This was my second Nick Mason experience, having previously seen Nick and his band Saucerful of Secrets at Newcastle City Hall a couple of years earlier. Nick is, of course, drummer of Pink Floyd fame, and has assembled a band of fine musicians to go out on the road and play a wonderful set of early Pink Floyd classic songs, many from the Syd Barrett era. This time the tour was entitled the Set the Controls Tour, indicating that the band had moved forward from the Syd Barrett era, from which they previously drew their repertoire.
“Nick Mason’s Saucerful of Secrets are an English rock band formed in 2018 to perform the early music of Pink Floyd. The band comprises Pink Floyd drummer and co-founder Nick Mason, bassist Guy Pratt, guitarists Gary Kemp and Lee Harris, and keyboardist Dom Beken. As many fans had discovered Pink Floyd with their bestselling 1973 album The Dark Side of the Moon, Mason wanted to bring their earlier material to a wider audience.” (From Wikipedia). Bassist Guy Pratt was a member of a later incarnation of Pink Floyd and Gary Karen was, of course, a founder member of 1980s band Spandau Ballet.
As before, the stage was set out with Nick Mason in the centre (very much the star of the show and the evening), surrounded by his band of musicians. Behind, and around them, was a very appropriate backdrop of psychedelic liquid lens images, setting the scene for an evening of early psychedelic rock.
The first half opened by taking us right back to the start with the classic guitar-based tune “Astronomy Domine”, one of my favourite early Pink Floyd tracks. We were then treated to more Syd Barrett era songs including my favourite “See Emily Play”. I loved that tune so much in the early 1970s when it was played constantly at Sunderland Locarno (with everyone running onto the dancefloor, except me, to do crazy hippy dances). “Remember a Day” is also a favourite song of mine.
The closing song of the first set was, as promised by the tour title “Set the Controls for the Heart of the Sun” a song written by Roger Waters, taking lyrics from a Chinese poetry book, and features a wonderful drum part by Nick Mason played with timpani mallets. “Set the Controls for the Heart of the Sun” is a standout track from A Saucerful of Secrets, the Floyd’s second studio album, released in1968. The mental health of Syd Barrett deteriorated during recording, so guitarist David Gilmour was recruited. Barrett left the band before the album’s completion.
During the interval I purchased a T-shirt and a pint of Guinness. Soon it was time for the second set which returned to Barrett era songs: “The Scarecrow” and “Lucifer Sam”. The concert ended with “Echoes” a lengthy haunting tune which comprises the entire second side from later period Floyd album Meddle.
But that is not the end. The audience gave the band a standing ovation and they return to play “One of These Days”, a throbbing, rhythmic classic song which opens the afore mentioned Meddle. The final song is the title track from A Saucerful of Secrets. Many of these songs feature the drums of Mason at the heart of their rhythmic structure.
So, we have been treated to a mix of early Pink Floyd music, performed by the drummer whose percussion, use of timpani and gongs lay at the heart of their rhythm.
Happy days. Many thanks to Jackie for the photographs and Chris for manipulating the site.
Setlist: Set One: Astronomy Domine; Arnold Layne; See Emily Play; Remember Me; Obscured by Clouds; When You’re In; Remember a Day; If; Atom Heart Mother; If (Reprise); The Nile Song; Set the Controls for the Heart of the Sun.
Set Two: The Scarecrow; Fearless; Childhood’s End; Lucifer Sam; Echoes.
Encore: One of These Days; A Saucerful of Secrets.
Wedding Present Set: Brassneck; We Interrupt Our Programme; Dalliance; Nobody’s Twisting Your Arm; What Have I Said Now? Rachel; It’s a Gas; Gazebo; Don’t Talk, Just Kiss; Come Play With Me; Crawl; Catwoman; No; Kennedy; Everyone Thinks He Looks Daft; Make Me Smile (Come Up and See Me); Take Me!; Bewitched.
Not for the first time I had a dilemma. 
Sometimes this has worked, such as when I went to see Rush at the City Hall, came out early and went down to the Mayfair just as the Clash came onstage. On another occasion I saw Culture Club at the City Hall at the time of Karma Chameleon, went down to the Mayfair and saw Marillion on an early tour. However, with a bit searching of the Internet I discovered that Richard Thompson was playing in York a couple of days before his Gateshead Glasshouse appearance. So, I decided to see Richard in York on Tuesday and Robin on Thursday in Gateshead. Problem solved!
So, a trip to York it was, along with carers Jackie and Elaine. Our friendly taxi driver took us to Durham station and shortly afterwards, we arrived by train at York. An equally friendly taxi driver then transported us all to the Barbican Theatre. He promised to pick us up at the end of the show. So far, all was well.
Now, I first encountered Richard Thompson when I saw him perform as part of a duo with his then wife Linda, supporting Traffic at Newcastle City Hall in the early 1970s. I then lost touch with Richard and his music until relatively recently. In the last few years, I have seen him perform at Newcastle Tyne Theatre in the aforementioned Glasshouse. I soon realised what I had been missing. The man is an incredible musician, singer, guitarist, and storyteller. He can switch from intricate fingerpicking on an acoustic guitar to beautiful electric guitar. He has a large back catalogue of songs starting with his time as a member of Fairport Convention in the late 1960s through his work with Linda and then his solo career.
The publicity for his 2024 tour read: “Ivor Novello Award-winning and GRAMMY® Award-nominated legend Richard Thompson returns to York with a full band. ‘The finest rock songwriter after Dylan and the best electric guitarist since Hendrix’ – Los Angeles Times” Influential. Pioneering. A British folk-rock cornerstone. He’s famed for turning emotions into the lightning-speed fretwork, poetic songwriting and impassioned picking that have filled nineteen solo albums to-date. Thompson has had an illustrious career and it’s still going strong. He holds a coveted spot on Rolling Stone’s “100 Greatest Guitarists of All Time.” He’s even picked up Lifetime Achievement Awards from the BBC and Americana Music Association in Nashville and was awarded an OBE in 2011.”
We arrived at the Barbican with plenty of time for a drink and to catch the support act, solo singer/guitarist 
Richard Thompson was accompanied by full electric band this tour; I am more used to seeing him play solo. This was a pleasant change, the full band added a harder, more electric sound to Richard’s own excellent vocals and guitar playing. The band comprised Richard’s wife on vocals and tambourine, his son (I think) on guitar and long-time Fairport member Dave Mattocks on drums. The set included an acoustic part in the middle.
We managed to catch the entire set (we have often needed to leave early on previous trips to York) which was great. As we left the venue, we rang our (new) friendly York taxi driver and he arrived a few minutes later to take the three of us back to the station in plenty of time to catch our train. No worrying rush on this occasion! Phew. After the usual short ride back to Durham our local friendly taxi driver transported us back home and I was soon comfortable in my bed again.
Setlist was something like this: Freeze; Hard on Me; Withered and Died; The Old Pack Mule; Turning of the Tide; John the Gun; Al Bowlly’s in Heaven; The Day That I Give In; A Man in Need; Take Care the Road You Choose; Singapore Sadie; What’s Left To Lose; Guns Are The Tongues; Tear Stained Letter
The Pitmen Poets effortlessly weaved tales of mining life through their songs and anecdotes. Their set included a mix of traditional folk songs, contemporary compositions, and spoken word pieces, each carefully chosen to reflect the struggles, resilience, and humor of the mining communities.
Jez Lowe’s songwriting shone brightly, with tracks like “Black Diamonds” reminding the audience of our coal mining roots. Billy Mitchell’s vocals and stage presence (remember this guy used to front Lindisfarne at one stage in his career) reminded me of when I last saw him perform at the Gala Theatre as part of the Lindisfarne Story, while Bob Fox’s excellent guitar work and Benny Graham’s rich, resonant voice completed the Pitmen Poets sounds and stories of times long past yet well remembered and implanted in our local heritage.
One of the evening’s highlights was their rendition of “The Collier’s Rant,” a traditional Geordie folk song that had the entire audience joining in. Even more familiar, and fun, was their performance of “when the boat comes in” which they explained was not about coalmining but nonetheless fitted within the same genre. Another great singalong.
The band explained that none of them had actually worked down the pit, but their close relatives (in most cases their fathers) had been pitmen. They went on to explain how they were of a generation whose parents said “You are not going down the pit like your Da, that life is not for you” (or something like that).
There were also visual elements to the show, including archival footage and photographs projected behind the band, bringing the history and stories of the miners to life. The Pitmen Poets’ performance was a memorable and moving tribute to our region’s mining history.
I bought a signed book by Jez Lowe, his fourth novel. A quote from the rear cover text: “A 19th Century village in County Durham is blighted by an all-too familiar tragedy, an explosion down the mine, but this time with a curious twist that sends waves of surprise and confusion across the region. It is left to a newly arrived young policeman to solve the mystery, in the face of hostility from the mine-owners, suspicion from the miners and their families and an over-arching web of prejudice that reaches out from a distant foreign land.
Only a scattering of odd characters and Tyneside eccentrics reach out to help him, along with a mysterious woman who captivates all those who come in contact with her.” Perfect! The rest of the band were also available to meet after the show.
Attending a 
In fact, it was not that long ago since I last saw Bruce at Murrayfield, Edinburgh. As a long-time fan, I have many memories of seeing the man over the years including his first UK appearance at the Hammersmith Odeon in 1976, and numerous other concerts since; at Newcastle City Hall, St James’s Park, Dublin’s The Point, London O2 Arena, Leeds Arena, and a previous appearance at the Stadium of Light.
Bruce has always been magnificent. This night, despite the challenging weather, was no exception. Springsteen took the stage with his characteristic energy, launching into a setlist that spanned his decades-long career. From the opening chords of “Waitin’ on a Sunny Day,” the entire stadium was with him. Classic tracks including “Born to Run,” “Dancing in the Dark,” and “Thunder Road” had the crowd singing along, creating the usual great atmosphere that I have come to expect at a Springsteen concert. Bruce’s voice was as powerful as ever, and his interactions with the audience as authentic and genuine. Particularly moving for me was “Thunder Road” which closed the main set and has become a crowd favourite, Bruce on harmonica and great vocals.
I recall playing the song to my friends after I bought the Born to Run LP (it was always real vinyl in those days). I thought his voice was unlike anyone’s I had heard before. Perhaps a cross between Elvis Presley and Bob Dylan? Every song on that album is a classic and many of them remain in his set today. The very last song has come to be “I’ll See You in My Dreams” which is a perfect end to the evening and to his now traditional three-hour set.
This time I decided to treat myself to hospitality in the Black Cats Bar which was top-notch. The staff were helpful and accommodating, ensuring that my carer and I were comfortable throughout the evening. The bar provided an excellent vantage point, combining the thrill of being part of the crowd with the convenience of a more relaxed (and dry) setting. This made it easier to enjoy the concert without the usual issues that come with being in a large, bustling venue. My second carer, seated elsewhere in the stadium, also had a dry and enjoyable experience.
The weather was bad, with rain pouring down throughout the concert. While we stayed dry in the Black Cats Bar, and my second carer was dry in the stands, the fans on the pitch were not as fortunate. Despite those soaking conditions, their spirits were high, and their enthusiasm never waned. Only an artist like Springsteen has the incredible ability to connect with his audience and keep the energy high, no matter the circumstances.
Sadly, Bruce lost his voice after this concert and had to cancel his next couple of concert appearances in Europe. Elaine took some great photos throughout the night. Many thanks to Chris for manipulating the site as usual. And here is something I must reveal. I used Chat GPT to create the first draft of my review, partly as an experiment and partly to try and speed up the process, as I am way behind with my blog entries. However, I am not sure if it did speed up the process as I had to rewrite much of the text to remove the robot and replace it with Peter. Not sure if I fully succeeded.
Setlist: Waitin’ on a Sunny Day; Lonesome Day; Prove It All Night; No Surrender; Ghosts; Letter to You; The Promised Land; Hungry Heart; Light of Day; Atlantic City; Darlington County; Nightshift; The River; Racing in the Street; Last Man Standing; Backstreets; Because the Night; She’s the One; Wrecking Ball; The Rising; Badlands; Thunder Road. Encore: Born to Run; Glory Days; Dancing in the Dark; Tenth Avenue Freeze-Out; Twist and Shout; I’ll See You in My Dreams
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