Posts Tagged ‘classic rock’

24 Mar

Paul McCartney, The O2 Arena, London, 19 December 2024

Posted by vintagerock in Paul McCartney, Ringo Starr. Tagged: , , , , , .

Seeing Paul McCartney in concert is always a remarkable experience, and this London date on the “Got Back” Tour was no exception. The legendary songwriter, responsible for some of the most beloved songs of all time, delivered a setlist spanning over six decades, covering The Beatles, Wings, and his solo career in a show that was both nostalgic and exhilarating. For me, McCartney gigs are always a special occasion—not just because of the sheer weight of history behind them, but because each one brings back memories of the times I’ve seen him before, stretching all the way back to the Wings era in the ’70s.

Indeed, the first time I saw Paul live was with Wings at Newcastle City Hall in 1973. That gig felt almost unreal—standing at the back of the hall, hardly believing that I was seeing a Beatle in the flesh. The set that night was relatively short compared to his later tours, but hearing “Maybe I’m Amazed” and “Live and Let Die” for the first time live was a memorable moment. By the time Wings returned to Newcastle in 1975, McCartney had begun embracing his Beatles legacy, performing songs like “Blackbird” and “Yesterday”. It was the first time I had seen him play those songs, and the moment he took out the violin bass was unforgettable. I was particularly touched by his performance of “I’ve Just Seen a Face” from the Help album. This song in particular is incredibly special to me.

I remember my parents buying me the Help album when it was first released and I particularly liked that song from those times. Paul would always finish the set with “I Saw Her Standing There”, a tradition which has continued until very recently. Over the years, I’ve caught McCartney in some truly incredible settings: from Live Aid in 1985, to the massive Knebworth concert in 1990 (which also featured Pink Floyd, Robert Plant and Jimmy Page, Elton John, Genesis, and many others), to his Liverpool Sound performance at Anfield in 2008. And yet, no matter how many times I’ve seen him, a Paul McCartney show never feels like “just another gig”. It’s a musical event, a moment in history, and something that still carries immense emotional weight.

McCartney arrived on stage to an eruption of cheers, launching straight into “A Hard Day’s Night”, and from there, it was hit after hit after hit. “Drive My Car”, “Got to Get You Into My Life”, “Jet”, and “Band on the Run” all followed in quick succession, and it was clear that, even at 82, his energy on stage remains remarkable. As always, there were some deeply personal moments, particularly “Here Today”, his tribute to John Lennon, and “Something”, dedicated to George Harrison, which began as a solo ukulele piece before swelling into a full-band performance. Then, the recently released Beatles song “Now and Then”, and it added a real sense of history to the evening due to its use of AI technology to add John Lennon’s voice.

Then came the massive anthems—“Ob-La-Di, Ob-La-Da” had the entire crowd singing along and “Live and Let Die” came with its usual explosions of fire and smoke, filling the arena with heat. I felt it from my seat—just as I had in 2003, when I was close enough to practically feel my eyebrows singe! We were treated to a surprise, as Ronnie Wood joined McCartney on stage for “Get Back”, sending the crowd into an uproar! And then, of course, “Hey Jude”. No matter how many times I’ve sung along to it at a McCartney concert, it never loses its power. Seeing thousands of people with their arms raised, chanting “Na, na, na, na-na-na-na,” is a truly magical moment. I recall everyone walking out of Hyde Park into central London, singing those words at the closing of the Live 8 concert (another massive event that featured U2, REM, Madonna, Robbie Williams, Annie Lennox, Dido, Mariah Carey, and George Michael who performed “Drive My Car” with Paul, and many more).

Then, just as I thought it couldn’t get any better, something quite remarkable happened. Paul returned for the encore, and after a raucous “I’ve Got a Feeling,” he stepped to the microphone with a grin and said, “We’ve got a little surprise for you.” And then, the unbelievable happened. Something I thought I could never see. Out walked Ringo Starr. The roar from the crowd was deafening. I have seen McCartney many times, and I have seen Ringo in his own right, but I never thought I’d witness them performing together. For a few moments, it was as if time folded in on itself.

This wasn’t just two legendary musicians reuniting; it was two Beatles, together again on the same stage. I don’t mind admitting that I broke down in tears. Something was unfolding in front of my eyes that I thought I would never witness. I quickly texted the kids to tell them what had just occurred. They launched into “Sgt. Pepper’s Lonely Hearts Club Band (Reprise),” and it felt like the entire arena was levitating. Ringo behind the drums, Paul on bass—just like the old days. Then, without pause, they tore into “Helter Skelter,” with McCartney howling through the verses while Ringo thundered away on the kit. It was raw, electric, and utterly thrilling.

McCartney then brought the night to a close with the Abbey Road medley—“Golden Slumbers,” “Carry That Weight,” and “The End.” As the final notes rang out and Paul sang, “And in the end, the love you take is equal to the love you make,” it was impossible not to feel the weight of the moment. Having seen Paul McCartney live so many times over the years, it would be easy to assume that I’d become used to the experience. But that’s the thing—you never get used to it. Every show is filled with memories, not just of past gigs, but of what these songs mean to you personally.

When McCartney plays, you’re not just hearing a concert—you’re witnessing one of the last living links to the greatest band of all time, still giving everything he has to the music he created. McCartney himself summed it up best: “It’s going to be an amazing end to the year. Let’s get set to party.” And he certainly delivered on that promise. “Oh and one final thing to say… See you next time!” Now that is a promise after all these years.

Many thanks to Elaine and Jan for coming with me and taking the photos, and to Laura and Chris for helping me construct the entry.

Setlist: A Hard Day’s Night, Junior’s Farm, Letting Go, Drive My Car, Got to Get You Into My Life, Come On to Me, Let Me Roll It, Getting Better, Let ‘Em In, My Valentine, Nineteen Hundred and Eighty-Five, Maybe I’m Amazed, I’ve Just Seen a Face, In Spite of All the Danger, Love Me Do, Dance Tonight, Blackbird, Here Today, Now and Then, Lady Madonna, Jet, Being for the Benefit of Mr. Kite!, Something, Ob-La-Di,Ob-La-Da, Band on the Run, Wonderful Christmastime, Get Back (with Ronnie Wood), Let It Be, Live and Let Die, Hey Jude.
Encore: I’ve Got a Feeling, Sgt. Pepper’s Lonely Hearts Club Band (Reprise) (with Ringo Starr), Helter Skelter (with Ringo Starr), Golden Slumbers, Carry That Weight, The End.

17 Mar

Toyah & Robert Fripp Christmas Party The Firestation Sunderland 17 December 2024


Posted by vintagerock in Robert Fripp, Toyah. Tagged: , , , , , , , .

Seeing Toyah and Robert Fripp live is always an experience, and their set at the Firestation was no exception. An evening of pure entertainment—blending musical brilliance, theatrical energy, and an undeniable sense of fun. Toyah has always been a powerhouse performer, and Fripp, well… he’s one of the greatest guitarists of all time. Together, they make for an unlikely but utterly compelling duo.

I first saw Toyah perform in the early ‘80s, at the height of her punk/new wave fame, when she was a force of nature on stage. I remember being struck by her sheer presence commanding the crowd with “It’s a Mystery” and “I Want to Be Free”, two anthems that still resonate today. Fast forward to more recent years, and I saw her again with Robert Fripp as they began touring together, blending their respective musical worlds. That show was a surreal mix of Toyah’s theatricality and Fripp’s intricate, almost otherworldly guitar work a partnership that, despite seeming like an odd pairing on paper, works brilliantly in practice.

At this most recent gig, the duo took to the stage with their signature blend of high-energy rock, nostalgia, and cheeky humour. Toyah, ever the performer, was full of charisma, striding across the stage in a dazzling outfit, engaging with the crowd like she was born to do it (which, of course, she was). Fripp, sitting in his usual composed stance, let his guitar do the talking—delivering those unmistakable King Crimson-style flourishes with effortless precision.

I first saw Robert Fripp in King Crimson in 1974 at Newcastle Odeon, at which he performed the Red album, along with the encore “21st-century schizoid man” I saw him perform with the magnificent Crimson many years later at the Usher Hall Edinburgh. The lineup was very different but his guitar playing remained impeccable.

From the opening number “Rebel Yeah”, it was clear this was going to be a set full of fan favourites. “Thunder in the Mountains” sounded just as thrilling as it did back in the day, was delivered with a theatrical grandeur that few performers could pull off quite like Toyah.

Of course, the real joy of a Toyah & Fripp show is the unexpected moments, and this gig delivered plenty. Their now-infamous Sunday Lunch covers have given them a whole new audience, and it was fantastic to see them incorporate some of those into the set. Their version of Black Sabbath’s “Paranoid” was as fun as it was ferocious, while “Heroes”, a song close to Fripp’s heart, given his guitar work on the original Bowie track, was simply spellbinding.

The partnership is somewhat bizarre, but it somehow works: Toyah the punk Queen and Robert the quiet guitar hero. I believe that for part of the year he lives in New York and she in London. Yet when they come together their partnership is stronger than ever. This is clearly the case when you see them perform such as this evening.

Then came the crowd-pleaser of all crowd-pleasers, “It’s a Mystery”. The moment those opening notes rang out, the audience erupted. It’s a song that has remained iconic for over 40 years, and seeing Toyah belt it out with such energy and enthusiasm made it feel as fresh as ever.

Toyah closed the evening with a great version of Joan Jett’s “I Love Rock ‘n’ Roll ”. And the girl clearly does. Many thanks to Jackie for the photographs and Laura and to Chris for helping me put together the blog entry. Treated myself to a couple of signed prints. Toyah & Robert Fripp continue to prove that music should be fun, fearless, and, above all, full of life. Long may they keep bringing their unique brand of rock and theatricality to the stage!

Setlist: (something like) Thunder in the Mountains; Are You Gonna Go My Way (Lenny Kravitz); Echo Beach (Martha and the Muffins); Paranoid (Black Sabbath); It’s a Mystery; Fashion (David Bowie co written by Fripp); Sunshine of Your Love (Cream); Heart of Glass (Blondie); Sweet Child o’ Mine (Gunz and Roses); Roses in Chains; Sharp Dressed Man (ZZ Top); Enter Sandman (Metallica); Rockin’ in the Free World (Neil Young); Rebel Yell (Billy Idol); I Want to Be Free; Merry Xmas Everybody (Slade); Heroes (David Bowie co written by Fripp); I Love Rock’n’Roll (Joan Jett / The Arrows).

9 Mar

Punishment of Luxury, The Georgian Theatre, Stockton, 6 December 2024

Posted by vintagerock in Bones Park Rider, Cazimi, Punishment of Luxury. Tagged: , , , , , , , , .

For a band with such an unmistakable identity, Punishment of Luxury remains something of an underground treasure. Born out of the North East’s late-70s punk and post-punk scene, they were never quite part of the mainstream punk explosion, nor did they slot neatly into the new wave movement that followed. Instead, Punilux carved out a unique, theatrical, and often surreal space of their own—combining angular, spiky guitars with performance art, dystopian themes, and a real sense of the absurd.
From the Georgian Theatre website: “From a background working in experimental music and English fringe theatre groups, Punishment Of Luxury formed in December of 1976, in Gateshead. Taking their name from a postcard sent to Nev from Rob Meek of a painting by Giovanni Segantini, Walker Art Gallery, Liverpool.

Brian met Nev when he visited him at the locally famous Walker Terrace, Gateshead and the band was formed; Nevilluxury (Neville Atkinson – guitar, vocals), Brian Bond (Brian Rapkin -vocals and keyboard (move (James Mario Davis -bass guitar, vocals), “Liquid” Les ( Les Denham-drums) and then Red Helmet (Mick Emerson- guitar, vocals).….

…… The band recorded their debut single, “Puppet Life” and this was released on the Small Wonder label in July 1978. In 1979 they signed to United Artists and released the singles “Jellyfish ” and “Brain Bomb”, and then the album, Laughing Academy, in the summer of 1979.” In the same year I saw them play at the Reading Festival on the opening (Friday) night after The Cure (who were playing low down on the bill) and before Motorhead, the Tourists and The Police who headlined that night. That was the year in which punk rock finally arrived at Reading.

Cazimi from Sunderland and Bones Park Rider from Sheffield were the support bands. I managed to catch the two of them, watching them from a lovely vantage point on the balcony which has plenty of room for wheelchair access. They were both great support acts and warmed the crowd up well for the crazy theatrics which was to follow. From their official site: “From Sunderland and Newcastle, Cazimi are a trio of post-punk misfits that play in-between music. They have been described as “Not so much the illegitimate sons, but the genetically engineered progeny of luminaries such as Magazine, The Bunnymen, The Stranglers, Hawkwind, Killing Joke, John Barry and Erik Satie”. Bullshit? Maybe.”

From their official site: “BONES PARK RIDER are widely regarded as one of the most exciting and proficient bands to emerge from Sheffield’s thriving underground music scene. Known for their fiercely energetic stage show and intelligent, skin-tight, textured songs, the seasoned four-piece conjure a rare and varied brand of alternative, high-octane rock n roll. BPR formed in 2009 with a mission to encapsulate the vibrancy and immediacy of ’78(ish) era alternative guitar bands. A myriad of influences and original thinking has set them apart, and the band has made a name for itself through its blistering stage show and run of very well received records.”

From the moment they took to the stage, it was clear that Punishment of Luxury still has that same edge. Neville Luxury, ever the theatrical frontman, delivered each song with an intensity that blurred the line between performance and provocation. The staccato rhythms, jerky movements, and surreal, almost nightmarish delivery were all still intact, giving the night a strange, otherworldly atmosphere. Although there were no costumes this time, the strange arm movements were the same as back in the late 1970s.

Hearing “Puppet Life” live was a reminder of just how ahead of its time it was. Released in 1978, it became a cult classic, picked up by John Peel, and still sounds as urgent and experimental today as it did then. Funk-meets-punk basslines, mechanical guitar lines, and absurdist lyrics … it could have been made yesterday, yet it still retains the raw, DIY spirit of the late ’70s.

Highlights included “Brain Bomb”, which brought chanted, robotic vocals over an almost Kraftwerk-esque rhythm. “Jellyfish”, with its twisting, unpredictable shifts, was another standout moment, like a punk band fronted by a dystopian theatre troupe although, somewhat disappointingly, the band did not have the strange theatrical set-up and presentation that I’d seen in the past.

I first saw Punishment of Luxury back in 1978, when they were still an emerging force in the local scene. That year alone, I caught them a few times, including a packed gig at Newcastle University Canteen and a support slot for Penetration at Newcastle City Hall. Even then, they stood apart from other punk and post-punk acts—their theatrical background gave their live shows an almost unsettling, performance-art feel, something completely different from the raw aggression of other punk bands of the time. I’m sure I remember them performing entirely concealed by a curtain, just silhouettes visible.

Their blend of art-rock, jagged rhythms, and absurdist storytelling was truly distinctive. While many of their contemporaries leaned into the political or nihilistic, Punilux embraced the bizarre and unsettling—making them one of the most unique bands to emerge from the Northeast in the punk era.

Whilst I’d have loved to see the theatrical performances of the past, silhouettes, and all, I was pleased to get a chance to catch this band again. it was clear that they remain one of the most fascinating, unconventional bands to emerge from the Northeast. Their legacy might be cult, but it’s one that has endured for decades—and on nights like this, it’s easy to see why. For those of us who were lucky enough to see them in their prime, it was a brilliant flashback. For those experiencing them for the first time, it was a reminder of how uniquely different and special they were. The final image is from the Georgian Theatre website. Many thanks to Jackie for taking the photographs and to Chris and Laura for preparing the entry.

25 Feb

Hugh Cornwell & eXTC The Fire Station, Sunderland, 23 November 2024

Posted by vintagerock in eXTC, Hugh Cornwell, Stranglers, XTC. Tagged: , , , , , , .

Seeing Hugh Cornwell perform live is a reminder of just how much of an impact he has had on British music. As the driving force behind The Stranglers, a band I have seen on many occasions, Cornwell was responsible for writing and singing some of their most iconic tracks, from “No More Heroes” to “Golden Brown”. Even after leaving the band, he has carved out an impressive solo career, continuing to release sharp, inventive, and often darkly humorous albums. This Fire Station gig was a showcase of both his classic Stranglers material and his solo work, proving that he still has the same energy and presence that made him one of punk and new wave’s most distinctive voices.

Opening the night was eXTC, a band dedicated to keeping the music of XTC alive, led by original drummer Terry Chambers. XTC were always a fascinating band, shifting from their early punky, jerky rhythms to their later, more sophisticated pop sound. I was lucky enough to see them several times at Newcastle University and Newcastle Mayfair between 1978 and 1981, back when they were still actively touring.

It was great to hear their music performed live once again, especially songs like “Making Plans for Nigel” and “Senses Working Overtime”, which have stood the test of time. Though Andy Partridge and Colin Moulding are absent, Steve Hampton does a solid job on vocals, capturing the essence of the originals without attempting a carbon copy. The set ended on a high with “Generals and Majors”, a perfect example of XTC’s ability to blend catchy melodies with clever, biting lyrics.

And then came Hugh. The first part of the set focused on Cornwell’s solo work, much of it taken from his latest album Moments of Madness, as well as older solo tracks. “Coming Out of the Wilderness” and “Too Much Trash” set the tone early, blending his signature garage rock edge with lyrics full of wry observations. His distinctive, slightly menacing vocal delivery was in full force on “Delightful Nightmare” and “Totem” while other tracks showed his ability to weave together melody, tension, and biting wit.

Then came the Stranglers material, and the atmosphere shifted—the crowd was suddenly buzzing with recognition as “Nice ‘n’ Sleazy” kicked in. The highlights came thick and fast: “Golden Brown”, played with a delicate, almost hypnotic quality, “Duchess”, with its sharp new wave swagger, and “Nuclear Device”, which still sounds as urgent and rebellious as ever. He closed the set with “Wrong Way Round”, proving that he’s still more than capable of delivering something fresh and unpredictable.

It’s always a pleasure to see musicians with real pedigree still performing at such a high level. Hugh Cornwell remains a master of his craft, able to command the stage with an understated confidence, whether delivering spiky solo material or revisiting Stranglers classics. Meanwhile, eXTC provided a nostalgic yet powerful reminder of just how great XTC were—a band that, for all their quirks and oddities, left a lasting legacy on British music. This was a night of true veterans, proving that their music still holds as much weight today as it ever did.

Many thanks to Jan for the photographs and Laura and Chris for manipulating the site.

eXTC Setlist: This Is Pop, Statue of Liberty, Sgt. Rock (Is Going to Help Me), Towers of London, Senses Working Overtime, Ball and Chain, The Ballad of Peter Pumpkinhead, Rocket From a Bottle, Living Through Another Cuba, Generals and Majors, Making Plans for Nigel.

Hugh Cornwell Setlist: Coming Out of the Wilderness, Too Much Trash, Nice ‘n’ Sleazy, Wrong Side of the Tracks, Delightful Nightmare, Golden Brown, Totem and Taboo, Bad Vibrations, Dead Loss Angeles, Moments of Madness, When I Was a Young Man, Tank, Pure Evil, Mr. Leather, Nuclear Device, Another Kind of Love, Duchess, Live it and Breathe it, Wired, Big Bug, Mothra, Wrong Way Round.

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

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.

26 Jan

Tygers of Pan Tang Whitley Bay Playhouse 9 November 2024

Posted by vintagerock in Shannon Pearl, Tygers of Pan Tang. Tagged: , , , , , , .

This was a massive deal for the Playhouse and for Whitley Bay. The Playhouse proudly announced the gig: “The Tygers of Pan Tang return to play their first home gig in 45 years at Playhouse Whitley Bay, on the Saturday 9th of November – in what will be an emotional, nostalgic and over all outstanding night for fans.”

But before I write about this concert, let me reminisce a little, back to the early 1980s when I first saw the Tygers perform. From my blog entries of the time: “Tygers of Pan Tang Newcastle City Hall 13th May 1981 & Newcastle Mayfair 3rd Sep 1982. The Tygers of Pan Tang were formed in Whitley Bay. For readers who are not from the north-east UK, Whitley Bay is a seaside town. close to Newcastle upon Tyne. The original Tygers line-up was Robb Weir (guitar), Rocky (bass), Jess Cox (vocals) and Brian Dick (drums). They released the single “Don’t Touch Me There” in 1979 and the album Wild Cat in 1980.

I saw the original band several times at gigs in the northeast; in particular, I recall gigs in their old stomping ground The Rex Hotel in Whitley Bay, and at the Old 29 in Sunderland [a much-missed public house which hosted many great gigs during the 1970s and 1980s before closure]. I also saw them supporting Magnum at Redcar Coatham Bowl and The Scorpions at Newcastle City Hall. [Sadly recently passed] John Sykes (later of Thin Lizzy) joined the band during 1980; soon afterwards Jess Cox left and was replaced by Jon Deverill.

The new line-up recorded their second album Spellbound and went out on a headline tour to promote it. I won a competition in a local paper and as my prize received a clutch (I think it was 6 or 8!) tickets (note the ticket stamped “COMPLIMENTARY”).  for the City Hall gig, a sweatshirt, a copy of the new Spellbound album and some badges. Result ! So I played my prize to get to know the songs ready for the gig.

A group of us met in Steels club [referring to the social club for Sunderland steelworkers, who were employed in steelworks such as that which is shown in the picture, I believe] on the night of the concert and drove through to the City Hall in a couple of cars, clutching our free tickets. Support came from Magnum (a bit of an about turn, as the Tygers had supported them just a year earlier) and Alcatraz, who I can only assume were a NWOBHM [New Wave Of British Heavy Metal] band.

The City Hall wasn’t full for the gig, but the Tygers performed a set of class metal, fronted by the powerful front trio of Jon Deverill who stood stage front open shirted, mane of long hair, confidently and powerfully screaming the vocals, John Sykes who was already a rock star in his head and you just knew it to watch him, and founder and guitar anchor Robb Weir.

They released a great version of “Love Potion No 9″ around the same time. John Sykes left shortly afterwards the tour to join Thin Lizzy, and was replaced by Fred Purser from Penetration, which is the line-up I saw at the Mayfair in 1982. The Tygers were one of the better bands to emerge from the NWOBHM genre. Robb Weir now fronts a reformed Tygers.”

Move forward 30 years or so and I am about to witness the Tygers in concert again. Yet this is quite a new band than that I saw in the Rex Hotel all those years ago. In 2000, Robb Weir reformed the band as the only original member. The other musicians are Tony Liddell (vocals), Dean Robertson (lead guitar), Brian West (bass), and Craig Ellis (drums).

Support came from the Shannon Pearl Quartet, whose ethereal sound filled the hall. Quite a contrast to the heavy rock sound of the Tygers, Shannon is a self-proclaimed White Witch who has established her own self – styled “Witch Pop”. From the Sunderland Echo: “The neo-folk artist performs both solo, using only her voice, sparse percussion and a loop station, as well as with her live band to transport audiences to another world with her spiritual sound. Last year, to coincide with the summer solstice, she released her debut album, Kiss the Ground, which earnt her praise for its “hauntingly enchanting” music.”

I really enjoyed her set. It was a refreshing change from the type of music I am used to seeing. Quite spooky, a strange mix of folk-rock, mystical sounds and theatrics with Shannon wearing a strange White Witch outfit complete with tiara. Spooky music, spooky sounds, and spooky clothing. Shannon is a true witch who entranced us with her “Witch Pop”.

The Tygers exploded onto the Playhouse stage. The lineup may be very different to that which started as a new up-and-coming band in Whitley Bay during the late 1970s, but the ethos and soul remains the same. Loud, heavy, classic rock. Lengthy guitar solos, screeching and screaming vocals, proudly making it clear that they owned that stage and were delighted to return to their homeland.

The songs were new to me, but the sound remained the same. The Tyger growled at us all. Songs which presented a soundscape painted by their very titles: “Edge of The World”, “Only The Brave”, “Fire On The Horizon” and “Hellbound”. Robb Weir was on fire and must have been so excited about returning home and playing to a home crowd who didn’t care about the lineup. For one evening this was our band returning home to play to us. They were proud and do you know what, so were we.

Finally, the very last song was the Tygers blistering version of “Love Potion Number 9”, which brought back great memories: “Love Potion No. 9” is a song written in 1959 by the greatly renowned Jerry Leiber and Mike Stoller. It was originally performed by the Clovers in the USA, and in the UK The Searchers recorded it in 1964. I have a copy of the song on a Searchers EP from back in the day.

“I took my troubles down to Madame Rue, You know that gypsy with the gold-capped tooth. She’s got a pad down on Thirty-Fourth and Vine, Sellin’ little bottles of Love Potion No. 9” (Leiber and Stoller, 1959). Great songs stand the test of time. Magical memories and happy days return. Thank you Tygers.

Many thanks also to Jackie for the photographs and to Chris for manipulating the site. And, of course, to Wikimedia Commons for the pictures of the Rex Hotel in Whitley Bay, Southwick steelworks, and John Sykes during his time with Thin Lizzy; the remaining images are from my own collection.

Setlist: Euthanasia; Keeping Me Alive; Love Don’t Stay; Gangland; Edge of the World; Back for Good; Paris by Air; Only the Brave; Do It Good; Slave to Freedom; Fire on the Horizon; Suzie Smiled.
Encore: Don’t Stop By; A New Heartbeat.
Encore 2: Hellbound; Love Potion No. 9.

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