zeppelin expert, I did learn a lot. There is some great footage from a TV show in France which I’ve seen before, but it’s so much better in this big screen format. While Jimmy and John Paul describe the musical vision and its delivery, it is left to Robert to provide the humor which he does splendidly, complete with that wonderful sly grin and glint in his eye. He has some great comments about how John Bonham’s wife Pat said, “don’t hang out with Planty, he’s a bad influence on you”. With the benefit of hindsight that’s so hard to believe! There are shots of Robert and John in their early bands, also Peter Grant, Mickey Most and Terry Reid [who was Jimmy Page’s first choice for singer, Terry turned them down and recommended Robert Plant for the job], all of which add colour to this splendid tale. The movie closes with “What Is and What Should Never Be” and “Something Else” from their triumphant London Royal Albert Hall gig in January 1970.

While it’s easy to look for faults, for me as a long- term fan, this is a sensational evening and time flies by. The only words I have to describe it are “spine-tinglingly sensational”. While Zeppelin may have borrowed heavily from historical blues artists (Willie Dixon and Chester Burnett among others) and even some of their peers of the time (listen to The Small Faces “Need Love” and Marriott’s voice is very similar to Robert’s on “Whole Lotta Love”), there is no doubt they added their own magic and genius to create a patchwork of sound that has never been equaled. For me Led Zeppelin are simply the greatest rock band of all time, and this movie adds another chapter to their incredible legacy. Go see it !!

Thank you, John. I was similarly impressed by the movie. The performance I saw was poorly attended, there were six people in the audience including Chris and me. I bought myself an official poster and also one on eBay. I also bought myself a press pack from the Cannes film Festival a few years earlier where the film was yet to be named, and the showing was pulled because the band decided not to attend. Finally, I also bought a small poster from eBay, which was given out to those who attended the first showings in the UK and USA. I have included those images in this blog entry. Many thanks to John for allowing me to include his account of the movie and to Joanne for manipulating the site for me. A great movie about a great rock ‘n’ roll band. Happy days.

11 Feb

Bob Dylan, Royal Albert Hall, London, 12 November 2024

Posted by vintagerock in Bob Dylan. Tagged: , , , , , .

Eighteen times. That’s how many times I’ve now seen Bob Dylan perform live, stretching from my first encounter at Earls Court in 1978 to this latest performance at the Royal Albert Hall in 2024. Each time has been different, sometimes mesmerising, sometimes challenging, sometimes unexpected, but always an experience. With Dylan now 83 years old, I couldn’t help but wonder: could this be the last time he will grace a UK stage?

Dylan performed three nights at the Royal Albert Hall, a venue steeped in his own history. Back in 1966, it was here (or more accurately, in Manchester, before the tapes were mislabelled) that he was famously heckled with a cry of “Judas! “as he shifted from folk to electric. Nearly 60 years later, he was back—still unpredictable and always, still rewriting his own rulebook.

The show was part of his Rough and Rowdy Ways world tour, an era that has seen Dylan settle comfortably into the crooning, jazz-infused, storytelling style he’s been refining over the past two decades. The setlist was carefully curated, blending selections from Rough and Rowdy Ways with reimagined versions of classics from his immense back catalogue. A performance shrouded in mystery and surprise.

Firstly, no photographs allowed. We each had to have our phones placed in a small, sealed wallet while in the performance. This was actually a smooth process and did not take as long as I feared. I am not quite sure what the purpose was, but the result was that it forced me to concentrate on Dylan and his performance without any distractions. Hence no photographs, the images are a selection of my programmes from over the years, my poster from the Albert Hall and a picture of me with 250000 others watching Dylan at Blackbushe Aerodrome in 1978 (see image, I am the guy stood in the centre with long black hair and beard, those were the days)

One thing was immediately clear …. this was a concert on Dylan’s terms. The Royal Albert Hall stage was dimly lit, wrapped in an atmospheric golden glow. As has been the case for years now, no cameras, no phones, no distractions, just music. There was no spoken word from Dylan, no greeting, no small talk. He let the songs speak for themselves.

He opened with “All Along the Watchtower,” an immediate reminder that while his voice has changed, the power of his words remains eternal. Stripped of its anthemic energy, this version was slower, moodier, drenched in blues and introspection. From there, “It Ain’t Me, Babe” followed, its defiance softened by Dylan’s aged, world-weary delivery. Hearing “Desolation Row” live was also a special moment, Dylan’s phrasing bending and twisting each line, revealing new nuances in a song I’ve heard a thousand times before.

“When I Paint My Masterpiece” was another highlight—its theme of travel and artistic longing feeling especially poignant, as though Dylan himself was reflecting on his endless journey. Although I didn’t know much of his newer material, “I Contain Multitudes” and “Black Rider” stood out, both tracks sounding even richer in a live setting. Dylan has long blurred the lines between personal confession, poetry, and theatre, and in these songs, he seemed to embody the mysterious, wandering figure he’s always hinted at being.

Perhaps the most moving moment of the evening came with “Every Grain of Sand,” Dylan’s meditation on fate and grace. His voice, ragged but expressive, carried an undeniable weight as he delivered the final words of the set.

And then—just like that—it was over. No encore, no grand farewell. Dylan left the stage as quietly as he had entered, slipping away into the shadows, just as he always has. At 83, Dylan is still reshaping his own legacy. The raw energy of those early performances—where he sneered through protest songs and reinvented rock music—has given way to something more reflective, almost intimate. This wasn’t a show for casual fans expecting Blowin’ in the Wind singalongs. This was a deep, immersive experience, rewarding those willing to listen rather than just remember.

As I left the Royal Albert Hall, I couldn’t help but feel a quiet gratitude. Eighteen times I’ve seen Dylan live, and each time has been different. If this was to be the last, it was a fitting end—subtle, masterful, and completely on his own terms. Fingers crossed though … perhaps number 19 could be waiting for me in the hopefully not too distant future. Oh, and wouldn’t it be wonderful to get to number 20 Mr Dylan.

Many thanks to Laura for assisting with the blog and Chris for helping manipulate the site. And to carers Jan and Jackie both of whom enjoyed the experience as much as me. An iconic artist in an iconic building which carries so many memories for him and me. Wonderful. Legend cannot even begin to cover it.

Setlist: All Along the Watchtower, It Ain’t Me, Babe, I Contain Multitudes, False Prophet, When I Paint My Masterpiece, Black Rider, My Own Version of You, To Be Alone With You, Crossing the Rubicon, Desolation Row, Key West (Philosopher Pirate), Watching the River Flow, It’s All Over Now, Baby Blue, I’ve Made Up My Mind to Give Myself to You, Mother of Muses, Goodbye Jimmy Reed, Every Grain of Sand.

7 Feb

Deep Purple and Reef First Direct Arena Leeds 7 November 2024

Posted by vintagerock in Deep Purple, Reef. Tagged: , , , , .

Deep Purple have been a cornerstone of rock for over five decades, and their performance at Leeds First Direct Arena proved that they remain as powerful as ever. With a legacy that includes pioneering the hard rock genre and a body of work spanning seven decades, the band’s ability to innovate and enthral audiences is unmatched.

This wasn’t my first Deep Purple gig; in fact, it marked yet another chapter in a long history of seeing them live, stretching back to their iconic Fireball tour in 1971 at Newcastle City Hall. Back then, the band, led by the celebrated MKII lineup of Gillan, Blackmore, Glover, Lord, and Paice, were at their peak. I can still picture Jon Lord rocking his Hammond organ, Ritchie Blackmore’s theatrical guitar antics, and Ian Gillan’s hair-raising screams. That night is etched deep in my memory banks, and over the years, I’ve been lucky enough to see the band evolve through various lineups and tours.

Fast-forward to 2024, and the current lineup—Ian Gillan, Roger Glover, Ian Paice, Don Airey, and Simon McBride—brings the same energy and spirit, but with a fresh twist. Simon McBride, who replaced Steve Morse, has stepped into some big shoes, and he does so with confidence, injecting a new vitality into the band’s sound.

I had never seen opening act Reef before. I did not know what to expect but they did a pretty good job of warming the crowd up on the main attraction.

The set kicked off with the usual opener, “Highway Star.” From the very first notes, the crowd was captivated, with Gillan’s voice still packing an emotional punch and McBride’s guitar work proving he’s more than capable of carrying the torch for this legendary band. Simon McBride’s soloing on “Anya” was a standout moment. He’s a different kind of player than Blackmore or Morse, but his dynamic, fluid style added a fresh dimension to the song while respecting its legacy. Don Airey, a Sunderland native and a long-time member of the band, delivered a breathtaking keyboard solo that demonstrated why he remains one of rock’s finest musicians.

Sadly, we left before the encore in order to catch the last train home. Reflecting on the gig, it’s remarkable to think how much this band has meant to rock music and to me personally. From the fiery performances of the MKII lineup to the epic return at the Knebworth 1985 show, which even the rain could not dampen, to their 2011 orchestra-backed tour, Deep Purple have always delivered unforgettable live experiences. Indeed, the 2024 tour felt like a celebration—not just of the band’s past, but of their ongoing ability to evolve and inspire. The venues may have changed, and the lineup may have evolved, but the power of Deep Purple remains eternal.

Deep Purple’s legacy is secure, but performances like this show that they’re not just looking back—they’re still blazing forward, leaving a trail of awe-struck fans in their wake. Many thanks to Jan and Jackie for the photographs, to Laura for helping me with the blog and to Atlanta for helping me manipulate the site. I treated myself to a signed drumskin on the way out.

Postscript: I was lucky enough to attend the graduation ceremony at which Don Airey received an honorary award from the University of Sunderland, where I am an emeritus professor. I reminisced with Don about how I used to come to his house to practice guitar with his younger brother. We were both fans of Wishbone Ash and the band Home and played some of their songs together. Happy memories.

28 Jan

Growth Lab: The Sunderland Music City Strategy, The Fire Station, Sunderland, 21 January 2025

Posted by vintagerock in Sunderland Music City. Tagged: , , .

The Fire Station proudly announced the event: “Explore the business of music with an expert panel of guests offering a local, national, and international perspective on the music economy:
David Brewis Mercury Prize Nominated Artist, Music Producer and Studio owner. Since 2005, David Brewis has been writing, recording, and releasing records as part of the Mercury Prize-nominated Field Music. He released their latest album, Limits of Language, in 2024, and has worked on a variety of other projects, as well as touring extensively across Europe and North America. David has also written music for live film scores and culture and heritage commissions, as well as producing, recording, and mixing music for other artists. He owns and runs Field Music Studios, a large multi-room recording space in Sunderland.

Carly Davidson, Global Tour manager. Carly Davidson has over two decades of experience working in music and is currently a global tour manager for bands including Foals, Friendly Fires and Everything Everything. Alongside her work as a tour manager operating within the UK and internationally, Carly is a show rep for a number of international promoters and has worked on events of all shapes and sizes, including major stadium shows.

Darren Henley CBE Chief Executive of Arts Council England, Chair of the UK National Lottery Forum, and former Managing Director of Global Radio. Darren began his career as a freelance radio journalist and newsreader at Classic FM before rising to Managing Director of Global Media in 2006. In 2014 was appointed Chief Executive of Arts Council England. Darren holds an honorary doctorate from the University of Sunderland and was awarded an OBE for services to music in 2013, as well as a CBE for services to the arts in 2022.

Lena Ingwersen is the Managing Director of the Music Cities Network – a transnational non-profit association uniting Music Cities and policy makers around the globe. With more than 15 years of experience in the music industry, Lena is committed to bettering structures, intensifying borderless cultural exchange, and creating sustainable business opportunities via the Music Cities Network.

Our engaging panel will share real world success stories and practical advice to take your music business to the next level. They will also discuss the key pillars of the Sunderland Music Strategy, a new framework to guide, inspire and grow the regional music economy and the next generation of music talent on Wearside and beyond.

Hosted by Frankie Francis of Sunderland Music City in partnership with the Northeast Business Innovation Centre (BIC) represented by the director of the BIC Paul McEldon OBE this is a unique opportunity to learn more about the inner workings of the music industry and help drive your business forward.

And so the scene was set for an exciting afternoon which began with the Growth Lab, a panel discussion that brought together key figures from the music world. Lena Ingwersen, Managing Director of the Music Cities Network, joined Darren Henley CBE Chief Executive of Arts Council England, Carly Davidson Global Tour manager, and David Brewis of Field Music to share their insights on how Sunderland could capitalise on becoming a music city. The discussion covered everything from nurturing local talent and improving venue infrastructure to the city’s potential for cultural and economic growth.

It was fascinating to hear from such a range of perspectives. Lena Ingwersen’s passion for fostering connections between cities was evident, while Darren Henley highlighted the importance of the arts in creating a vibrant, thriving community. Carly Davidson’s experience as a global tour manager brought an international perspective, and David Brewis offered a grounded view from his perspective as a Mercury Prize-nominated artist and proud Northeasterner.

This was followed by a series of presentations by Paul Callaghan, chair of the Sunderland Music, Arts and Culture (MAC) Trust, Michelle Daurat, Chief Executive of the Sunderland MAC Trust and lead on Sunderland Music City, Paul McEldon Director of the BIC, Michael Mordey leader of Sunderland Council, Andrew Dipper, Marketing Director at Sunderland Music City, Marty Longstaff and Frankie Francis of Sunderland Music City. Marty provided a short musical interlude, demonstrating the power and importance of music to Sunderland and the overall event and ethos of the whole project.

And then Paul Callaghan made the big announcement. Sunderland was officially a Music City. We have been granted the award! We all hoped that it was coming but it was great to hear it announced officially. Everyone in the Fire Station cheered and rose to their feet.

Sunderland is a music city!

This marked a historic moment for Sunderland’s music scene as the city was officially named a Music City, joining a prestigious global network that includes Berlin, Sydney, and Manchester. Sunderland is only the second UK city to be awarded this status. 

Paul Callaghan said: “Being accepted into the Music Cities Network is a remarkable achievement for our city, reinforcing our identity as a vibrant cultural community where music thrives. We are delighted to be recognised internationally as a Music City. It’s a title that Sunderland will wear with great pride.
“Working with partners in some of the world’s most exciting music cities presents incredible opportunities for growth and development. We’re also excited to share our own insights and experiences with this wonderful community.”

Michelle Daurat, Chief Executive of the Sunderland MAC Trust and lead on Sunderland Music City, said: “Becoming an official Music City is a fantastic recognition of both our heritage and the work we’ve done since we began this campaign. We started the Sunderland Music City project knowing we wanted to do something big to highlight what an incredible music scene we have here in Sunderland, and to help the city build on that foundation in the future. That’s exactly what the team has done.”

“We established our Music Office and built a team of people who are passionate about local music and who understand how important having access to music is, whether you’re a budding musician, a working professional, or a fan. That passion is what’s going to drive us as we put our strategy into action. That strategy is a living document, and over the next five years, we’ll continue to monitor its social, economic, and cultural impact, adapting and improving it wherever we need to. There are a lot of challenges and opportunities ahead of us, and we’re already looking forward to celebrating our next milestone as we work together to support the musical community in our city.”

“This is just the beginning of the journey to create a lasting legacy for Sunderland.”

Andrew Dipper, marketing director at Sunderland Music City, said: “Being part of the Music Cities Network helps put a flag in the ground to show that this is the place to be for music lovers, musicians, and anyone wanting to make a career for themselves in music. Sunderland has always been a Music City, and now we’re in the best possible position to share that fact with the world.”

Marty Longstaff “I’ve been shouting about Sunderland for over a decade now with various hats on so why not shout about it some more and hopefully get a few eyes from elsewhere fixed on the great things that are happening in the city. With that will come a multitude of opportunities and connections for artists creating music now, and hopefully that will inspire the next generation to give it a good go and feel confident in their creativity. We’re as valid as anywhere else, we’ve just got to see that, and I think we do now.”

Frankie Francis, summed it up perfectly: “Sunderland was known for its shipbuilding and coal mining. While we should celebrate that, this is about forging a new identity. Music can be that identity.”
This event also marked the launch of Sunderland’s Year of Music, which will begin on World Music Day in June 2025. Over the next year, the city will host a packed calendar of events, including gigs, festivals, workshops, and community activities. The initiative aims to highlight under-represented genres, support emerging artists, and bring music to every corner of Sunderland.

As the panel concluded, live music took over, perfectly illustrating the vitality of Sunderland’s music scene. The Michael Young Jazz Trio set the tone with an intimate performance in The Engine Room, a fitting backdrop for the smooth, soulful melodies that filled the space. I know Michael better as Professor Michael Young, Deputy Vice-Chancellor (Academic) of the University of Sunderland.

Leaving The Fire Station, I couldn’t help but feel excited for the city’s future. The passion and drive of everyone involved, from the panellists to the performers, made it clear that Sunderland’s music scene is in safe hands. As Lena Ingwersen put it, “Sunderland has an exciting future ahead.”

Many thanks to Chris for the photographs and manipulating the site, and the BBC, the Sunderland Echo, the Evening Chronicle and NARC magazine for the quotes above.

It was time to catch my taxi home. Later, however, the celebrations moved to The Peacock, where rising stars including Tom A Smith performed.

The journey as a Music City is just beginning, but with its proud heritage and dynamic community, the city is ready to embrace its new role on the world stage.

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