King Crimson The Usher Hall Edinburgh 17th September 2015
“When music appears which only King Crimson can play then, sooner or later, King Crimson appears to play the music.” Robert Fripp
It is more than 40 years since my last King Crimson live experience.
7.30pm sharp. Seven guys in three piece suits, looking like they could be attending a bank managers’ conference, walk onto the Usher Hall stage. This is the 8th incarnation of King Crimson and features Gavin Harrison, Bill Rieflin and Pat Mastelotto (three drummers), Tony Levin (stick bass), Mel Collins (sax, flute), Jakko Jakszyk (guitar, vocals) and (of course) Robert Fripp (guitar). The house lights are still on. Our Crimson musos take their places without saying anything. The three drummers sit at the front of stage, one to the left, one centre and one to the right. Each drum sports the rather disconcerting image of an Edwardian-looking boy with one eye in the centre of his forehead, which features in the publicity for the tour. Jakko’s guitar is adorned with the red face from the cover of the first Crimson album. The lights go down and the music starts. The sound is crisp, clear. The songs are largely unfamiliar to me, but I gather that they are drawn from across the suite of King Crimson albums. Fripp describes the new band thus:”King Crimson VIII moved to its next stage of actualization. This is a very different reformation to what has gone before: seven players, four English and three American, with three drummers. The Point Of Crim-Seeing was of a conventional Back Line reconfigured as the Front Line, The Seven-Headed Beast of Crim is in Go! mode.”
The music is a mix of dark, heavy foreboding guitar, mucho drums, very jazzy at times, almost classical at others. The tempo drifts from heavy metal through prog through folk. Robert Fripp sits stage right, wearing headphones, alternating between squeezing strange riffs from his guitar and observing and quietly leading his musicians. I am reminded how unique and ground breaking Crimson were, and are. “Epitaph” takes us back to that classic prog-defining first lp. Wonderful. I am transported back to days of my youth so many years ago, when I sat with friends; we listened to that album in total awe; we discussed it endlessly and took it to school, proudly holding that red cover for all to see. They close with “Starless”. It is 9.30pm. The lights go on. We stand and clap, and cheer, and clap some more. The seven Crimson guys return. They still have not spoken. “Devil Dogs Of Tessellation Row” gives the drummers the opportunity to show their skills. Then Crimson are transformed once again into prog-gods who tell us the exquisite tale of “The Court of the Crimson King”. Finally, the dark fear of the “21st Century Schizoid Man” takes us through a wall of screaming discordant terror to a crashing squealing climatic end. Mind blowing stuff.
A note about my drive home. Are there roadworks and diversions every night across the entire country? I always seem to hit them. I have a detour through Scottish villages just north of the border; the A1 is closed near Dunbar. Home at 1am.
Setlist: Larks’ Tongues in Aspic, Part One; Red; Suitable Grounds for the Blues; Radical Action (To Unseat the Hold of Monkey Mind); Meltdown; The ConstruKction of Light; Level Five; Banshee Legs Bell Hassle; Pictures of a City; Epitaph; Hell Hounds of Krim; Easy Money; The Letters; Sailor’s Tale; Starless
Encore: Devil Dogs Of Tessellation Row; The Court of the Crimson King; 21st Century Schizoid Man
Posts Tagged ‘rock n roll’
21 Sep
King Crimson The Usher Hall Edinburgh 17th September 2015
20 Sep
Ian Anderson performs the rock opera Jethro Tull @ Sage Gateshead 13th September 2015
Ian Anderson performs the rock opera Jethro Tull @ Sage Gateshead 13th September 2015
Things come full circle. The touring band known as Jethro Tull seems to have been shelved, with Tull frontman and our manic flautist hero Ian Anderson touring under his own name, and Tull guitarist Martin Barre doing likewise. But Ian Anderson couldn’t keep away from the Tull moniker and concept for too long. So, as “a tribute to the original 18th Century agriculturalist” whose name the band borrowed back in February 1968, our hero has “imagined a scenario where the pioneering pursuit of improved crop-growing and farming methodology might apply to the world of today and tomorrow”. This led to the development of “Jethro Tull: the Rock Opera”, the delights of which Norm, Will and I experienced a few days ago at the Sage Gateshead. Anderson’s rock opera concept is this: take the story of the original farmer and inventor Jethro Tull and bring it up to date; tell that tale through the songs of Jethro Tull the band (and a few new ones written especially for the occasion), and create a theatrical stage show which takes the audience through the story. The show is very much just that; “a show” rather than a concert. The band provide the music, playing in front of a giant HD video screen. On the screen appear a cast of “virtual guests” who play the parts of Mr Tull and his family, narrate the story and sing segments of the songs. Anderson explains it thus: “Instead of spoken introductions to the songs in the show, there will be the use of that operatic device, the “recitative”, where the links are made by short sung vocal segments in a usually-simple musical backdrop”. So the songs are sung in part by Anderson live, and in part by virtual singers on the screen. The songs flow from one to the next with short video segments as bridges.
The show started at 7.30pm prompt. Parking problems made us a little late, and we had to wait outside until first song “Heavy Horses” was finished (“a suitable break in the performance”). The first half was around one hour and there was a short interval before “the show” resumed. How did it work? Very well actually. The video was high quality and the sequencing between Anderson and band and the virtual singers was faultless. Anderson’s voice may not be quite as strong as it was “back in the day” so the use of video allowed him some vocal rest, and gave welcome variety to the performance. However, I must say that Ian’s flute playing remains as excellent as ever, and his stage presence and antics are undiminished. The virtual sets were as you might imagine; we were transported onscreen to Preston station for “Cheap Day Return” and deep into the forest for “Song from the Wood”. Great Tull fun. Special mention to Unnur Birna Bjornsdottir whose vocals were exquisite and made for great reworkings of Tull classics, particularly “The Witch’s Promise” and Florian Opahle, whose guitar playing was tremendous. A very different and highly enjoyable Tull evening. Great to see old friend Doug and other fellow Tullites.
What next Ian?
Part 1: Heavy Horses; Wind-Up; Aqualung; With You There to Help Me; Back to the Family; Farm on the Freeway; Prosperous Pasture; Fruits of Frankenfield; Songs From the Wood
Set 2: And the World Feeds Me; Living in the Past; Jack-in-the-Green; The Witch’s Promise; Weathercock; Stick, Twist, Bust; Cheap Day Return; A New Day Yesterday; The Turnstile Gate; Locomotive Breath
Encore: Requiem and Fugue
The Musicians: Ian Anderson (flute, vocals, guitar), Florian Opahle (guitar), John O’Hara (piano; Hammond organ), Greig Robinson (bass), Scott Hammond (drums, percussion).
The (virtual) Players: Ryan O’Donnell (the younger Jethro, and Jasper son of Jethro), Unnur Birna Bjornsdottir (Susannah, wife of Jethro), David Goodier (Jethros’ father), Ian Anderson (Narrator and the older Jethro), John O’Hara (scientist and choirmaster).
11 Sep
Jerry Lee Lewis 80th Birthday concert Clyde Auditorium Glasgow 10th September 2015
Jerry Lee Lewis 80th Birthday concert Clyde Auditorium Glasgow 10th September 2015
Last night rock ‘n’ roll Legend Jerry Lee Lewis played his final UK concert, as part of his 80th birthday Farewell UK tour. The short tour included two dates, one earlier in the week at the London Palladium, and last night’s concert, which I attended, and which was at the Clyde Auditorium, Glasgow.
To be honest I wasn’t sure what to expect from this concert. The last time I saw Jerry Lee Lewis was at Newcastle City Hall 11 years ago. That night he played a very short set, probably around 30 minutes, and although he was on good form, he looked tired. I wondered how the great man would be, now that he is 80 (well he is actually 79, and 80 in a couple of weeks time). I had to go and see the legend that is Jerry Lee one last time. He is one of the reasons rock exists, and the last man standing from the originals.
The Palladium show sold out and reviews were good, with Robert Plant and Ringo attending. The Glasgow show had tickets left, to the extent that I received an email informing me that my seat had been reallocated “for production reasons” and that I would be given an upgraded seat on the night. What I suspect that meant was that the gallery, where I had bought my cheap seat, was being closed and that we were all being moved downstairs to make sure that the stalls and the circle were full.
I set off early to drive up to Glasgow, leaving around 2.30pm to be sure to get there on time. The traffic was fine, and I was at the venue around 6pm, giving me time to park the car and get my bearings. I had a short wait before the doors opened. I then joined a queue of fans who were also having their seats reallocated. I was given a seat half way back in the stalls. Result!
The promoter had assembled a strong supporting bill for the two concerts. There were so many acts I wondered whether it would work, which it did; in fact it all ran incredibly smoothly. The concert started at 8pm prompt. Compère and radio presenter Ally Bally was our host for the evening and he did a great job introducing the acts, hitting just the right balance of patter. DJ Mike Read had been compere at the Palladium and Ally Bally told us that he had been speaking to Mike about how well that concert went. Ally reminded us that this was a historic evening, encouraging us to “party” and to give Jerry Lee a great Glasgow welcome.
The first act was young Swiss pianist Ladyva, who warmed the audience up with two excellent boogie woogie numbers. Next on stage was Peter Asher of Peter and Gordon fame an the excellent Albert Lee on guitar, backed by the Elio Pace band. Peter and Albert did two songs. First was “Bye Bye Love” taking us back to the duo who started rock harmonies, the Everly Brothers, and then the Peter and Gordon massive hit “World without Love”. Both classic songs, played and sung perfectly, setting the tone for the evening. 
Peter left and Albert and the band were joined by legendary guitarist James Burton. Burton’s pedigree is impeccable; the man has played alongside Ricky Nelson, Frank Sinatra and, of course, Elvis, and is responsible for so many signature twang riffs. Their short set was around 6 or 7 songs and included “That’s Alright Mama”, “Hello Mary Lou” and “Tear It Up”. Wonderful classic rock’n’roll / country guitar. James Burton led on a slow instrumental; truly mesmerising stuff. Then everyone left and Jerry Lee’s band The Memphis Beats came on stage, along with Jerry’s sister Lynda Gail Lewis and her daughter Annie Marie Lewis. Lynda Gail is a rock’n’roll star in her own right and plays some pretty mean piano. She performed “Lets Talk About Us”, “Shake Rattle n Roll”, “Rip It Up” and “Good Golly Miss Molly”. She finished her set at approx. 9.15pm.
The concert continued at fast pace; no time for any intermission. A video was shown containing interviews with stars paying homage to Jerry Lee, his legend and his immense contribution to rock and roll: Johnny Cash, Carl Perkins, Kris Kristofferson, John Fogerty, Ronnie Wood, Chuck Berry, Sam Philipps of Sun, Willie Nelson; all with their own Killer stories to tell.
The moment the video finished Jerry Lee walked on stage, slowly and with a little help from an aide. We took to our feet, and as one stood cheering, applauding and shouting, making sure the Killer knew just how delighted we were to see him, and how honoured we were to be in the presence of the great man. What followed was a highly emotional, and at times almost unbelievable and surreal, experience. Jerry Lee’s performance was much much better than I witnessed ten years ago in Newcastle. His voice was strong; he sang in a low key, slowly, carefully. His piano playing was as fast and dexterous as ever. A video screen focused close-up on his face. I could see that he was concentrating; focussing on the words, his singing and his performance. But I could also see that he was smiling; genuinely touched by the warmth of the reception he was receiving from the Scottish crowd. Fans were dancing in the aisles; jiving, twirling and singing along. Fans of all ages; kids in their twenties and couples in their seventies. Old guys in full drape teddy boy gear.
The set was a mix of slow country ballads and classic rockers, some of Jerry’s own hits and several Chuck Berry songs. Of the ballads, I found Hank Williams “You Win Again” and Judy Garland’s “Over the Rainbow” particularly moving. Of the rockers, well they don’t come much better than “Great Balls of Fire”. After just short of an hour Jerry Lee closed with “Whole Lotta Shakin’ Going On”, which developed into a medley of “Mean Woman Blues” and “What’d I Say”. Then he suddenly rose to his feet, kicked back the piano stool with his heel; the Killer attitude is still there. The crowd cheered loudly, sensing that we were witnessing a special moment. Then he was gone, leaving the band to close the show. We stood applauding, each of us knowing that we had just witnessed a unique performance. It was 10.10pm.
I headed to the car park, then it was down the M74 to Carlisle and across to the north east. I was back home around 1.15am, thoughts of Jerry Lee still running through my head.
Setlist: Down the line; You win again; Drinking wine; She even woke me up; Sweet little 16; Memphis Tennessee; Over the rainbow; Before the night is over; Roll over Beethoven; Great balls Of Fire; Why You Been Gone so long; Whole Lotta Shakin/Mean woman blues/What’d I say (Medley)
26 Aug
The Tubes Brudenell Social Club Leeds 11th August 2015
The Tubes Brudenell Social Club Leeds 11th August 2015
Recently I’ve become very bad at keeping my blog up to date. I lost the momentum that I had when I was writing an entry a day. So apologies for the lateness of this entry.
Norm, Mick and I took a trip to Leeds a couple of weeks ago, our purpose being to reconnect with those crazy Tubes guys. For me, it had been many years since I had sampled the mad delights of our heroes; the last time I saw the Tubes was at Newcastle City Hall in the early 1980s. My two companions went to a Tubes gig 10 or so years ago, when they played Newcastle Academy.
The Tubes are a strange mix of classic rock, great musicianship, punk, vaudeville, shock-rock, camp and musical theatre. Their shows worked best as big productions, and I still have great memories of their first UK tour back in 1977, and their OTT Knebworth appearance a year or so later. The venue for this show was the excellent Brudenell Social Club. I wondered how their show would translate to a smaller stage and an intimate club setting.
We arrived in Brudenell in plenty of time to sample a local hostelry just along the road from the Social Club. As we entered the bar, who should we spot but Tubes drummer Prairie Prince. Norm wandered over for a chat, and Prince kindly signed his ticket from the City Hall 1977 concert. Mick and I joined them. Mick, being a drummer himself, holds Prairie Prince in the highest regard, declaring him his favourite drummer.
Today’s Tubes feature four members from the original band: Prince on drums, our hero and manic front man Fee Waybill on vocals, the excellent Roger Steen on guitar, and Rick Anderson on bass. The Brudenell was packed full of fans from all over the North; Norm ran into some mates from work.
The show started with a short instrumental piece. Soon our hero Fee made his usual dramatic entrance in a big raincoat and hat. I wasn’t sure if he was Frank Sinatra or a Chicago gangster. Actually, no he was Gene Pitney, and soon gave us an excellent rendition of “Town without Pity”. The set was classic Tubes, drawn from throughout their early albums. The show was as theatrical as ever. Of course they didn’t have the stage sets like back in the day, but Fee made up for it in terms of costume changes, facial expression and attitude. He soon became a convict in full striped uniform, and at one point sang through the bars of a small prison cell box which covered his head. Of course, it wouldn’t be a Tubes show without Fee in full outrageous bondage gear for “Mondo Bondage”. Not for the squeamish or the easily shocked. The show came to it’s crazy full-on mad climax with Fay being reborn as Quay Lewd and we all screamed along to “White Punks on Dope”. Classic stuff. We stayed back and got the band’s autographs. Norm took some pics, I will add one later…travelling at the moment. Happy days here again.
Setlist:Getoverture; This Town; Town Without Pity; Power Tools; Rat Race; Crime Medley; Mr. Hate; Amnesia; No Way Out; Life Is Pain; Mondo Bondage; Up From the Deep; What Do You Want From Life; Sushi Girl; Don’t Want to Wait Anymore; Drum Solo (Prairie Prince); Boy Crazy; White Punks On Dope
Encore: She’s A Beauty; I Saw Her Standing There; Talk to Ya Later; Third Stone From The Sun
15 Aug
“Tommy” with special Guest Roger Daltrey Whitley Bay Film Festival 1st August 2015
The Whitley Bay Film Festival presents “Tommy with special guest Roger Daltrey”
So Tommy, or rather Roger, came to Whitley Bay, the past home of many pinball arcades. And he watched the great 1975 movie with us. The Whitley Bay Film festival kicked off it’s sixth year of movie, culture, music and arts events with a very special 40th anniversary screening of Ken Russell’s and The Who’s classic film, Tommy. Roger Daltrey was in attendance for a conversation with music historian Chris Phipps and a question and answer session with the audience. The evening was introduced by festival patron Ian La Frenais.
Tommy is a dark, crazy, OTT ride through 1970s culture. It features a star cast of acting and musical royalty including Oliver Reed, Jack Nicholson, Elton John and The Who themselves to name but a few. The music is, of course, based on a reworking of the Who’s classic 1969 rock opera. I went along with Norm, and the two enjoyed the joys of the film all over again. We both saw the film when it was first released, but neither of us had seen it since then. I was surprise how current it seemed; its larger than life characters and images, iconography, pastiche reminding me to some extent of recent movies such as Moulin Rouge.
Leading up to the main film event, the festival team held a month long pinball tournament, which ran throughout July, and culminated in the final held in the foyer, immediately prior to the film screening. Our pinball champion was Matt Morrison of Whitley Bay, who was presented with his award by Roger Daltrey. After the movie we were all treated to a question and answer session with Roger, sat next to a lovingly restored pinball machine, and who admitted: “I’m the worst pinball player in the world.” Roger was introduced festival patron, comedy writer Ian La Frenais, originally from Whitley Bay and whose work with writing partner Dick Clement includes The Likely Lads and Auf Wiedersehen, Pet. Ian told us: “I had my first snog in this building”. Roger told several stories of the making of the film including how he was the target of a fire hose which left him “black and blue”, thrown in a cold bath and laid on an ironing board while Cousin Kevin tortured him. He also admitted “Ann Margaret was supposed to be my mother, but that was a tough acting job on my part.” A unique night and an opportunity to see a hero up close.
“That deaf, dumb and blind kid, Sure plays a mean pinball!” (Townshend, 1969).
31 Jul
Rufus Wainwright Whitley Bay Playhouse 8th July 2015
Well as well as being a tit man (at least according to his dad) Rufus Wainwright is also a pretty crazy, cheeky, funny guy. Oh, and he has some great songs too. Laura is a fan, and she was the main reason we were part of an attentive crowd who packed into Whitley Bay Playhouse for an intimate evening with Rufus Wainwright, as part of the Mouth of the Tyne festival. This was a solo show, Rufus alone with his grand piano, and sometimes on guitar, in great voice and on great form. The evening enjoyed visits from guests “Liza Minnelli” and “Judy Garland”. Yes both of them together! Actually they looked suspiciously like his sister Lucy Wainwright Roche (who was the opening act) and Patrick Duffy (one of the Rufus road crew). A couple asked for a picture and were invited on stage for group selfies during “Me and Liza”. Sister Lucy came back for the encore of “Pretty Things” and “Hallelujah” leaving Rufus alone to close the show with “Poses”. A great concert and great fun. I can see in Rufus some of the same zany humour which is characteristic of his dad, who would have been proud. I am starting to “get” just what Rufus is about, which Laura, of course, already knew.
Setlist: Beauty Mark; The Maker Makes; Vibrate; Grey Gardens; Out of the Game; Jericho; Want; Sanssouci; The Art Teacher; Sonnet 20; Les Feux d’Artifice; Schoenberg-style Improvisation; Me And Liza; April Fools; Gay Messiah; Going to a Town; I Don’t Know What It Is; Cigarettes and Chocolate Milk
Encore: Montauk; Pretty Things; Hallelujah; Poses
29 Jul
Grateful Dead “Fare Thee Well: Celebrating 50 Years of Grateful Dead” live screening event Empire Cinema Newcastle 6th July 2015
Grateful Dead live screening event Empire Cinema Newcastle 6th July 2015
“Fare Thee Well: Celebrating 50 Years of Grateful Dead”
20 years after their last concert, the remaining members of the Grateful Dead (Mickey Hart, Bill Kreutzmann, Phil Lesh and Bob Weir) returned to Soldier Field in Chicago for a historic performance. The four members were joined by Trey Anastasio (guitar), Jeff Chimenti (keyboards), and Bruce Hornsby (piano). The Dead reunited for a series of five concerts (3 in Chicago and 2 in San Francisco where it all started), which was entitled “Fare Thee Well: Celebrating 50 Years of Grateful Dead” and grossed an amazing $52.2 million in ticket sales. The Pay to View package, which included footage from the band’s Levi Stadium San Francisco shows (attended by 151,650 fans) and the Soldier Field Chicago shows (attended by 210,283 people). The collection of live broadcasts now holds the record for the largest syndication of a live music event ever. The Grateful Dead were, of course, formed in California in 1965 and rose to become one of the best-known bands of the psychedelic movement of the late ’60s. They were inducted into the Rock and Roll Hall of Fame in 1994 and have sold over 35 million albums worldwide. The last time the Dead played live together was in July 1995, just one month before the tragic death of the band’s lead guitarist and singer, Jerry Garcia. The demand for the reunion concerts has been incredible.
The final Chicago concert was screened at more than 250 cinemas across the UK on the evening of Monday 6 July, the day after the last ever Dead show. It was a delayed screening – a live broadcast was impractical, given the six-hour time difference between the UK and Chicago.
I went with Laura and Dale to watch the film and joined a small group of UK Deadheads who wanted to see the band “live” one more time. I have to admit being unsure what to expect. My only other live encounter with the Dead was when they played Newcastle City Hall in 1972, and I didn’t quite get what all the fuss was about. Well, we all really enjoyed the movie. The songs, as always in a Dead concert, progressed into extended jams, but were never boring. I even enjoyed the Drums solo, which was followed by a lengthy Space piece involving trippy electronic sounds and heavy use of theremin. You could feel the love and respect that the fans have for this band, and see how moved Phil Lesh and Bob Weir in particular were by the whole event. If this was really the end, it was a very fitting way to close the final chapter of the career of a band who have meant so much to so many people, and touched fans throughout the world.
Set 1: China Cat Sunflower; I Know You Rider; Estimated Prophet; Built to Last; Samson and Delilah; Mountains of the Moon; Throwing Stones
Set 2: Truckin’; Cassidy; Althea; Terrapin Station; Drums; Space; Unbroken Chain; Days Between; Not Fade Away
Encore: Touch of Grey
Encore 2: Attics of My Life
2 Jul
Fleetwood Mac Leeds Arena 30th June 2015
“The Mac is back” said Mick Fleetwood. And this time it’s the real thing. With the return of Christine McVie, Fleetwood Mac are running on full power again. I’d forgotten just how important Christine is to this band. I’d enjoyed seeing the four piece Mac (Stevie Nicks, Lindsey Buckingham, John McVie, Mick Fleetwood) over the past ten or so years, but the last time I saw this classic 70s line-up was way back ‘in the day’ on the Rumours tour. Christine’s return has breathed new life into the band. McVie and Fleetwood provide, as always, the perfect relentless beat; a canvas of rhythm on which Lindsey, Stevie and Christine paint their stories of angst, passion and lost love. Lindsey is the hyper dynamic egocentric child, screaming for our attention; annoying yet endearing himself to us through a series of excellent guitar solos and rock star poses. Stevie is the gypsy, the wild mysterious hippie rock chick. She is singing better than ever and morphs effortlessly from the witch Rhiannon, into the twirling mystical Gypsy still living the dream that started when she and young boyfriend Lyndsey supported Hendrix in the 60s, to the scary old Gold Dust Woman creeping around a dark stage. And Christine; so cool, calm and back with her friends, her family. I’d forgotten how many great song she wrote for Fleetwood Mac, many of which she sang for us. A great performance by a truly classic band
“A blistering two hour and 20 minute set from the classic (yes, that word is ENTIRELY appropriate) Rumours-era line-up elicits one of the most passionate responses I have seen from an audience in my life” (Yorkshire Evening Post)
Setlist: The Chain; You Make Loving Fun; Dreams; Second Hand News; Rhiannon; Everywhere; I Know I’m Not Wrong; Tusk; Sisters of the Moon; Say You Love Me; Big Love; Landslide; Never Going Back Again; Over My Head; Gypsy; Little Lies; Gold Dust Woman; I’m So Afraid; Go Your Own Way
Encore: World Turning; Don’t Stop; Silver Springs
Encore 2: Songbird
1 Jul
The Who Hyde Park London 26th June 2015
The Who Hyde Park London 26th June 2015
The Who. Hyde Park. London. 50 years. David, Shauna and I scrored some cheap tickets outside. It don’t get much better. We enter the park and catch the end of PUl Weller’s set. 65,000 people sing along to opener Can’t Explain and we are all off on our own Amazing Journey. The hits just keep coming: The Seeker, I Can See for Miles, The Kids are Alright, Pictures of Lily (for special guest Weller, Roger tells us). What happened to Substitute? Never mind; we can’t always get we we want. Pete is on top form, windmill arm twirling and swirling. Roger’s voice is strong; the songs still sound fresh even after all this time, particularly with the Hyde park choir helping them along. Roger and Pete seem genuinely pleased to be back home playing in London, just a few miles from where it all started. “We are the Mods” sing the old guys behind us. £22 for a bottle of Pino Grigio; are they having a laugh? Class visuals take us through Tommy and Quadrophenia, with lots of shots of Keith and the Ox. Won’t Get Fooled Again closes it, after which Pete and Roger spend quite a few minutes thanking everyone. 
We wait around but there is no encore (what happened to Magic Bus?). Musn’t be greedy. My 20th Who show, and if this really was the last time that I’ll see this great band, it was a pretty excellent show on which to finish my Who journey.
Setlist:I Can’t Explain; The Seeker; Who Are You; The Kids Are Alright; Pictures of Lily; I Can See for Miles; My Generation; Behind Blue Eyes; Bargain; Join Together; You Better You Bet; I’m One; Love, Reign O’er Me; Eminence Front; Amazing Journey; Sparks; Pinball Wizard; See Me, Feel Me; Baba O’Riley; Won’t Get Fooled Again
25 Jun
The Moody Blues Newcastle City Hall 22nd June 2015
The Moody Blues Newcastle City Hall 22nd June 2015
I foolishly passed the last couple of times that the Moody Blues came to Newcastle; so I figured that it was about time I made amends and caught up with them again. I’m pleased that I did. The set was similar to those that I’d enjoyed on past tours, but there seemed to be a new energy to the band. This went just old guys going through the motions; I could sense that they still enjoy playing. The sound was also sharper and clearer than in the past; I’ve attended a few Moody Blues concerts where the mix was murky, and it was difficult to pick out the vocals. Not this time. I could hear every word that Justin Hayward and John Lodge sang. Hayward’s guitar seemed louder and his playing more fluid than on previous occasions. It was also good to see Graeme Edge come to the front of stage and take the lead on Higher and Higher, with some nifty dad dancing and swift tambourine moves. Those songs from Days of Future Passed always get me. Tuesday Afternoon is just as powerful and classy as Nights in White Satin and it was good to hear Peak Hour. And a Moody Blues concert just isn’t complete unless they close with Question and encore with Ride My See-saw. Great to see them again.
“Cold hearted orb that rules the night, removes the colours from our sight. Red is grey, and yellow, white, but we decide which is right, and which is an illusion.” (The Day Begins, 1967).
Set 1: Gemini Dream; The Voice; Steppin’ in a Slide Zone; You and Me; Gypsy; Nervous; Say It With Love; Peak Hour; I Know You’re Out There Somewhere; The Story in Your Eyes
Set 2: Your Wildest Dreams; Isn’t Life Strange; Tuesday Afternoon; Higher and Higher; The Actor; I’m Just a Singer (In a Rock and Roll Band); Late Lament; Nights in White Satin; Question
Encore: Ride My See-Saw
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