Northern Kin Festival has been running for several years now. From the website: “created by a dedicated team of live music enthusiasts, determined to bring more live music to the North East, and a festival that truly represents this wonderful area, Northern Kin is perfect for lovers of Folk, Blues, Rock, Ska, Punk, Pop, Prog, Indie, Soul and much more, with an eclectic mix of the finest live music and a few musical surprises thrown in for good measure. There’ll be more than 40 bands and artists on 3 big stages, with lots of things to see and do, all in a beautiful rural setting, that is completely secure for all campers and a friendly atmosphere, for all ages.”
I attempted to go to the festival last year, but we arrived at the site only to be told that it was very muddy, and they advised us not to try and enter as they were having to tow cars out of the mud with tractors! The organisers kindly refunded our money. This year Kin Festival moved to a new site and one of my favourite bands of all time, Hawkwind were headlining Stage Two of the event. The Waterboys, another favourite band of mine were headlining Stage One so sadly I had to choose between the two bands. I decided to follow my long-time heroes Hawkwind and head for Stage Two.
The walk from the taxi drop off point to the festival tents was quite long and bumpy, but nonetheless Jan and I soon located the tent which housed Stage Two. We had timed our arrival to catch Hawkwind. Luckily for us we were soon up on the wheelchair platform and in time to see some of Cast’s set.
Cast were formed in Liverpool in 1992 by John Power (vocals, guitar) and Peter Wilkinson (bass) after Power left The La’s and Wilkinson’s former band Shack had split. Now I regret never having seen The La’s as I love their song “There She Goes” so to catch their descendant band Cast was a bonus. Indeed, Noel Gallagher of Oasis once described watching Cast live as being like a “religious experience” (from Wikipedia). Cast sounded really good, with the obligatory Liverpool twang.
Anyway, after a short break, Hawkwind took to the stage. Now, Hawkwind were one of my favourite bands in the early 70s. I have seen them many times over the years from the days, before they hit the charts with “Silver Machine”, and Stacia danced naked with them on stage. Recent Hawkwind publicity material guides us through their complex history: “One of England’s most enduring hard rock bands, Hawkwind were formed in London during the late ’60s, just as art rock was coming into its own. Though lesser known than contemporaries like Pink Floyd, the band is widely hailed as one of space rock’s early pioneers, thanks to seminal albums like 1973’s live opus Space Ritual.
Their potent mix of psychedelia, prog, straight-ahead hard rock, and lyrics steeped in science fiction — particularly the themes and imagery of author Michael Moorcock, who also became a member at various points — and drug effects helped define Hawkwind and separate them from the competition. The group’s history has been marked by a series of confusing lineup changes, as members began an almost revolving-door relationship with the band virtually from the outset. Throughout their many decades and incarnations, founding guitarist Dave Brock has remained Hawkwind’s chief steward, while notable players like Lemmy and Ginger Baker have also enjoyed stints with the band.”
As you will have gathered from the above, the line-up has changed many, many times over the years, the one constant being bandleader Dave Brock. Well, Captain Brock led his family through a selection of Hawkwind tracks old and new including favourites: “Spirit of the Age”, “Spirit of the Age” and “Silver Machine”. This was a very different Hawkwind to the one I witnessed only a few months earlier at Newcastle City Hall. On that occasion Dave Brock took a backseat in some of the songs and was not present for the encore (I believe it was said that he was backstage having a cup of tea). They also did not perform “Silver Machine” that night, so I was delighted to see it return to the set this time. Also, Dave Brock was very much up front leading the band through a classic Hawkwind performance, like only they can deliver at a festival. The light show was outstanding, and the choice of songs was also excellent.
Getting back to our taxi was something of an adventure. The ground had obviously been muddy earlier in the weekend and Jan and I bounced our way over bumpy terrain and rocks which made the journey across the fields somewhat scary. We even had two strong guys holding each side of my wheelchair to make sure I didn’t topple over! Nonetheless, nothing could spoil a great event with another opportunity to see one of my all-time favourite bands. Roll on Kin 2025.
Many thanks to Jan for the photographs, for braving the bumpy ride across the site with me and Chris for manipulating the site.
Hawkwind Setlist: Arrival in Utopia; Frozen in Time; Lost Chances; Underwater City; Assault and Battery; The Golden Void; Levitation; Contemplation; Psi Power; Spirit of the Age; Silver Machine
The evening started with a massive and welcome surprise. Jackie, my carer for the evening, enquired of the steward “what time does the concert finish and is there a support act?” I was so pleased and surprised when she returned and said “there is a support act and they are called 
Man continued through various line – up changes, the one constant being the excellent guitarist Micky Jones. When Micky sadly passed away, his son George took on the mantle of lead guitarist and the band continued with original bass player Martin Ace and long-time keyboard player Phil Ryan. I saw this version of the band at the New Roscoe pub in Leeds and they were excellent.
Somewhere along the road, there was a split in the band. Bass player Martin Ace continued his version of the band, inheriting the name Man while Micky Jones’ son George Jones formed his own version of the band Son of Man. Confusing or what! And it was this band, the one and only Son of Man, who were supporting 
George has assembled a great band around his fantastic guitar playing, including an excellent vocalist. They played music from their latest album and also some Man favourites including “Spunk Rock” and “Bananas” which has the amazing lyric: “I like bananas, because they’ve got no bones; I like marijuana, because it gets me stoned”. He even mentioned that the last time one of the songs was played in the City Hall was when Man performed there alongside John Cipollina from the legendary Quicksilver Messenger Service. I remember that particular concert well! And you can probably find a review on my blog somewhere. A great start to the evening.
Could things get better? Yes of course they could. Hawkwind were also one of my favourite bands in the early 70s. I have seen them many times over the years from the days, before they hit the charts with “Silver Machine”, and Stacia danced naked with them on stage. The current tour publicity material guides us through the complex history of Hawkwind: “One of England’s most enduring hard rock bands, Hawkwind were formed in London during the late ’60s, just as art rock was coming into its own. Though lesser known than contemporaries like Pink Floyd, the band is widely hailed as one of space rock’s early pioneers, thanks to seminal albums like 1973’s live opus Space Ritual, and its 1974 studio follow-up In the Hall of the Mountain Grill.
Their potent mix of psychedelia, prog, straight-ahead hard rock, and lyrics steeped in science fiction — particularly the themes and imagery of author Michael Moorcock, who also became a member at various points — and drug effects helped define Hawkwind and separate them from the competition. The group’s history has been marked by a series of confusing lineup changes, as members began an almost revolving-door relationship with the band virtually from the outset. Throughout their many decades and incarnations, founding guitarist Dave Brock has remained Hawkwind’s chief steward, while notable players like Lemmy and Ginger Baker have also enjoyed stints with the band.”
As you will have gathered from the above, the line-up has changed many, many times over the years, the one constant being bandleader Dave Brock. Well, Captain Brock led his family through a selection of Hawkwind tracks old and new including favourites: “The Psychedelic Warlords Disappear in Smoke”, “Spirit of the Age” and “Brainstorm”. No “silver machine” and Dave Brock took a backseat in some of the songs and was not present for the encore (I believe it was said that he was backstage having a cup of tea) but, hey, who cares, this was still Hawkwind at their best.
A marvellous evening spent with two fantastic hippie/psychedelic bands. It doesn’t get much better than this. Many thanks to Jackie for the photographs and to Chris for manipulating the site.
Another great concert at the Fire Station which is proving to be an excellent hometown venue. And with two of my favourite 1980s bands.
Support came from the semi psychedelic music of the
So, the lineup I saw was this duo of McNabb and Layhe and it was great to see them together again. My favourite song is “Love Is a Wonderful Colour” which closed the set. A great support act, worthy of headline status in their own right.
Bought myself a lovely lyric sheet for “Love Is a Wonderful Colour” which Ian and Chris kindly signed for me. Setlist: Hollow Horse; Little Girl Lost; Evangeline; Out of Season; Starry Blue Eyed Wonder; Understanding (Country) Jane; Birds Fly (Whisper to a Scream); Love Is a Wonderful Colour
Following Adamson’s death in 2001, Big Country reformed in 2007, with the surviving members. Between 2010 and 2013, they also reformed with Mike Peters of The Alarm on lead vocals. Since then Big Country has continued with two of the original members (Watson and Brzezicki) and Simon Hough on vocals.
Steeltown was the second studio album by Big Country, recorded at ABBA’s Polar Studios in Stockholm. Released in 1984 Bruce Watson remembers: “We started work on Steeltown back in June 1984 at Abba’s studio. My Dad was a miner, so what we did was knuckle down to hard work for six weeks”. The album was based around the steel industry in Corby, Northamptonshire which was mainly populated by Scottish workers. The album went straight to number 1 in the UK album charts.
They have recruited an excellent new guitarist whose playing gives homage to the late, great Stuart Adamson. To my shame I am not familiar with Steeltown (although I probably saw them on the tour to promote the album). It was great to hear their music again. Particularly as they also performed great personal favourites such as: “Look Away” And “In a Big Country”. They concluded their set with “Fields of Fire” incorporating another great Celtic song “Whiskey in the Jar”. An excellent end to an excellent evening.
Setlist: Flame Of The West; East Of Eden; Steeltown; Where The Rose Is Sown; Come Back To Me; Tall Ships Go; Winter Sky; Rain Dance; The Great Divide; Just A Shadow; Look Away; Chance; In A Big Country; Wonderland; Fields Of Fire / Whiskey In The Jar
I go back a long way with 
“Australian beatnik poet Daevid Allen (ex-Soft Machine) began making music with his partner Gilli Smyth in the late 1960s, along with a constantly evolving community of creative musicians. Albums from this period include Magick Brother, Mystic Sister (1969) and the influential Bananamoon (1971) – one of David Bowie’s favourite 20 albums.” (From Gong website).
The current members of Gong are: Fabio Golfetti – lead guitar, vocals (2007, 2012–present), Dave Sturt – bass (2009–present); Ian East – saxophone, flute (2010–present); Kavus Torabi – vocals, guitar (2014–present) and Cheb Nettles – drums (2014–present).
The venue holds a lot of memories for me having seen many bands there over the years going back to the Clash White Riot tour and early concerts by the Cure, Magazine and others. I think the last time I was here was to see Gong. The current band contains relatively new members, but such is the lineage of Gong. Like Hawkwind it is a family collective within which members come and go. However the spirit and ethos of Gong carries through the band members and this was very evident for this concert. We made our way around the back of the crowd towards the left of the stage. Everyone was very kind and allowed us through, right to the front.
The current front man has a look of Marc Bolan about him with curly hair and heavy eye make-up. He was also joined by a lady singer who transformed from an angel like persona into an Indian/Persian look. Fantastic. The music was, as always, heavily psychedelic, trancelike and absolutely mesmerising. One song seemed to blend into another.
During the interval I managed to catch a pint of Guinness and the band kindly signed my ticket (see image). Next up was Ozric Tentacles whose music is less familiar to me. However, as always they provided us with an excellent set of psychedelic music. We left just as they were finishing.
“A campfire at the Stonehenge free festival in 1983 witnessed the birth of Ozric Tentacles. It was there that composer and band leader Ed Wynne (guitar & keyboards), and brother Roly Wynne (bass), who were performing in a group known at the time as ‘Bolshem People’, along with drummer Nick ‘Tig’ Van Gelder (Jamiroquai), stumbled upon keyboardist Joie Hinton. After a session of warming their bones and discussing imaginary breakfast cereals, the group went to perform an impromptu late jam session. Over the course of what became an epic six hour performance, an audience member inquired as to the name of the band. Randomly thinking back to the group’s former conversation, visions of ridiculous mythical mueslis entered Ed’s mind, and consequently he replied; “Ozric Tentacles”. (…Good job too, since some of the previous alternatives had been “Desmond Whisps”, “Gilbert Chunks” and “Malcolm Segments”).” (From Ozric Tentacles website).
Two fantastic bands who are still quite “out there” flying the hippie flag high. The lady next to me had great dreadlocks and was dressed as an angel complete with wings. That sort of sums up the atmosphere of the evening.
It is almost 50 years since I last saw 
Tangerine Dream were the forerunners of many electronic bands who followed: Kraftwerk, Jean Michelle Jarre, Orchestral Manoeuvres in the Dark and many many more. The Boiler Shop website described them well: “Some bands pioneer a genre, a few acts transcend codification, and the rarest of groups defy classification altogether. Tangerine Dream managed all three. Founded in 1967 by Edgar Froese in Berlin, the group established themselves with their groundbreaking 1974 album Phaedra which became a milestone in electronic music history. Over the last 53 years, Tangerine Dream released more than one hundred albums. Their early “Pink Years” albums had a pivotal role in the development of Krautrock. Their “Virgin Years” – such as Rubycon and Force Majeure albums helped define what became known as the Berlin School of electronic music.”
“Thorsten Quaeschning is a Berlin-based and classically trained musician and composer, has been a longtime member of Tangerine Dream since 2005, which makes him the second longest serving member in the band’s history. In 2013, two years before Edgar Froese’s death, he put him in charge as the Musical Director of the band. Thorsten composed and played on more than 70 Tangerine Dream albums over those years including the successful studio album Quantum Gate on the basis of Edgar Froese’s musical sketches – released in 2017 and nominated for the Progressive Rock Award.”
“Hoshiko Yamane is a Japanese Berlin-based classically trained violinist and composer. She has been a member of Tangerine Dream since 2011. After she graduated with the Master of Fine Arts in Japan, she moved to Berlin. She also graduated with a diploma in violin from the University of Music and Theater in Rostock, Germany. During her study she performed with the Brandenburgisches Staatsorchester. Hoshiko already collaborated with many renown international artists like Jane Birkin i.e. In 2013 she started her first electronic solo project (Tukico) and in 2017 she released her first solo album A Story Of A Man.”
“Paul Frick was born in 1979 in Berlin. He took composition classes since the age of twelve with Il-Ryun Chung. Paul Frick joined Tangerine Dream in 2020. From 2000 to 2008 he studied composition with Friedrich Goldmann at Universität der Künste Berlin. Together with Daniel Brandt and Jan Brauer he forms the group Brandt Brauer Frick. In August 2018 Paul Frick’s solo debut album Second Yard Botanicals appeared on Apollo/R&S Records.”
Shortly after 8 PM the music started. The band, no longer pure white, were enveloped in a series of lighting effects; behind them images and Liquid Lens type psychedelic swirling movements on screen. The Boiler Shop is the perfect venue for the band and their soundscapes. It is the original factory/workshop in which George Stephenson built his groundbreaking locomotives (see image). The metallic open space seemed very fitting for the electronic and trance sounds which soon drifted around the room. Each song merged into the next, the lights and imagery were stunning as was the electronic music. I enjoyed it much, much more than I expected. This was Tangerine Dream reborn, reimagined and rejuvenated.
Many thanks to Jan for the photography, Chris for the manipulation of the site and Elaine for accompanying me to the concert. Tangerine Dream continue to explore further into the magic of electronic instruments, augmented by soaring violin and accompanied by the very appropriate 1970s visuals. Magical.
Another trip to the lovely community venue the Crescent, York. I feel alive and alert again after a short period without any concert experiences. Our friendly taxi driver takes us (me, and carers Jan and Joanne) to Durham station, and an equally friendly passenger assistance guy is waiting with the ramp to get me onto the train to York.
At the other end another passenger assistant is waiting with a ramp and I am quickly on the platform. No sooner said and we are snug in the York Station Tap for a swift drink (mine is a large red, thank you) before the short walk to the Crescent. The venue is already full.
I must admit, and to my shame, I am not very familiar with the music of 
The mainstay of the band is guitarist Ed Wynne who is well practised in Steve Hillage glissando guitar which he plays to great advantage alongside another guitarist, a flute player and a keyboard player. Add throbbing drumbeats, liquid lens 60s/70s light shows and lots of crazy dancing by the crowd and you get the picture.
I can’t pretend to have known the songs but the music is enticing, enthralling and encapsulating. Magic. And no drugs (they wouldn’t mix well with my medication anyway). Our view is not great as the venue is, quite appropriately admittedly, standing although Jan and Joanne do manage to sneak a couple of chairs in from the bar. We all enjoy the experience and I look forward to seeing the band again, this time with Gong as support in Newcastle next year.
A short wet walk up to the station and I have a chat with a guy from Newcastle who I last spoke to at the Cluny and another new friend from Northallerton. We all share notes on progressive rock band experiences. Great crack. Hope you both read this blog entry. Soon another friendly face helps me up a ramp onto the train and, as if by magic, the same happens at the other end. Thank you passenger assistance.
Our friendly taxi chariot awaits and whisks us back home in no time at all. I watch Coronation Street on recording and then drift off to sleep. Another fun time had by all. Many thanks to Jan and Joanne for the pictures and to Ozrik Tentacles for a hippie, trippy evening. It was almost the 1970s all over again 🙂
Ozric Tentacles are: Ed Wynne: Guitars / Keyboards; Silas Wynne: Keyboards; Brandi Wynne: Bass; Tim Wallander: Drums; Saskia Maxwell: Flutes.
The Cluny is a lovely little pub venue situated in the Ouseburn area of Newcastle upon Tyne. It often gets great bands on. Over the years I have seen many of my favourite acts perform there including The Groundhogs featuring the sadly recently passed Tony McPhee, Stray, the New York Dolls, Chicken Shack featuring the great Stan Webb, the Pink Fairies, Wishbone Ash and many others.
Last Wednesday they hosted the latest incarnation of the legendary American psychedelic pioneers 
So Jan and I arrive early enough to catch the support act, 
Now Forever Changes is an absolute classic, often rated as one of the best albums of all time. And I can’t disagree. Neither would the crowd in the Cluny. The place was absolutely packed and almost everyone sang along to every song. To my shame I can’t claim to know every song by Love but many sounded familiar.
Burt Bacharach’s “Little Red Book” sounded as fresh as ever and “Alone Again or” is undoubtedly one of the best songs of all time.
It was wonderful to say hello to a guy who introduced himself to me as a regular reader of my blog. Thank you so much for your support, my friend.
Setlist: A house is not a motel; Your mind and we belong together; My little red book; Softly to me; Can’t explain; Live and let live; The red telephone; Andmoreagain; Orange skies; Stephanie who knows; Signed DC; Alone again or; Maybe the people would be the times or between Clark and Hilldale; You set the scene; August; Your friend and mine ; Always see your face; Singing cowboy; 7 and 7 is
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.
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