Posts Tagged ‘rock’

24 Mar

Paul McCartney, The O2 Arena, London, 19 December 2024

Posted by vintagerock in Paul McCartney, Ringo Starr. Tagged: , , , , , .

Seeing Paul McCartney in concert is always a remarkable experience, and this London date on the “Got Back” Tour was no exception. The legendary songwriter, responsible for some of the most beloved songs of all time, delivered a setlist spanning over six decades, covering The Beatles, Wings, and his solo career in a show that was both nostalgic and exhilarating. For me, McCartney gigs are always a special occasion—not just because of the sheer weight of history behind them, but because each one brings back memories of the times I’ve seen him before, stretching all the way back to the Wings era in the ’70s.

Indeed, the first time I saw Paul live was with Wings at Newcastle City Hall in 1973. That gig felt almost unreal—standing at the back of the hall, hardly believing that I was seeing a Beatle in the flesh. The set that night was relatively short compared to his later tours, but hearing “Maybe I’m Amazed” and “Live and Let Die” for the first time live was a memorable moment. By the time Wings returned to Newcastle in 1975, McCartney had begun embracing his Beatles legacy, performing songs like “Blackbird” and “Yesterday”. It was the first time I had seen him play those songs, and the moment he took out the violin bass was unforgettable. I was particularly touched by his performance of “I’ve Just Seen a Face” from the Help album. This song in particular is incredibly special to me.

I remember my parents buying me the Help album when it was first released and I particularly liked that song from those times. Paul would always finish the set with “I Saw Her Standing There”, a tradition which has continued until very recently. Over the years, I’ve caught McCartney in some truly incredible settings: from Live Aid in 1985, to the massive Knebworth concert in 1990 (which also featured Pink Floyd, Robert Plant and Jimmy Page, Elton John, Genesis, and many others), to his Liverpool Sound performance at Anfield in 2008. And yet, no matter how many times I’ve seen him, a Paul McCartney show never feels like “just another gig”. It’s a musical event, a moment in history, and something that still carries immense emotional weight.

McCartney arrived on stage to an eruption of cheers, launching straight into “A Hard Day’s Night”, and from there, it was hit after hit after hit. “Drive My Car”, “Got to Get You Into My Life”, “Jet”, and “Band on the Run” all followed in quick succession, and it was clear that, even at 82, his energy on stage remains remarkable. As always, there were some deeply personal moments, particularly “Here Today”, his tribute to John Lennon, and “Something”, dedicated to George Harrison, which began as a solo ukulele piece before swelling into a full-band performance. Then, the recently released Beatles song “Now and Then”, and it added a real sense of history to the evening due to its use of AI technology to add John Lennon’s voice.

Then came the massive anthems—“Ob-La-Di, Ob-La-Da” had the entire crowd singing along and “Live and Let Die” came with its usual explosions of fire and smoke, filling the arena with heat. I felt it from my seat—just as I had in 2003, when I was close enough to practically feel my eyebrows singe! We were treated to a surprise, as Ronnie Wood joined McCartney on stage for “Get Back”, sending the crowd into an uproar! And then, of course, “Hey Jude”. No matter how many times I’ve sung along to it at a McCartney concert, it never loses its power. Seeing thousands of people with their arms raised, chanting “Na, na, na, na-na-na-na,” is a truly magical moment. I recall everyone walking out of Hyde Park into central London, singing those words at the closing of the Live 8 concert (another massive event that featured U2, REM, Madonna, Robbie Williams, Annie Lennox, Dido, Mariah Carey, and George Michael who performed “Drive My Car” with Paul, and many more).

Then, just as I thought it couldn’t get any better, something quite remarkable happened. Paul returned for the encore, and after a raucous “I’ve Got a Feeling,” he stepped to the microphone with a grin and said, “We’ve got a little surprise for you.” And then, the unbelievable happened. Something I thought I could never see. Out walked Ringo Starr. The roar from the crowd was deafening. I have seen McCartney many times, and I have seen Ringo in his own right, but I never thought I’d witness them performing together. For a few moments, it was as if time folded in on itself.

This wasn’t just two legendary musicians reuniting; it was two Beatles, together again on the same stage. I don’t mind admitting that I broke down in tears. Something was unfolding in front of my eyes that I thought I would never witness. I quickly texted the kids to tell them what had just occurred. They launched into “Sgt. Pepper’s Lonely Hearts Club Band (Reprise),” and it felt like the entire arena was levitating. Ringo behind the drums, Paul on bass—just like the old days. Then, without pause, they tore into “Helter Skelter,” with McCartney howling through the verses while Ringo thundered away on the kit. It was raw, electric, and utterly thrilling.

McCartney then brought the night to a close with the Abbey Road medley—“Golden Slumbers,” “Carry That Weight,” and “The End.” As the final notes rang out and Paul sang, “And in the end, the love you take is equal to the love you make,” it was impossible not to feel the weight of the moment. Having seen Paul McCartney live so many times over the years, it would be easy to assume that I’d become used to the experience. But that’s the thing—you never get used to it. Every show is filled with memories, not just of past gigs, but of what these songs mean to you personally.

When McCartney plays, you’re not just hearing a concert—you’re witnessing one of the last living links to the greatest band of all time, still giving everything he has to the music he created. McCartney himself summed it up best: “It’s going to be an amazing end to the year. Let’s get set to party.” And he certainly delivered on that promise. “Oh and one final thing to say… See you next time!” Now that is a promise after all these years.

Many thanks to Elaine and Jan for coming with me and taking the photos, and to Laura and Chris for helping me construct the entry.

Setlist: A Hard Day’s Night, Junior’s Farm, Letting Go, Drive My Car, Got to Get You Into My Life, Come On to Me, Let Me Roll It, Getting Better, Let ‘Em In, My Valentine, Nineteen Hundred and Eighty-Five, Maybe I’m Amazed, I’ve Just Seen a Face, In Spite of All the Danger, Love Me Do, Dance Tonight, Blackbird, Here Today, Now and Then, Lady Madonna, Jet, Being for the Benefit of Mr. Kite!, Something, Ob-La-Di,Ob-La-Da, Band on the Run, Wonderful Christmastime, Get Back (with Ronnie Wood), Let It Be, Live and Let Die, Hey Jude.
Encore: I’ve Got a Feeling, Sgt. Pepper’s Lonely Hearts Club Band (Reprise) (with Ringo Starr), Helter Skelter (with Ringo Starr), Golden Slumbers, Carry That Weight, The End.

17 Mar

Toyah & Robert Fripp Christmas Party The Firestation Sunderland 17 December 2024


Posted by vintagerock in Robert Fripp, Toyah. Tagged: , , , , , , , .

Seeing Toyah and Robert Fripp live is always an experience, and their set at the Firestation was no exception. An evening of pure entertainment—blending musical brilliance, theatrical energy, and an undeniable sense of fun. Toyah has always been a powerhouse performer, and Fripp, well… he’s one of the greatest guitarists of all time. Together, they make for an unlikely but utterly compelling duo.

I first saw Toyah perform in the early ‘80s, at the height of her punk/new wave fame, when she was a force of nature on stage. I remember being struck by her sheer presence commanding the crowd with “It’s a Mystery” and “I Want to Be Free”, two anthems that still resonate today. Fast forward to more recent years, and I saw her again with Robert Fripp as they began touring together, blending their respective musical worlds. That show was a surreal mix of Toyah’s theatricality and Fripp’s intricate, almost otherworldly guitar work a partnership that, despite seeming like an odd pairing on paper, works brilliantly in practice.

At this most recent gig, the duo took to the stage with their signature blend of high-energy rock, nostalgia, and cheeky humour. Toyah, ever the performer, was full of charisma, striding across the stage in a dazzling outfit, engaging with the crowd like she was born to do it (which, of course, she was). Fripp, sitting in his usual composed stance, let his guitar do the talking—delivering those unmistakable King Crimson-style flourishes with effortless precision.

I first saw Robert Fripp in King Crimson in 1974 at Newcastle Odeon, at which he performed the Red album, along with the encore “21st-century schizoid man” I saw him perform with the magnificent Crimson many years later at the Usher Hall Edinburgh. The lineup was very different but his guitar playing remained impeccable.

From the opening number “Rebel Yeah”, it was clear this was going to be a set full of fan favourites. “Thunder in the Mountains” sounded just as thrilling as it did back in the day, was delivered with a theatrical grandeur that few performers could pull off quite like Toyah.

Of course, the real joy of a Toyah & Fripp show is the unexpected moments, and this gig delivered plenty. Their now-infamous Sunday Lunch covers have given them a whole new audience, and it was fantastic to see them incorporate some of those into the set. Their version of Black Sabbath’s “Paranoid” was as fun as it was ferocious, while “Heroes”, a song close to Fripp’s heart, given his guitar work on the original Bowie track, was simply spellbinding.

The partnership is somewhat bizarre, but it somehow works: Toyah the punk Queen and Robert the quiet guitar hero. I believe that for part of the year he lives in New York and she in London. Yet when they come together their partnership is stronger than ever. This is clearly the case when you see them perform such as this evening.

Then came the crowd-pleaser of all crowd-pleasers, “It’s a Mystery”. The moment those opening notes rang out, the audience erupted. It’s a song that has remained iconic for over 40 years, and seeing Toyah belt it out with such energy and enthusiasm made it feel as fresh as ever.

Toyah closed the evening with a great version of Joan Jett’s “I Love Rock ‘n’ Roll ”. And the girl clearly does. Many thanks to Jackie for the photographs and Laura and to Chris for helping me put together the blog entry. Treated myself to a couple of signed prints. Toyah & Robert Fripp continue to prove that music should be fun, fearless, and, above all, full of life. Long may they keep bringing their unique brand of rock and theatricality to the stage!

Setlist: (something like) Thunder in the Mountains; Are You Gonna Go My Way (Lenny Kravitz); Echo Beach (Martha and the Muffins); Paranoid (Black Sabbath); It’s a Mystery; Fashion (David Bowie co written by Fripp); Sunshine of Your Love (Cream); Heart of Glass (Blondie); Sweet Child o’ Mine (Gunz and Roses); Roses in Chains; Sharp Dressed Man (ZZ Top); Enter Sandman (Metallica); Rockin’ in the Free World (Neil Young); Rebel Yell (Billy Idol); I Want to Be Free; Merry Xmas Everybody (Slade); Heroes (David Bowie co written by Fripp); I Love Rock’n’Roll (Joan Jett / The Arrows).

9 Mar

Punishment of Luxury, The Georgian Theatre, Stockton, 6 December 2024

Posted by vintagerock in Bones Park Rider, Cazimi, Punishment of Luxury. Tagged: , , , , , , , , .

For a band with such an unmistakable identity, Punishment of Luxury remains something of an underground treasure. Born out of the North East’s late-70s punk and post-punk scene, they were never quite part of the mainstream punk explosion, nor did they slot neatly into the new wave movement that followed. Instead, Punilux carved out a unique, theatrical, and often surreal space of their own—combining angular, spiky guitars with performance art, dystopian themes, and a real sense of the absurd.
From the Georgian Theatre website: “From a background working in experimental music and English fringe theatre groups, Punishment Of Luxury formed in December of 1976, in Gateshead. Taking their name from a postcard sent to Nev from Rob Meek of a painting by Giovanni Segantini, Walker Art Gallery, Liverpool.

Brian met Nev when he visited him at the locally famous Walker Terrace, Gateshead and the band was formed; Nevilluxury (Neville Atkinson – guitar, vocals), Brian Bond (Brian Rapkin -vocals and keyboard (move (James Mario Davis -bass guitar, vocals), “Liquid” Les ( Les Denham-drums) and then Red Helmet (Mick Emerson- guitar, vocals).….

…… The band recorded their debut single, “Puppet Life” and this was released on the Small Wonder label in July 1978. In 1979 they signed to United Artists and released the singles “Jellyfish ” and “Brain Bomb”, and then the album, Laughing Academy, in the summer of 1979.” In the same year I saw them play at the Reading Festival on the opening (Friday) night after The Cure (who were playing low down on the bill) and before Motorhead, the Tourists and The Police who headlined that night. That was the year in which punk rock finally arrived at Reading.

Cazimi from Sunderland and Bones Park Rider from Sheffield were the support bands. I managed to catch the two of them, watching them from a lovely vantage point on the balcony which has plenty of room for wheelchair access. They were both great support acts and warmed the crowd up well for the crazy theatrics which was to follow. From their official site: “From Sunderland and Newcastle, Cazimi are a trio of post-punk misfits that play in-between music. They have been described as “Not so much the illegitimate sons, but the genetically engineered progeny of luminaries such as Magazine, The Bunnymen, The Stranglers, Hawkwind, Killing Joke, John Barry and Erik Satie”. Bullshit? Maybe.”

From their official site: “BONES PARK RIDER are widely regarded as one of the most exciting and proficient bands to emerge from Sheffield’s thriving underground music scene. Known for their fiercely energetic stage show and intelligent, skin-tight, textured songs, the seasoned four-piece conjure a rare and varied brand of alternative, high-octane rock n roll. BPR formed in 2009 with a mission to encapsulate the vibrancy and immediacy of ’78(ish) era alternative guitar bands. A myriad of influences and original thinking has set them apart, and the band has made a name for itself through its blistering stage show and run of very well received records.”

From the moment they took to the stage, it was clear that Punishment of Luxury still has that same edge. Neville Luxury, ever the theatrical frontman, delivered each song with an intensity that blurred the line between performance and provocation. The staccato rhythms, jerky movements, and surreal, almost nightmarish delivery were all still intact, giving the night a strange, otherworldly atmosphere. Although there were no costumes this time, the strange arm movements were the same as back in the late 1970s.

Hearing “Puppet Life” live was a reminder of just how ahead of its time it was. Released in 1978, it became a cult classic, picked up by John Peel, and still sounds as urgent and experimental today as it did then. Funk-meets-punk basslines, mechanical guitar lines, and absurdist lyrics … it could have been made yesterday, yet it still retains the raw, DIY spirit of the late ’70s.

Highlights included “Brain Bomb”, which brought chanted, robotic vocals over an almost Kraftwerk-esque rhythm. “Jellyfish”, with its twisting, unpredictable shifts, was another standout moment, like a punk band fronted by a dystopian theatre troupe although, somewhat disappointingly, the band did not have the strange theatrical set-up and presentation that I’d seen in the past.

I first saw Punishment of Luxury back in 1978, when they were still an emerging force in the local scene. That year alone, I caught them a few times, including a packed gig at Newcastle University Canteen and a support slot for Penetration at Newcastle City Hall. Even then, they stood apart from other punk and post-punk acts—their theatrical background gave their live shows an almost unsettling, performance-art feel, something completely different from the raw aggression of other punk bands of the time. I’m sure I remember them performing entirely concealed by a curtain, just silhouettes visible.

Their blend of art-rock, jagged rhythms, and absurdist storytelling was truly distinctive. While many of their contemporaries leaned into the political or nihilistic, Punilux embraced the bizarre and unsettling—making them one of the most unique bands to emerge from the Northeast in the punk era.

Whilst I’d have loved to see the theatrical performances of the past, silhouettes, and all, I was pleased to get a chance to catch this band again. it was clear that they remain one of the most fascinating, unconventional bands to emerge from the Northeast. Their legacy might be cult, but it’s one that has endured for decades—and on nights like this, it’s easy to see why. For those of us who were lucky enough to see them in their prime, it was a brilliant flashback. For those experiencing them for the first time, it was a reminder of how uniquely different and special they were. The final image is from the Georgian Theatre website. Many thanks to Jackie for taking the photographs and to Chris and Laura for preparing the entry.

25 Feb

Hugh Cornwell & eXTC The Fire Station, Sunderland, 23 November 2024

Posted by vintagerock in eXTC, Hugh Cornwell, Stranglers, XTC. Tagged: , , , , , , .

Seeing Hugh Cornwell perform live is a reminder of just how much of an impact he has had on British music. As the driving force behind The Stranglers, a band I have seen on many occasions, Cornwell was responsible for writing and singing some of their most iconic tracks, from “No More Heroes” to “Golden Brown”. Even after leaving the band, he has carved out an impressive solo career, continuing to release sharp, inventive, and often darkly humorous albums. This Fire Station gig was a showcase of both his classic Stranglers material and his solo work, proving that he still has the same energy and presence that made him one of punk and new wave’s most distinctive voices.

Opening the night was eXTC, a band dedicated to keeping the music of XTC alive, led by original drummer Terry Chambers. XTC were always a fascinating band, shifting from their early punky, jerky rhythms to their later, more sophisticated pop sound. I was lucky enough to see them several times at Newcastle University and Newcastle Mayfair between 1978 and 1981, back when they were still actively touring.

It was great to hear their music performed live once again, especially songs like “Making Plans for Nigel” and “Senses Working Overtime”, which have stood the test of time. Though Andy Partridge and Colin Moulding are absent, Steve Hampton does a solid job on vocals, capturing the essence of the originals without attempting a carbon copy. The set ended on a high with “Generals and Majors”, a perfect example of XTC’s ability to blend catchy melodies with clever, biting lyrics.

And then came Hugh. The first part of the set focused on Cornwell’s solo work, much of it taken from his latest album Moments of Madness, as well as older solo tracks. “Coming Out of the Wilderness” and “Too Much Trash” set the tone early, blending his signature garage rock edge with lyrics full of wry observations. His distinctive, slightly menacing vocal delivery was in full force on “Delightful Nightmare” and “Totem” while other tracks showed his ability to weave together melody, tension, and biting wit.

Then came the Stranglers material, and the atmosphere shifted—the crowd was suddenly buzzing with recognition as “Nice ‘n’ Sleazy” kicked in. The highlights came thick and fast: “Golden Brown”, played with a delicate, almost hypnotic quality, “Duchess”, with its sharp new wave swagger, and “Nuclear Device”, which still sounds as urgent and rebellious as ever. He closed the set with “Wrong Way Round”, proving that he’s still more than capable of delivering something fresh and unpredictable.

It’s always a pleasure to see musicians with real pedigree still performing at such a high level. Hugh Cornwell remains a master of his craft, able to command the stage with an understated confidence, whether delivering spiky solo material or revisiting Stranglers classics. Meanwhile, eXTC provided a nostalgic yet powerful reminder of just how great XTC were—a band that, for all their quirks and oddities, left a lasting legacy on British music. This was a night of true veterans, proving that their music still holds as much weight today as it ever did.

Many thanks to Jan for the photographs and Laura and Chris for manipulating the site.

eXTC Setlist: This Is Pop, Statue of Liberty, Sgt. Rock (Is Going to Help Me), Towers of London, Senses Working Overtime, Ball and Chain, The Ballad of Peter Pumpkinhead, Rocket From a Bottle, Living Through Another Cuba, Generals and Majors, Making Plans for Nigel.

Hugh Cornwell Setlist: Coming Out of the Wilderness, Too Much Trash, Nice ‘n’ Sleazy, Wrong Side of the Tracks, Delightful Nightmare, Golden Brown, Totem and Taboo, Bad Vibrations, Dead Loss Angeles, Moments of Madness, When I Was a Young Man, Tank, Pure Evil, Mr. Leather, Nuclear Device, Another Kind of Love, Duchess, Live it and Breathe it, Wired, Big Bug, Mothra, Wrong Way Round.

24 Feb

Del Amitri & Mandrake Handshake, The Boiler Shop, Newcastle, 1 December 2024

Posted by vintagerock in Del Amitri, Mandrake Handshake. Tagged: , , , , , .

Del Amitri are one of those bands whose music sneaks up on you. You think you know a couple of songs, then you find yourself at a gig remembering far more than expected, realising just how many great tracks they’ve released over the years.

I first saw them ten years ago at Newcastle City Hall in 2014, and back then, I was mainly there to hear my favourite song by them: “Move Away Jimmy Blue”. What struck me that night was just how many excellent songs they had in their catalogue. This time around, it was a chance to see them in a far more intimate setting at The Boiler Shop—a venue that suited them well.

Support came from Mandrake Handshake, a London/Oxford-based eight-piece with a sound that’s hard to pin down—somewhere between new wave, psych rock, and experimental folk. I hadn’t heard much about them before, but they delivered a mesmerising performance, filled with hypnotic rhythms and swirling instrumentation.

There’s something timeless about Justin Currie’s voice. As soon as they launched into “Nation of Caners”, it was clear that his delivery carries a perfect mix of melancholy, cynicism, and warmth, effortlessly drawing the crowd into their world. “Kiss This Thing Goodbye” and “Always the Last to Know” were early highlights, their melodic hooks and lyrical wit still sounding as sharp as ever. The beautifully wistful “Driving With the Brakes On” was another standout, delivered with a delicate intensity that had the whole room spellbound.

The set also included material from their upcoming album, which is due for release in 2025. “The Ones That You Love Lead You Nowhere” and “All Hail Blind Love” blended in seamlessly with their older songs, proving that Del Amitri still have plenty to say.

If the gig had been strong throughout, the final stretch was outstanding. “Move Away Jimmy Blue” was every bit as intense as I’d hoped, Currie’s voice carrying all the weight of its bittersweet storytelling. For the encore, they returned with “This City Loves You Back”, before leading the audience in a singalong of “Nothing Ever Happens”, a song that, even 35 years on, still resonates with its soaring chorus mixed with quiet sadness.

It was the perfect ending to a gig that proved Del Amitri are still as vital as ever.
Del Amitri have always had a way of sneaking up on you, and tonight was no different. They played with the confidence of a band that knows exactly what they’re doing, delivering a set that mixed nostalgia with fresh energy.

Many thanks to Elaine for the photographs and Laura and Chris for assistance with the blog entry.

Setlist: Nation of Caners, Opposite View, Not Where It’s At, Kiss This Thing Goodbye, Always the Last to Know, It’s Never Too Late to Be Alone, Missing Person, Driving With the Brakes On, Buttons on My Clothes, Don’t Cry, Don’t Cry, Just Like a Man, Lonely, The Ones That You Love Lead You Nowhere, All Hail Blind Love, Move Away Jimmy Blue.
Encore: This City Loves You Back, Nothing Ever Happens, Be My Downfall

20 Feb

The Skids & Spear of Destiny, Wylam Brewery, Newcastle, 21 November 2024

Posted by vintagerock in Skids, Spear of Destiny. Tagged: , , , , , .

There’s always a mix of excitement and nostalgia when going to see a band you first watched over forty years ago. The Skids were one of the most explosive and unforgettable live acts I saw in my youth, back when punk and new wave were at their peak. The memories of their gigs at Middlesbrough Rock Garden in 1979 and Newcastle City Hall later that year are still burned into my mind—packed venues, wild pogoing crowds, and anthemic singalongs to “Into the Valley” and “The Saints Are Coming”. It was raw, chaotic, and thrilling.

Fast forward to 2024, and The Skids, now fronted only by Richard Jobson, after the sad passing of guitarist Stuart Adamson were back, sharing a bill with Spear of Destiny at Wylam Brewery. Would they still have the same fire, or would this be a gentle nod to the past? The answer became clear as soon as they hit the stage: The Skids may be older, but they’ve lost none of their energy.

Before The Skids took the stage, we were treated to a short but intense set from Spear of Destiny. Led by the ever-charismatic Kirk Brandon, who I last saw as front man for his previous band, Theatre of Hate, their sound was just as grand and dramatic as I remembered seeing Kirk in his previous band. They worked through a tight selection of tracks, including “Rainmaker”, “Liberator”, “Mickey”, and “World Service”. Though it was a short set, it was enough to remind everyone why they were such a force in the 80s post-punk scene.

Richard Jobson took to the stage with all the energy of a frontman half his age, delivering a performance that was both nostalgic and full of life. His voice still carries that unique Scottish edge, and his stage presence remains as boisterous and animated as ever. They opened with “Animation”, immediately setting the tone for the night. As the first chords of “Thanatos” rang out, it became clear that this wouldn’t be a polite run-through of old hits—it was going to be a proper Skids gig.

Hearing tracks from Days in Europa, which was celebrating its 45th anniversary, was a highlight. “A Day in Europa” and “Dulce Et Decorum Est (Pro Patria Mori)” were performed with all the theatrical intensity and pounding rhythms that made the original album such a standout. “Masquerade” and “Charade” still sounded fresh, and “The Olympian” was a reminder of just how forward-thinking their sound was at the time.

Then came the big anthems, the ones everyone had been waiting for. “The Saints Are Coming” was an absolute standout, and “Into the Valley” turned Wylam Brewery into a massive, bouncing singalong. There was a real sense of community in the crowd, everyone revelling in the nostalgia of a song that, decades later, still feels like a battle cry.

They rounded off the set with “TV Stars”, a song that used to be a chaotic highlight of their early gigs, with the crowd chanting the now-famous roll call of “Albert Tatlock!”. It was rowdy, fun, and exactly what a Skids gig should be.For the encore, they returned with “A Woman in Winter”, a beautifully melancholic contrast to the power of the rest of the set. It was a perfect way to close the night.

There’s something incredibly special about seeing a band like The Skids in a small, intimate venue like Wylam Brewery. It brought me right back to those wild late-70s gigs, but with the added appreciation of just how well these songs have held up. Richard Jobson may be the only original member left, but his passion for these songs hasn’t faded one bit. The Skids are still a band worth seeing, not just for the nostalgia, but because they remain a genuinely great live act.

As I walked out into the Newcastle night, I couldn’t help but think back to Middlesbrough Rock Garden in 1979, when the gig was so packed we could barely move, and fights were breaking out all around us. Things were a little more civilised at Wylam Brewery, but the spirit of The Skids was still there, loud and defiant, 45 years later.

Treated myself to a copy of the lyrics to “Charade” signed by Richard Jobson himself (see image). Many thanks to Jackie for the photographs and to Laura and Natalie for helping me create the blog entry.
Setlist: Animation, Thanatos, Charade, Pros and Cons, Working for the Yankee Dollar, The Olympian, Masquerade, A Day in Europa, The Saints Are Coming, Into the Valley, Circus Games, TV Stars, Dulce Et Decorum Est (Pro Patria Mori), Grey Parade, Hurry On Boys.
Encore: A Woman in Winter

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.

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]

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