Posts Tagged ‘concert’

28 Apr

Culture Club, Utilita Arena Newcastle, 7 December 2024

Posted by vintagerock in Culture Club, Heaven 17, Tony Hadley. Tagged: , , , , , , .

It’s been over 40 years since I first saw Culture Club in concert, and I’m pleased to say that their recent show at Newcastle Arena showed they’ve lost none of their flair. The gig was part of a special tour celebrating their first two albums, “Kissing to Be Clever” and “Colour by Numbers”, and featured those records played in full—track by track, hit by hit. I first saw Culture Club at Newcastle City Hall in 1983, just as they were really taking off.

At that point, they’d released their debut album, had already bagged a number one single, and the City Hall was packed out with fans eager to see what all the fuss was about. I remember George sweeping onto the stage in a multi-coloured suit with those trademark dreadlocks. It was a great show—more pop and reggae than rock, and noticeably quieter than most gigs I’d been to at the time. I also recall that after the concert, we went on to the Mayfair to catch Marillion—those were the days!

Move forward 40 years to when I saw Rod Stewart Durham Cricket Ground 30 June 2023. The support act was none other than Boy George and Culture Club. We arrived in time to catch most of their set including great versions of their hits “Church of the Poison Mind”, “Time”, “Do You Really Want to Hurt Me?” And “Karma Chameleon”. All played with George’s usual classic style. Excellent. George also returned to his roots and played a great cover of T Rex’s “Get It On”.

Rod returns with a new outfit and is joined by Boy George. George explains that the next song “The Killing of Georgie” means a lot to him personally, and how his mother gave it to him as a present in a brown paper bag. It was her way of letting him know that she realised he was gay. Rod and George deliver the song together and it is very appropriate and very moving. George explains that he has to leave because his Nan is not well. Fast forward to 2024, and George may be older, but he still knows how to put on a show. From the opening number White Boy, the band powered through both albums with confidence and style.

The visuals were slick, the band tight, and George’s voice—while perhaps a little lower than it once was—was still rich and expressive. The hits came thick and fast: “Do You Really Want to Hurt Me”, “Time (Clock of the Heart)”, “Church of the Poison Mind”, and of course “Karma Chameleon”, which brought the house down. The whole arena sang along and it was hard not to be swept up in the energy of it all.

Support came from Tony Hadley and Heaven 17—both well-received and great fun in their own right—but it was George who held the night together. He remains a fascinating performer: charismatic, stylish, and full of personality. It’s always a risk seeing a band so far removed from their heyday, but this was no nostalgia cash-in. It felt like a proper celebration of some classic pop music, played with heart and a bit of theatrical flair.

Set List: White Boy, You Know I’m Not Crazy, I’ll Tumble 4 Ya, Take Control, Love Twist, Boy, Boy, (I’m the Boy, I’m Afraid of Me, White Boys Can’t Control It, Do You Really Want to Hurt Me, Karma Chameleon, It’s a Miracle, Black Money, Changing Every Day, That’s the Way (I’m Only Trying to Help You), Church of the Poison Mind, Miss Me Blind, Mister Man, Stormkeeper, Victims, Colour by Numbers, Kissing 2 Be Clever, Get It On.

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).

11 Mar

The Amy Winehouse Band, Fire station Sunderland, 14 December 2024

Posted by vintagerock in Amy Winehouse, The Amy Winehouse Band. Tagged: , , , , .

Amy Winehouse was one of the most distinctive voices of her generation—a once-in-a-lifetime talent whose music continues to resonate long after her passing. This concert at the Fire station in Sunderland was billed as a celebration of her legacy, performed by her original band, led by long-time musical director Dale Davis. With a setlist spanning her career, the night promised a tribute to one of the most influential British artists of the 21st century.

I was lucky enough to see Amy live back in 2007 when she was supporting the Arctic Monkeys at their huge gig in Manchester Old Trafford Cricket Ground. Even as a support act, she made a strong impression. Her voice was rich and unmistakable, and she had that effortless, jazz-infused style that set her apart from anyone else at the time. That night, she was at her peak—already a star, but still in the midst of her meteoric rise.

This Sunderland show by The Amy Winehouse Band aimed to keep Amy’s music alive. The setlist was well chosen, featuring all the major hits “Back to Black”, “You Know I’m No Good”, “Rehab”, and of course “Valerie”, which brought the night to a close. The band attempted to recreate the arrangements that made these songs so special. This was her original band, featuring a new singer recreating Amy’s performance.

From the fire station site: “We’re delighted to bring you this exceptional & unique show – Amy’s original band led by her long-term Musical Director/bass player Dale Davis and Amy’s close friend from the very start of her career. Celebrate her era-defining music and live performances, keeping legacy and the Amy Winehouse sound alive.

Fronted by the incredible vocalist Bronte Shandé and featuring on-screen visuals and unique footage, the show has become an unforgettable experience and celebration for audiences young & old alike with sell-out shows across the UK & Europe incl. Paris, Munich, Sofia, Athens, London and festival stages.

Amy Winehouse was the greatest female voice to have ever come out of the UK, a national treasure and – for so many – simply the greatest artist of her generation, missed by everyone who loved her and her music. Join us on a joyful and emotional journey celebrating Amy’s incredible songbook with the musicians who knew her best, who stood alongside her on stages all around the world and helped create her timeless sound, both onstage and in the studio.”

Hearing these songs live again was a reminder of how strong her songwriting was, and how she blended soul, jazz, and R&B in a way that no one else quite managed: before or since. This was more than a simple tribute show. The band certainly brought Amy’s songs to life and for fans of Amy’s music, it was a welcome opportunity to hear these songs performed live once again. The local crowd really enjoyed the experience.

Overall, it was a night of nostalgia, and a reminder of just how much Amy Winehouse’s music still means to so many people. Many thanks to Jan for the photographs and to Laura and Chris for helping me prepare the blog entry.

Setlist: Tears Dry on Their Own, October Song, Mr Magic (Through the Smoke), Stronger Than Me, Moody’s Mood for Love, You Sent Me Flying, Take the Box, Addicted, Cupid, Doo Wop (That Thing), Love Is a Losing Game, Back to Black, You Know I’m No Good, Me & Mr Jones, Rehab, You’re Wondering Now, .Monkey Man.
Encore: In My Bed, Valerie.

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.

8 Mar

Nile Rodgers & Chic, Newcastle City Hall, 26 November 2024

Posted by vintagerock in Chic, Nile Rodgers. Tagged: , , , , .

Some gigs are just made for pure joy, and a Nile Rodgers & Chic concert guarantees just that. From the moment Nile Rodgers stepped onto the stage, guitar in hand, it was clear that this was going to be a night of wall-to-wall classics, celebrating some of the most iconic songs in music history. Rodgers is a Rock & Roll Hall of Fame and Songwriters Hall of Fame inductee, a multiple Grammy winner, and quite simply one of the most important figures in modern music.

Whether through his work with Chic, his collaborations with David Bowie, Madonna, Diana Ross, and Daft Punk, or his signature production style, his influence has been massive. This show was a reminder of just how many timeless tracks he has been responsible for.

The setlist was relentless, with barely a moment to catch breath between one classic after another. They kicked off in style with “Le Freak”, instantly setting the mood with its infectious groove. From there, it was an unstoppable disco-funk party, running through “Everybody Dance”, “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)”, and “I Want Your Love”.

It wasn’t just Chic songs either—Rodgers made sure to celebrate his wider body of work, seamlessly blending tracks he produced for other artists. Diana Ross’ “I’m Coming Out” and “Upside Down” flowed effortlessly into Sister Sledge’s “He’s the Greatest Dancer” and “We Are Family”, creating an atmosphere of pure celebration.

One of the most impressive aspects of the show was seeing just how many generations of music Rodgers has influenced. He took us from Madonna’s “Like a Virgin” and “Material Girl” to David Bowie’s “Modern Love”, before moving into the Daft Punk era with “Get Lucky” and “Lose Yourself to Dance”. Hearing these tracks live, played by such an incredible band, was something truly special. Even Beyoncé’s “Cuff It”, which heavily features Rodgers’ signature chic-style guitar work, sounded completely at home in the set.

This wasn’t just a nostalgia trip. Rodgers has been shaping the sound of popular music for decades, and this performance was proof that his influence is still as strong as ever. The crowd were on their feet from the first note and never sat down. By the time “Let’s Dance” kicked in, the entire venue felt like a huge dancefloor, and when the final medley of “Good Times” and “Rapper’s Delight” began, it was clear that no one wanted the night to end.

There are few musicians who can fill a setlist with so many stone-cold classics, and even fewer who can still perform them with such passion and energy. Nile Rodgers is a living legend, and seeing him live is more than just a concert—it’s a celebration of the music that has shaped generations.

This wasn’t just a night of nostalgia, it was a reminder that great music never ages. And as the final notes of “Good Times” rang out, it was impossible not to smile. Because that’s exactly what a Nile Rodgers gig is all about—pure, unfiltered joy.

Setlist: Le Freak, Everybody Dance, Dance, Dance, Dance (Yowsah, Yowsah, Yowsah), I Want Your Love, I’m Coming Out / Upside Down, He’s the Greatest Dancer / We Are Family, Like a Virgin / Material Girl, Modern Love, CUFF IT, Get Lucky, Lose Yourself to Dance, Lost in Music, Notorious, Spacer, Soup for One / Lady (Hear Me Tonight), Thinking of You, My Feet Keep Dancing, Chic Cheer, My Forbidden Lover, Let’s Dance, Good Times / Rapper’s Delight

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

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

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