Mike Rutherford has come a long way since I sat cross-legged on the ballroom floor in Sunderland Locarno watching Peter Gabriel and the rest of Genesis unfold magical tales such as “The Musical Box”, “Return of the Giant Hogweed” and climaxing in the rather spooky, swirling tones of “The Knife”. Somewhere in the background keeping the beat was the tall slender form of Mike Rutherford. And of course he also co-wrote the material. Roll forward 52 years and I have the pleasure of being in the company of Mike Rutherford once again, this time as front man and leader of Mike And The Mechanics, a band I have never, to my shame, witnessed before. At my time of life, I have decided to try and see as many people as possible including bands I have foolishly passed on previously.
The announcement on the Sage website told me: “Mike & The Mechanics who have sold over ten million records worldwide – announce their ‘Refueled! 2023 Tour – all the hits and a drop of Genesis.” Now the mention of a drop of Genesis intrigued me and further enticed me to attend the show.
The website went on to introduce the band: “Mike + The Mechanics are Genesis founding member Mike Rutherford (Guitar) – one of the UK’s most prolific R&B singer, Andrew Roachford – Lead and backing vocals – (whose previous hits include Cuddly Tour and Family Man) and Canadian-born singer, Tim Howar – lead and backing vocals – who formed and toured with his band Vantramp, with the likes of Rod Stewart and Paulo Nutini. Tim shares vocal duties with Roachford and they both add a new soulful dimension to the band’s already established sound.” In fact the band also included, in another drop of Genesis, Phil Collins’ son Nic Collins on drums.
Finally, I was promised: “The ‘Refueled!’ Tour in 2023, will include tracks from their critically acclaimed latest album ‘Out of the Blue’ plus some Genesis. Their ninth album features re-workings of some of the band’s best loved tracks, including ‘The Living Years’ and the unforgettable ‘Over My Shoulder’, along with three brand new songs: ‘Out Of The Blue’, ‘One Way’, ‘What Would You Do’.”
The show is in two parts with a short interval. Set 1 consists of some new Mechanics material along with some more familiar. Also a hint of Genesis creeps in in the form of “Jesus He Knows Me”. The closing song is “Silent Running”. A great opening set.
Set 2 starts off with some acoustic versions of familiar songs including the Genesis hit “Invisible Touch”. We move forward and back into an electric set with more Genesis in the form of “Follow You, Follow Me” and “I Can’t Dance”. Great versions of great songs.The band is excellent with exceptionally strong vocals from the duo of Tim Howart and Andrew Roachford.
Roachford gets to sing his massive hit “Cuddly Toy” and then we move forward and towards the end with the wonderful, moving epic that is “The Living Years”, “All I Need Is a Miracle” and closer “Over My Shoulder”. The band return to a standing ovation and play a much deserved encore: “Word of Mouth”.
Throughout the evening’s proceedings the mighty Mike Rutherford stands quietly leading his band forwards through a wide-ranging set of classic songs that he has written with colleagues over the years. Now wouldn’t it be great if they had finished with “The Knife”. I can but dream
Setlist:
Set 1 Get Up; A Beggar on a Beach of Gold; Another Cup of Coffee; Are You Ready; Try to Save Me; Jesus He Knows Me; Let Me Fly; The Best Is Yet to Come; Silent Running;
Set 2 Wonder; Invisible Touch; Don’t Know What Came Over Me; Everybody Gets a Second Chance; Follow You Follow Me; I Can’t Dance; Cuddly Toy; The Living Years; All I Need Is a Miracle; Over My Shoulder.
Encore: Word of Mouth
And so the mighty 
The current line up of The Damned consists of: Dave Vanian; Captain Sensible; Paul Gray (on bass: I remember that name, yes he was in Eddie and the Hot Rods); Monty Oxymoron (crazy on keyboards) and Will Taylor on drums. And pretty great they remain!
We were soon on the home strait and the band crashed into classic after classic.”Love Song”, “Neat, Neat, Neat” moved into a mix of old songs including “Be Bop a Lula”! Class! Then “Eloise” (one of my favourite songs from the 60s, but hey guys, no one tops Barry Ryan and his version: the guy was my hero and role model when I was a kid!) “Smash It Up” and finally right back to the start and “New Rose”. These guys still know how to rock. Long may they do so.
Setlist: The Man With the Golden Arm; Street of Dreams; The Invisible Man; Wait for the Blackout; Lively Arts; Bad Weather Girl; You’re Gonna Realise; Western Promise; Beware of the Clown; Wake the Dead; Follow Me; Motorcycle Man; Leader of the Gang; From Your Lips; Born to Kill; Love Song; Second Time Around; Standing on the Edge of Tomorrow; Neat Neat Neat / 1969 / Folsom Prison Blues / Be Bop a Lula
is, in his own quiet way, a guitar innovator. His pedigree is strong and impressive and last night, reminded me just what a great guitarist the man is. As usual, and no apologies, the night brought back many memories of the man himself and of the venue. Steve Hillage currently has two identities (in fact, probably more): (1) as a reborn trance hero in the band System 7 and (2) he is now out on the road fronting a new Steve Hillage band, drawing from his classic mid – 1970s albums, such as my favourite L.
Firstly, memories of the venue came flooding back partly as I tried to work out in my head where Newcastle University Students Union Ballroom (or equivalent) might be these days. The last time I frequented said venue was during the 1980s witnessing great performances by bands such as Rip, Rig and Panic (featuring a fledgling Neneh Cherry, who had just left the Slits, and sometimes her father Don), Haircut 100 and The Cure. All of those concerts took place in the larger upstairs ballroom; a venue where I witnessed some great punk gigs during the 1970s including the Clash White Riot tour. (Tour advert from 
Some of the concerts including Sandie Shaw (rejuvenated by a collaboration with Morrissey at the time as I recall), Punishment of Luxury and the Au Pairs took place in a lower, smaller, hall named “The Canteen” (because that is exactly what it was during the day!). I was told that wheelchair access was via a lift through the students union building and the Co-op shop! Actually, those directions worked well and some helpful students directed me and my carer Jackie towards a lift which took us downstairs to the venue; I half recognised the hall, it may have been what I once knew as the Canteen. Anyway, sorry for going around the houses to say that we managed to get to the concert okay. However, by the time we arrived the hall was full and the best vantage point we could find was at the side of the stage. (picture of Steve from my ticket)
Secondly, Steve Hillage, psychedelic guitar wizard and inventor of the “glissando guitar” as exemplified by Steve’s wonderful soloing on his reinvention of the Donovan classic “Hurdy-Gurdy Glissando”. I have seen Steve Hillage several times over the years and he always strikes me as a quiet unassuming guy, and yet he has in his own quiet way achieved so much and forged a rich career along the way. I first came across Steve Hillage when he was a member of Khan, an early psychedelic band who I think I saw supporting Caravan in the early 1970s. I then saw him as a member of Gong and as part of Kevin Ayres band.
Roll forward to the Steve Hillage band 2023 in concert. Shortly after we arrived the band took to the stage, with lots of colourful lighting, wailing saxophone and electronica/psych keyboard wizardry courtesy of Steve’s long-term partner Miquette Giraudy. I am unsure who the rest of the band were, but I suspect they consisted of some current members of Gong, who continue to perform without any original members but with the blessing of Hillage and founder member, the late great Daevid Allen. After some wonderful twirling, swirling sounds the music soon took shape and morphed into Steve’s cover of the Beatles “It’s All Too Much” from L.
An excellent start to an evening of great music mixing tracks from throughout the band leader’s career. Some I recognised, several not, but they all featured great guitar dexterity from Mr Hillage. One he introduced as a Kevin Ayres song, in tribute to his former band leader. I suspect there was also a Gong track or two in the mix. Steve stood quietly centre stage sporting a short haircut (very unlike the 1970s proto-hippie Hillage we all know and love) and an intriguing looking guitar with no top stock. Soon we were at the end which featured further excellent guitar on “Hurdy-Gurdy Glissando”. The first encore started with some techno psych leading into The Move’s “I Can Hear the Grass Grow”.
As we left, the band came back for a second encore (I think from reports of other shows on the tour this may have been Jimi Hendrix’s “Are You Experienced?”). The lift we came down on didn’t seem to work anymore, however a friendly guy soon took us to another much smaller lift, which we squeezed into, arriving at a different part of the University. We followed a few ramps and soon found our taxi, waiting to take us home.
A night of nostalgia. 
So tonight’s concert, which is in two parts with a short interval consists of a mix of old (pre-Mike D’abo; that is Paul Jones) era Manfred Mann hits, plenty of vintage blues, and some Paul Jones new solo album material mixed in. The first set is mostly blues with some great vocals and mouth harp from Paul Jones who looks good, sounds good and twists some great blues licks from his large collection of different key mouth blues harps which perch on the mic stand. Interspersed with that is the Bob Dylan cover (one of several which were a hit for Manfred Mann) “Just like a Woman” and the McGuinness Flint hit “Malt and Barley Blues”. Tom McGuinness is a member of the band (he was in Manfred Mann before forming McGuinness Flint) and turns out to be one of the stars of the evening with some great guitar work. They also sing Burt Bacharach’s “My Little Red Book” which was covered by Manfred Mann in the 1960s. Somewhere along the way there are plenty of blues songs including classics such as “Smokestack Lightning”. The closing song on the first set is one of Manfred Mann’s massive hits the wonderful “Pretty Flamingo”. Just great.
During the interval I catch a drink and purchase a couple of Paul Jones CDs which the man himself autographs for me; one for myself and one for my friend John in the USA. I am careful not to drink too much as I am still suffering from my misbehaviour the evening before at the Martin Carthy concert (see previous blog entry to read of my misbehaviour). The second set opens with another big chart hit “5 – 4 – 3 – 2 – 1”. We are soon treated to another classic song “Oh no! Not my Baby”, this one written by Carole King. Then Tom McGuinness comes up front for the McGuinness Flint hit “When I’m Dead and Gone” which, he reminds me was written by Gallagher and Lyle who were in the band alongside Tom McGuinness and Hughie Flint, before they went on to have many solo hits. I last saw McGuinness Flint supporting Humble Pie (or was it Wishbone Ash) at Newcastle Odeon in the early 70s. Then the band complete the show with “The Mighty Quinn” (another Dylan song, and sung originally by Mike D’abo, as I recall) and “Do Wah Diddy Diddy”. The encore is (most appropriately) “If You Gotta Go Go Now” (yet another Dylan song). And so it is over. A great night of classic 60s hits, and some great blues. At the end of a busy week of three concerts: Graham Gouldman, Martin Carthy and the Manfreds.
The last time I had the pleasure of being in the company of 
The Laundrette announced the concert thus: “For more than 50 years Martin Carthy has been one of folk music’s greatest innovators, one of its best loved, most enthusiastic and, at times, most quietly controversial of figures. His skill, stage presence and natural charm have won him many admirers…….Trailblazing musical partnerships with, amongst others, Steeleye Span, Dave Swarbrick and his award-winning wife (Norma Waterson) and daughter Eliza Carthy have resulted in more than 40 albums… [Including]… 10 solo albums. [He has]…influenced a generation of artists, including Bob Dylan and Paul Simon.”
Martin looked great wearing a brightly coloured shirt, a red scarf which he removed and placed on his guitar case, and two gold earrings in his left ear. He is a great storyteller, starting each song with a prolonged introduction setting the scene for the tale which would unfold in the song, and explaining to us from where, and from whom, the song originated. Sometimes he might have to think a little in order to remember the names of the songs origins, but hey, respect to the guy who is now in his early 80s. Each song comes from a poem, an old folktale, or an ancient ballad. He crafts each one carefully. He includes the traditional “Scarborough fair” which features on his first, early 1960s, album and was since made famous by Simon and Garfunkel, Paul Simon probably having picked up the song from Martin when he toured the UK folk clubs in the 1960s.
Another song was about Bendigo: “The Noble Fox-Hunting, also known as Dido Bendigo and The Duke’s Hunt, is a hunting song from England. English folk song collector A.L. Lloyd describes the song: “A stirring old hunting song known all over England from Cumberland to Cornwall.…… and, though the name of the sporting Duke may vary, the list of hounds stays much the same. Country people must have loved to roll the grandiloquent syllables of names like Dido and Bendigo around their mouths… The song has had a long life and still flourishes.” …… “Dido Bendigo describes the excitement of a noble fox hunt: the Duke of Wellington and some of his noble friends set out with their brave fox hounds, and each fox meets with a dreaded fate as they try to escape.” (
This man is a walking jukebox! Not only did he write/co – write all of the hits of the magnificent 10CC, he also penned many of the hits, all songs I loved and still love, from the 60s. So, when I saw he was appearing at the Fire Station in Sunderland I just had to go along.
Graham started acoustically with one other guitarist Andy song which I didn’t know he had written: “Pamela, Pamela” which was a UK hit for the late Wayne Fontana. A simple song with a very catchy tune. Lovely. Then he started to sing a series of songs which mean so much to me and were such an important part of my youth. With each song, Graham introduced a new band member until the stage was full of a set of four excellent musicians. And so he delivered: “Heart Full of Soul” which was a hit for the Yardbirds, the late great Jeff Beck’s guitar solo still jangling around my brain; the bittersweet tale that the note in a milk bottle can bring (Graham explained his father brought him the title for the song after seeing a milk bottle with such a note one day): “No Milk Today”, a hit for Herman’s Hermits, and then moving forward to a 10CC hit “Good Morning Judge”. It doesn’t come any better than this.
A few more songs in and then another classic, again inspired by a conversation with a family member about looking through windows as the bus passed by each house: “Look through Any Window” a big hit for The Hollies, one of my all-time favourite bands. Graham explained that when he was inducted into the rock ‘n’ roll Hall of Fame there was only one song he could choose and that had to be his favourite (and mine) “Bus Stop” which he wrote, again for the Hollies. Another excellent 60s pop song. Somewhere in there he sang a big hit which, to my shame, I had forgotten: “Bridge to your heart” which he co-wrote with the late great Andrew Gold in their short lived collaboration band Wax.
Sometime in 1971. Sunderland Locarno upstairs bar. I see a tall black guy in the corner of the bar and wonder who he is. I go up and have a quick chat. An hour or so later the band take the stage and the same tall black guy is fronting them. They are called Thin Lizzy and are pretty good too! The black guy is, of course, Phil Lynott. I am 14, Phil is 21.
1973 and I’m watching Top of the Pops. Thin Lizzy appear, playing “Whiskey in the Jar” which is in the chart at the time. I go out and buy the single.
Early 1980s. Middlesbrough Town Hall. Quite empty. Phil Lynott’s Grand Slam are appearing. Phil doesn’t look well. His face is bloated. The performance is not very inspiring.
Early 2000s. Thin Lizzy are headlining Newcastle City Hall again. This new version of the band comprises Scott Gorham, drummer Brian Downey and front man Ricky Warwick, who sounds quite a lot like Phil Lynott. They are surprisingly good and do justice to the Lizzy legacy.
2012 and Thin Lizzy become 
We arrived late and Michael Monroe was already on stage climbing up onto the balcony. By the time I said to my carer Jackie “Quick. Take a photo” Michael was hanging down from the balcony and dropping back onto the stage. He was just as I imagined, a manic blonde showman. I never got to see Hanoi Rocks but I can imagine them as a crazy glam punk power rock band. The closing song is Credence Clearwater Revivals’ “Up around the Bend”. I tell my daughter Ashleigh who was a big Hanoi Rocks fan. That’s a Hanoi Rocks song she tells me so I figure they must have recorded it! It gets a great reception from the crowd who probably also think of it as a Hanoi Rocks song rather than a classic by Credence Clearwater Revival. John Fogarty is one of my heroes and one of the best gigs I ever went to was seeing him at Manchester Apollo. But that’s a story from a past blog entry! I buy Ashleigh a signed Michael Monroe CD and she is over the moon with it!
After a short wait, at 9:30 PM spot-on time, the Phil Campbell backdrop disappears and is replaced by a very impressive Black Star Riders drop. I suppose I’m amazed how much of a following the band has amassed in its own right. This is not the remnants of Thin Lizzy or a Thin Lizzy tribute band. This is a fully fledged rock band of its own right, led by the very impressive Ricky Warwick who continue the Thin Lizzy legacy in their own way, producing new songs which hark back to Lizzy and yet have a significance of their own. Magical. Phil must be up there proud of how his legacy continues to thrive and move onward and forward.
A few songs in and they perform a wild heavy version of the Osmond’s “Crazy Horses”. Well, I always knew it was a heavy rock song! After a few more songs they are joined by Scott Gorham who looks older, and yet cooler and still playing great guitar. His long mane of blonde hair has somehow been transferred to the young guitarist in Black Star Riders. There really is some sort of magic in the air! At one point in the set, they are joined by Phil Campbell and later on Michael Monroe comes on for one song also.
A few more songs into the set and we are treated to Lizzy’s “Don’t Believe a Word”. Class; it all takes me back to the 1970s. Towards the end they play “Jailbreak”. One more song and then it is 11 PM and time to go home, content in the knowledge that the legacy of Thin Lizzy remains safe in the hands and voice of Ricky Warwick and the rest of Black Star Riders. You have done a great job Scott, continuing to fly the Lizzy flag and somehow, miraculously, managing to hand it safely over to the Black Star Riders. I wonder what that young 21-year-old Phil I chatted to over 50 years ago would make of it all? Happy days
Suzanne Vega
The song “Luka” rings round in my head as the concert grows nearer. I listen to her music on my friendly intelligent assistant, Alexa, and find that I know quite a few of her songs, which surprises me a little. Suzanne Vega emerged from the folk scene of Greenwich Village, New York, in the early 1980s; with her pure voice, a clutch of songs and an acoustic guitar. Her songs drew from storytelling each one weaving its own picture and enticing the listener to think about the content. She released her self-titled, highly acclaimed debut album in 1985. From the Sage website: “Known for performances that convey deep emotion, Vega’s distinctive, “clear, unwavering voice” (Rolling Stone) has been described as “a cool, dry sandpaper-brushed near-whisper” by The Washington Post, with NPR Music noting that she “has been making vital, inventive music” throughout the course of her decades-long career.…….[she]………“observes the world with a clinically poetic eye” (The New York Times), Vega’s songs have tended to focus on city life, ordinary people and real-world subjects. Notably succinct and understated, her work is immediately recognizable—as utterly distinct and thoughtful as it was when her voice was first heard on the radio over 30 years ago.”
Like her songs, the stage set is minimal and she’s accompanied by a single, excellent, electric guitarist. She starts, well, at the start (where else to start?) with “Marlene on the Wall” and moves through a mixture of old and new tunes each one telling its own story. She is not afraid of bearing her soul, telling us of a teenage love affair at summer camp, initiated through a mutual admiration of Leonard Cohen and his music. She told the guy not to contact her again, and wrote a song to mark the affair. But he reappeared via a note and a bunch of flowers at a concert in Liverpool one night. This sparked another song and a lifelong friendship. They meet for lunch regularly. Her set, like her songs, is full of similarly quite personal stories. She alternates between her acoustic guitar, a lovely dapper top hat and a quirky little finger clicking dance. Wonderful. (Note to myself. One day I must summon up the courage to wear the battered old top hat I bought some time ago on eBay. Or maybe not: perhaps I will silly or too eccentric, unlike Vega).
Do we like Blondie or Lou Reed? The Lou Reed vote wins (and includes Vega’s own vote) so we are treated to “Walk on the Wild Side”. I recognise many more songs than I expect. “Tom’s Diner” gets into my head and sticks there. “Da da da da…….” Not a bad way to end an evening.
Setlist: Marlene on the Wall; Small Blue Thing; Caramel; Gypsy; In Liverpool; The Queen And The Soldier; When Heroes Go Down / Lipstick Vogue; Rock in This Pocket (Song of David); Last Train from Mariupol; Solitude Standing; Left Of Center; I Never Wear White; Some Journey; Luka; Tom’s Diner;
A night of memories, all connected, all intertwined and all came together for a special occasion at the glorious Sage Concert Hall, Gateshead. It is 50 years since 
Memory 1. This first memory is a little hazy. A group of friends and I made the trip to Newcastle in 1973 to see one of the first showings of the film The Exorcist. I think, local councils had the final say as to whether this controversial horror epic could be shown in their city. Sunderland decided to ban the film, but nearby Newcastle decided to allow it to be shown. It was a Sunday afternoon showing, we had all read a lot about the movie, and how scary it was. The film was showing at the Essoldo cinema in Newcastle (see image from Wikimedia Commons of the film opening in the USA). At this stage I had not heard Tubular Bells but, from that day on, the movie and the recurring piano theme from Mike Oldfield’s classic album are linked forever in my mind. To say the film was scary is an understatement. The impact the film had upon me and my friends cannot be underestimated. We were terrified, especially by the scenes where the possessed Regan lay on the bed spewing green slime, emanating smoke and screaming expletives including “your mother sucks c***ks in hell!”. I can watch the film now and it doesn’t seem too bad, but on that Sunday afternoon as a teenager it seemed to be the most frightening thing I ever saw!
Memory 2. Having heard Tubular Bells in the above film, and read about the album in Sounds, I decide to go out and buy the LP (I still live in the land of vinyl and like to call records LPs!) I play it to death and becomes, and remains one of my favourite albums of all time. The mix of piano music, orchestral, Viv Stanshall’s announcements of the instruments including the tubular bells themselves, electronica and jazz remains an entrancing experience for the listener. I still possess a copy and play it now and then.
Memory 3. Newcastle City Hall 1974 (see ticket). The progressive rock/psychedelic band Gong go out on tour along with a film of the recording of Tubular Bells. Another hazy memory. I think the film was shown last, after performances by Hatfield and the North and the aforementioned Gong who were well into their crazy pothead pixies phase. I seem to recall quite basic graphics with a projector showing the hour-long film on to a quite simple screen. The film followed the recording through the phases of the album, showing the musicians playing each part. It was the closest we would get to any sort of performance of Tubular Bells at the time and was very entertaining.
Memory 4. Newcastle City Hall again. 1975 (see ticket). This time an orchestra is performing Tubular Bells to a very empty hall. The support act is Last Exit to feature on bass guitar, Gordon Sumner, otherwise known as Sting, who would, of course, go on to achieve international fame with his later band The Police. Interestingly, the guitarist in the orchestra performing Tubular Bells was none other than Andy Summers, who would later join Sting in The Police. Did they meet that night and forge an early friendship? Who knows. Such is the stuff of legend. An interesting evening spent with a couple of hundred other attendees.
Memory 5. The City Hall yet again. The 1980s and Mike Oldfield has decided to go out on the road with a band and perform selections of his material including Tubular Bells and segments from his other albums. He had also achieved singles chart success with the lovely song “Moonlight Shadow” sung by Maggie Riley who, I think, joined him on at least one of the two performances I attended (See example ticket: there were two concerts in different years). Two great evenings with a true genius.
Now, I take the opportunity to see Tubular Bells performed once more, this time by a small orchestra/band in the Sage Gateshead. No appearance by Mike Oldfield on this occasion. The performance is advertised thus: “To celebrate the 50th anniversary of Tubular Bells, the iconic masterpiece will be performed live with a full band at Sage Gateshead next Spring, conducted and arranged by Oldfield’s long term collaborator Robin Smith. Tubular Bells was the debut studio album by English multi-instrumentalist, composer and songwriter Mike Oldfield conceived in 1971 and finally released in 1973. Oldfield who was just 17 years old when he started composing the music, recorded and played almost all of the instruments on the album. It gained worldwide acclaim when the opening theme was used for the soundtrack of the horror film, The Exorcist and went on to become the highest selling instrumental album of all time. A bold and progressive fusion, Tubular Bells is a journey through classical, jazz, folk, prog rock and electronica.”
The performance is in two segments. The first short 30 minute segment comprises short sections from Mike Oldfield’s other works including the aforementioned “Moonlight Shadow” performed exquisitely by a female singer. They also perform “Family Man” which was a hit for Hall and Oates. I was not aware that Oldfield wrote that song. You learn something every day. After a short interval the ensemble returns and performs Tubular Bells in its entirety, authentically, and just like my old LP! It starts, through a fog of dry ice, with The Exorcist accompaniment piano piece, performed by Robin Smith on a grand piano. He then moves on to conduct the band through the remainder of the piece complete with excellent twin guitars, fuzz guitar, Viv Stanshall (his voice, that is) introducing the instruments and first class vocalists. An hour later and the performance concludes with “the sailors Horn Pipe” just as on the album. Mike Oldfield used to perform this when he was a member of New World, a band led by Kevin Ayres. Another hazy memory: I remember New World performing at Sunderland Top Rank around 1970 supporting someone like Quintessence. Sadly, I was too young to go along to that show. And it is all over, on time at 9:30 PM. No photography was allowed hence no images of the show on this blog entry. An excellent performance and a very pleasant evening for my carer Jackie and me.
A bit of an adventure. I always try and get to see 
The Royal Hall is a wonderful, exquisite, old, building (see image courtesy of Wikimedia Commons). I have been there twice before, once to see Camel and on another occasion to see the Groundhogs, Martin Turner’s Wishbone Ash and Focus as part of a Classic Rock package tour. When we arrived, Fairport were already on stage, just starting their first set.
Their official site promised: “Fairport Convention have been entertaining music lovers for over half a century, having formed in 1967. During that time the band that launched British folk-rock has seen many changes, but one thing has remained the same – Fairport’s passion for performance. This year’s Winter Tour will present a mix of long-established Fairport favourites and some surprises from albums old and new.”
The current band features founding member Simon Nicol on guitar and vocals, long-time member Dave Pegg on bass guitar, Ric Sanders on violin, Chris Leslie on fiddle, mandolin and vocals. This time round Fairport Convention were also joined on stage by former member Dave Mattacks on drums. Sadly, we arrived too late to catch the opening act 
Fairport always guarantee a pleasant evening with a mixture of fun stories, and songs old and new. The first set was exactly that with songs from their latest album and closing with “Sloth” from the 1970 Full House LP. “Stuffing their set with a surprising amount of new material for a vintage act, Fairport are still clearly having fun and brought the house down.” (The Guardian)
During the interval I picked up a programme, signed by the band. Dave Pegg was, as usual, at the merchandise desk greeting fans and signing items. He kindly signed two programmes for me, one for me and one for my friend John in the USA. I also purchased a lovely little book which Peggy had produced to accompany a box set some years ago. The cover is full of images of him over the years (see picture). It was good to meet up with Richard Houghton, the publisher of 
After a glass of red wine, we took our seats for the second half of the show. Once again, we were treated to a selection of songs old and new culminating in the traditional folk song “Matty Groves” and the always highly anticipated encore finale “Meet on the Ledge”. The vocals of Hannah Sanders from the opening act added an extra dimension to the song which of course was originally sung by the sadly missed Sandy Denny.
We left via the exit (see sign, courtesy of Wikimedia Commons) and were greeted by our taxi driver. The drive north was equally scary with a true pea souper fog that limited our speed. We eventually picked up carer number two, Elaine, close to 1 AM and they put me to bed just after 1:10 AM. An interesting, exciting, scary, yet worthwhile evening.
“Fairport is an institution, a festival, purveyors of memories, and keepers of the folk flame. But most of all they are a brilliant live band.” (Folk & Tumble magazine)
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