Posts Tagged ‘music’

17 Feb

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

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

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

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

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

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

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

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

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

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

16 Feb

The Corrs, Newcastle Utilita Arena, 15 November 2024

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

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

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

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

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

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

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

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

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

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

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

14 Feb

Becoming Led Zeppelin Omniplex Sunderland 10 February 2025

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

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

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

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

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

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

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

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

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

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

11 Feb

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

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

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

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

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

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

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

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

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

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

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

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

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

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

7 Feb

Deep Purple and Reef First Direct Arena Leeds 7 November 2024

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

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

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

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

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

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

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

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

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

28 Jan

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

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

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

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

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

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

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

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

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

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

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

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

Sunderland is a music city!

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

24 Jan

The Libertines NX Newcastle 5 November 2024

Posted by vintagerock in Libertines. Tagged: , , , , , , , .

(Written by Laura on behalf of Peter)

Attending The Libertines with my Dad at Newcastle’s NX felt somewhat like stepping into a time machine. Ten years ago, we’d seen their much-anticipated reunion gig at Alexandra Palace, a chaotic, electrifying affair that reignited my teenage obsession with their music. Now, a decade later, it felt fitting to revisit the band whose lyrics and mythology had so deeply resonated with my younger self.

In my teens, I’d spent countless evenings after school poring over Pete Doherty and Carl Barât’s lyrics, piecing together their tales of Arcadia and the Albion, a romanticised, whimsical world they’d created. Their friendship, brimming with both camaraderie and infamously tempestuous moments, added layers to their songs that always felt personal. Seeing them live again, I wondered if their chemistry would still hold the same magic.

The NX crowd was buzzing long before the band took to the stage. A lively local band opened the evening, followed by a wonderfully eccentric woman armed with an acoustic guitar. Her quirky short set featured a song about aging, as well as a spirited cover of Springsteen’s “Dancing in the Dark,” which had everyone singing along. Between acts, a compère kept the energy up, hyping us for the main event.

Eventually, the lights dimmed and Lindisfarne’s “Fog on the Tyne” began to play. The crowd sang along, the volume reaching a peak as the Libertines burst onto the stage. When The Libertines finally emerged, the room exploded with cheers. Pete and Carl, trading sly grins and familiar banter, launched into an energetic set that sent waves of nostalgia through the crowd. From the first notes of “The Delaney” to the closing encore of “Don’t Look Back Into the Sun, their performance was a whirlwind of raw energy and emotion.

For me, tracks like “What Became of the Likely Lads and “Time for Heroes” were the highlights, songs that had soundtracked so many moments of my teenage years. Even now, their lyrics carried the same power, blending wit, melancholy, and rebellion in a way that felt timeless. The audience sang every word back at the band, the collective voice of fans who’d grown up with these songs and still held them close.

To my shame, I didn’t recognise much of their newer material, but their delivery made even the unfamiliar tracks feel compelling. Watching Pete and Carl interact, sharing their mike and personal space, reminded me of why I’d loved them in the first place. Their bond, for all its ups and downs, remains the beating heart of The Libertines.

As we walked out into the crisp November air, Dad and I couldn’t stop talking about the gig, comparing it to 2014 and reminiscing about the band’s enduring charm. A night with The Libertines is never just a concert—it’s a celebration of music, friendship, and the stories we carry with us.

Setlist Fog on the Tyne (intro music), The Delaney, That Became of the Likely Lads, Up the Bracket, Boys in the Band, Night of the Hunter, What Katie Did, The Good Old Days, Baron’s Claw, Vertigo, Shiver, Merry Old England, Death on the Stairs, You’re My Waterloo, Music When the Lights Go Out, Horrorshow, Run Run Run, Can’t Stand Me Now

Encore Man With the Melody, What a Waster, Gunga Din, Last Post on the Bugle,
Songs They Never Play on the Radio, Time for Heroes, Don’t Look Back Into the Sun

16 Jan

The Free Convention, Cullercoats 15 and 16 November 2024

Posted by vintagerock in Free. Tagged: , , , , .

[I am including my friend John’s blog entry about this event. John flew over from the USA especially to attend the event. I joined him on the second night which was Saturday 16 November. John attended both nights, Friday 15 and Saturday 16 November. I am including John’s great blog entry in full below. All of my entries are in square brackets below, Peter].

The Free Convention, Cullercoats, England November 15th and 16th. Déjà vu all over again as the famous expression goes. Some 20 years after hearing about this event, I finally made it last year and had such a sensational time that I decided to repeat this year, inspired by a repeat encounter with The Heartbreaker Collective and the chance to hear some Backstreet Crawler music again.

It’s a unique opportunity so I figure it’s well worth the transatlantic trip and it’s a chance to catch up with some old friends too. Free’s journey is the classic “rags -to riches -to implosion” story that seems to haunt many rock and roll bands. Formed in 1968 as teenagers with support from Alexis Korner, the band released two albums with minor success before hitting the big time with the album Fire and Water and the single “All Right Now’ which reached No.2 in the UK charts (unbelievably kept out by Clive Dunn’s “Grandad”), and number 4 on the Billboard Hot 100 singles chart in the US , as well as charting all around the world. Indeed, it was to chart again in the UK when released in 1973 and then again in 1991 with the much- maligned Bob Clearmountain mix.

Unfortunately, the follow up album Highway faired poorly by comparison and the sensational single “The Stealer” inexplicably also failed to chart. The band disbanded for the first time in 1971, before reforming in an effort to save Koss from his growing substance dependencies. Which resulted in another (excellent) album Free at Last released later that year. Original bass player Andy Frase left in mid 1972, but the band struggled on, augmented by Japanese bass player Tetsu Yamauchi and John ‘Rabbit” Bundrock who had worked with band members during the first split and recorded their final album, the much underrated, Heartbreaker. [Note from Peter. I saw this final line – up of Free at Sunderland Locarno and they were pretty good actually]

The ailing Koss was replaced by ex- Osibisa guitarist Wendel Richarson for a US tour in 1973 but shortly thereafter the band split for good, playing their final gig in Florida in February 1973. However, for vocalist Paul Rodgers and drummer Simon Kirke, global success was just around the corner via their next venture Bad Company. For other founding members there would not be such a happy ending with Fraser finding limited success with The Andy Fraser Band and then Sharks. [I saw both the Andy Fraser band and Sharks at Sunderland Locarno and they were also good]. Koss would produce a brilliant solo album called Back Street Crawler, followed by a second release The Band Plays On, under the name Back Street Crawler. Unfortunately, Koss would succumb to his substance abuse and tragically died in March 1976 at the age of 25.

I was fortunate to see Free three times in 1970 and 71 (one of which was my first ever gig) and then Peace (Paul Rogers short lived solo project) in 1972, Andy Fraser’s bands and finally Back Street Crawler in Sunderland in May 1975. [I saw Andy Fraser and Backstreet Crawler but sadly was not at the early Free concerts]. So while Bad Company rocketed to success in 1974 ( I saw them three times that year), [I was with John on these occasions to see Bad Company] success eluded the other original members. While Free were popular around the world, the connection with Sunderland was very strong, driven by the efforts of local promotor Geoff Docherty and a fanatical local support.

So, these two nights are a bit special. It’s a thrill for me to hear Free music live, and The Heartbreaker Collective were so great last year that I had to see them again, but Saturday night also features Terry Slesser of Beckett and Backstreet Crawler Fame. One of Sunderland’s own, well South Shields anyway, who played many times in the area with Beckett in smaller venues and supported major artists like Argent, Mott the Hoople, Thin Lizzy, Medicine Head and even featuring at the Reading Festival in 1974 before joining up with Kossoff. [I saw Beckett many times, including the Reading Festival in 1974].

The first show on Friday features three bands, opening act The Stealer, followed by The Heartbreaker Collective – the stars of last years event- and finally Absolute Free. The Stealer plays a set of Bad Company songs selected from across their total career. They are competent musicians, particularly guitarist Joss “Koss” Shaw (who would show his real prowess the following night) and the evening gets off to a solid start.

Next up are the Hearbreaker Collectve fronted by Jonnie Hodson on vocals, he of the sensational hair and expert Paul Rodgers moves, whose day job is with the promising touring band Silverroller. Now this band really get it and capture the spirit and understated power of Free. The bands set covers the entitre Free catalogue, without focusing on the obvious. No “All Right Now” or “Wishing Well”, “Fire and Water” or even “The Hunter” but the band do close with a fanastic version of “Mr Big” (as they did last year). While the overall musicianship is just great , even allowing for some technical problems with the guitar sound, the bass player is just wonderful and he does justice to the melodic solo in this classic live version. I am joined tonight by my friend Steve from Stockton and we both have a great time.

But its not over yet.The following night we get to do it all over again. This time with my old mate Pete from Sunderland, a true road warrior and a regular gigger for over 50 years, with whom I have had my adventures over the years. Saturday kicks off with The Stealer, this time playing a Free set. And they do a great job. For me much better than the Bad Company set the previous night with Joss “Koss” Shaw really showing his mastery of the Koss style vibrato and precise, subtle playing. Sounds easy, but I seen some many players just butcher these wonderful songs with over the top speed and volume. [Lovely picture of John and me on the Saturday night].

Next up is an interesting one. Billed as Kossoff….The Band Plays On presents Terry Slesser and John Buckton’s Back Street Crawler. Quite a mouthful, but the band feature Terry Slesser on vocals and John Buckton on guitar. Terry being the original vocalist in Back Street Crawler with John Buckton ex Freeway (a Free tribute band) on guitar. The band played some UK dates last year and hopefully they will continue. Their set is a mixture of Free and Back Street Crawler tracks augmented with some wondeful anecdotes from Terry, They open with “I’m a Mover” from Tons of Sobs, which Terry says they tried to play in Beckett but found it so difficult that they switched to 21st Century Schitzoid Man instead…..

Then its “The Train Song” from The Band Play On, followed by “Be My Friend” which Terry dedicates to Koss’s girlfriend Sandhe Chard Givens who is in the audience tonight and also attended Fridays show. Then its probably my favorite Back Street Crawler track “It’s a Long Way Down to the Top” which is captured in all its glory on the Back Street Crawler Live in Croydon album from 1975. After “I’ll be Creepin”, it’s the fabulous “Molten Gold”. Often billed as “the best song Free never recorded”, the music and words were writen by Koss and he took it for his solo release , although an early version called “Burnin” does exist as a bonus track on a reissue of Free at Last. A classic number, masterfully delivered by the band.Terry then announces “the drugs are starting to kick in now – that’s Ibuprofen and Immodium” and we get “All the Girls Are Crazee” another Back Street Crawler song which Terry dedicates to “all the people who used to go to the Locarno and the Mayfair” which gets a big cheer from the crowd.

The set then moves through a series of Free tracks “Songs of Yesterday”, “Sail On”, “Trouble on Double
Time”, “The Stealer”, “My Brother Jake”, “Wishing Well” and then a well deserved encore “Little Bit Of Love”. A great set which brings back lots of happy memories and its wondeful to hear those Back Street Crawler songs again.

Before the final set, we have a charity raffle, all the procceds from tonight go to Newcastle Hospital Trust, and my friend Pete picks up a copy of Axis Bold as Love, from Koss’s personal collection. Nice!! [Yes, that was me buying a great momento of the event and a lovely keepsake from Paul’s own collection]. Closing tonight are the magnificant Heartbteaker Collective. However, they are following two great sets and can they deliver? After all they only play these songs once a year at this event. No need to worry, fronted by the ever confident Johnny Hodson, the band deliver a great set and the crowd adores them.

They walk us through the Free back catalogue with great competence and style. Opening with “ Catch a Train”, the set moves through “Be My Friend”, “I Love You So”, “Woman”, “Oh I Wept”, “Songs of Yesterday”, Broad Daylight”, I’m a Mover”, “ Trouble on Double Time”, before closing with their sensational extended version of “Mr Big”. Jonnie quips “I used to sing these songs in my bedroom along to the record and its geat to be able to sing them for you tonight”. And its great for us to hear them too. The band come back for an encore starting with “The Hunter”, followed by “All Right Now” and they are persuaded to come back one more time with “Walk in My Shadow”. Just wonderful.

As we leave the we can see the joy on the largely ageing audience , fueled by a combination of nostalgia, great music and alcohol as we all try to capute our youth, even if only for a fleeting moment. A good time was had by all. [Yes indeed it was John. Thank you for a great blog entry. And a special thank you for the organiser for both events, pictured here to the left. Well done for another excellent event my friend]

13 Jan

Saving Grace featuring Robert Plant & Suzi Dian Stockton Globe 6 November 2024

Posted by vintagerock in Robert Plant, Saving Grace. Tagged: , , , , , , , .

Why is the rock legend, rock god, who is Robert Plant playing small venues such as Middlesbrough Town Hall and not singing many Led Zeppelin songs? After all he could reform Led Zeppelin, as many promoters and ex-bandmate Jimmy Page would apparently like him to do and earn megabucks. Yet he chooses not to. And why do so many people turn out to see Robert Plant sing with a relatively unknown female vocalist, Suzi Dian (who has an exquisite voice by the way), and perform a set of mostly obscure songs which the majority of the audience would not be familiar with? Yet why did I come away from the concert feeling so fulfilled, elated, and exhilarated?

I have seen Saving Grace twice before. Looking back may help me answer the questions above. Some of my recollections of those two concerts are below: Robert Plant and Saving Grace Middlesbrough Town Hall 25 April 2022. Saving Grace is very much a band. Of course people had turned out to see the main man, Robert Plant. But Robert is simply a singer in the band along with Suzi. The rest of Saving Grace comprises two guitarists and a percussionist: all excellent musicians in their own right and also providing some backing vocals. The set comprised songs which Robert, unashamedly, has chosen because they have influenced him and touched him over the years.

So there were the traditional such as “The Cuckoo” and “Satan Your Kingdom Must Come Down”, old blues songs and classic progressive/psychedelic tracks including “It’s a Beautiful Day Today” by Moby Grape and (one of my all-time favourite songs) “Season of the Witch” by Robert’s old friend Donovan. The stage setup was quite basic with a simple curtain backdrop naming the band and unobtrusive lighting. But the music was exquisite, challenging, soulful and beautiful. Robert shared the vocals with Suzi and, in many cases, took us through the story of the song and what it meant to him. “Season of the Witch “, led by Suzi, transformed into “For What It’s Worth” by Buffalo Springfield at one point, another reference point to Robert’s roots. The final song was an old Richard and Linda Thompson track, again taking us back to the late 60s/early 70s.

Robert Plant and Saving Grace The Glasshouse Gateshead 20 November 2023. The rock legend, rock god, who is Robert Plant continues to follow his muse and play intimate venues such as The Glasshouse when he could be filling arenas or stadiums if he were to sing more Led Zeppelin songs. He has now established himself as part of the band Saving Grace and retains a strong faithful fan base. His fans continue to go to see Robert Plant sing with a relatively unknown female vocalist, Suzi Dian (who has an exquisite voice), and perform a set of quite obscure folk/world/country songs which the majority are not familiar with. I am glad that he does so.

The set comprised songs which Robert, unashamedly, has chosen because they have influenced him and touched him over the years. The set has changed since I last saw this band. There were several more unfamiliar songs, but some have been retained from last time I witnessed them in concert at Middlesbrough Town Hall including the traditional ballad “The Cuckoo” and classic progressive/psychedelic tracks which have influenced Robert including “It’s a Beautiful Day Today” by Moby Grape. This time some Led Zeppelin classics have crept back into the set including “Friends” and “The Rain Song”. And wonderful renditions they were. Lovely. For the encore we were treated to the Richard Thompson song “House of Cards”, a return to Led Zeppelin and a wonderful rendition of “Gallows Pole”. The final song was performed a cappella with the band all coming together at the front, arms entwined, singing the beautiful “And We Bid You Good Night”.

Saving Grace featuring Robert Plant & Suzi Dian Stockton Globe 6 November 2024
This year the tour was announced: “Robert Plant’s Saving Grace, the co-operative featuring Suzi Dian (vocals), Oli Jefferson (percussion), Tony Kelsey (mandolin, baritone, acoustic guitar), and Matt Worley (banjo, acoustic, baritone guitars, cuatro) have announced a full UK tour in November 2023, touring some of the UK’s most striking theatres.”

“Since forming in 2019, Saving Grace have received numerous acclaims for their live shows with Bob Harris describing it as ‘One of the best gigs I’ve seen in years’ and Toni Woodward, Americana UK providing a perfect summary: “…These five musicians have produced a supreme ninety minutes of music with considered interpretations of others’ compositions, ensuring they present an innovative exploration of the songs whilst maintaining their true essence. Furthermore, this odyssey has been undertaken in the spirit of appreciation, musicianship, and exultation: they truly are a band of joy!””

The set was similar to those which I have witnessed previously. They started with the beautiful “The Cuckoo “. There were many songs I did not recognise. One song in particular stuck in my mind: “She Cried”, originally by Jay and the Americans. Listen to the original if you can; it is absolutely beautiful and tearjerking. As for Led Zeppelin songs we were treated to lovely renditions of “Friends” and the closing song “Gallows Pole”.

Returning to my questions which I can now sort of answer. Why is Robert playing intimate venues with a set of semi-obscure songs? The answer lies in the man that is Robert Plant. He sings because he wants to, and he has to; singing lies deep within his soul. And he chooses to share with us some of the songs which are important to him, hoping in doing so that we will enjoy the concert experience and learn a little more about the man and his music. And why do we all turn out to see Robert Plant? Because somewhere over the years his music has touched each and every one of us in a different place, and a different time. For me it lies in important memories of seeing Led Zeppelin in 1971 at Newcastle City Hall and Sunderland Locarno; in Earls Court in 1975; Knebworth in 1979; more recently at the O2 Arena in 2007 and solo many other times. There is a magical quality about Robert Plant. Long may he invite us to share evenings of his songs and memories.

Led Zeppelin are about to release a movie Becoming Led Zeppelin, a film of some very early performances. I am waiting for the movie to come to the north-east. In the meantime I treated myself to a poster advertising the movie. (See image). I don’t know where I will put all of the posters I am buying. I just can’t resist. Thanks to Jackie for the photographs and to Chris for manipulating the site.

Setlist: The Cuckoo; Four Sticks; Higher Rock; The May Queen; Move Along Train; Orphan Girl; She Cried; Two Coats; Everybody’s Song; As I Roved Out; For the Turnstiles; Friends.
Encore: I Never Will Marry; Gallows Pole

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