Posts Tagged ‘rock’

13 Jan

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

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

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

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

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

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

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

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

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

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

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

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

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

1 Jan

The Cult 8424 Tour Newcastle City Hall Oct 30 2024

Posted by vintagerock in Death Cult, Jonathan Hultén, The Cult. Tagged: , , , , , .

It is some time since I saw The Cult live. In fact it is almost 40 years! How time flies and it does not seem that long ago. The NE1 site said of the concert: “Commemorating their 40th anniversary, The Cult arrive at Newcastle’s O2 City Hall with the ‘8424 Tour’! Expect to hear tunes from their 11-album discography with this celebration of their groundbreaking music and undeniable influence in the industry.” 11 albums. Wow!

The announcement was made thus: “The Cult have announced details of a UK tour, which will celebrate their 40th year as a band. Announced today, the shows are set for later this year and will see the iconic ‘80s rock group perform in 10 cities across the country. The dates come in celebration of a huge milestone for Ian Astbury and co., as this year marks four decades since the band formed as we recognise them today – swapping their name from the original title ‘Death Cult’ into ‘The Cult’.” But first, let me reminisce.

I have seen The Cult twice before. The first was at Redcar Coatham Bowl when the band were morphing from Southern Death Cult to the cult, the band at the time were known as Death Cult. The second time was when they had fully morphed into The Cult as a full electric band. I also saw Ian Astbury “playing” the part of Jim Morrison in a later incarnation of The Doors. Sadly, at the time I was not writing a lot on each concert and running one into another. This was because I was trying to catch up and record all of my past concerts . It took me five years, getting up one hour early before work every day and doing one entry each morning.

My blog entry of the time says: Death Cult Redcar 1983 and The Cult Newcastle 1985.
Ian Astbury is an interesting and impressive guy. He was born in Liverpool, lived for some time in Canada, and discovered music through The Doors, punk and Crass. I first became aware of him in Southern Death Cult, first saw him live in Death Cult, and then in the later incarnation of the band, The Cult. My first encounter with Ian Astbury was in the Death Cult, at Redcar Coatham Bowl in 1983. Ian was sporting a painted face and bandanna, strutting his stuff to the goth / new wave music of this post-punk supergroup, which he had formed with Billy Duffy from Theatre of Hate. Pretty impressive stuff, but just a taste of the rock splendour that was to follow a couple of years later.

The next time I saw The Cult in concert, they had transformed into a fully-fledged rock band and were touring to support the Love album. “She Sells Sanctuary” had been high in the charts for a number of weeks, and their new single “Rain” had just been released. Ian was now very much the heavy rock god. I remember being particularly impressed by Ian’s performance and by Billy Duffy’s guitar playing that night. I had a seat pretty close to the front and recall that the gig was very LOUD; my ears were ringing for some time after. “Love” and the follow-up “Electric” are both great albums, the former more psychedelic rock, and the latter much more hard-rock oriented. The City Hall concert was pretty electric, and the band went on to tour the USA to new phenomenal success.

The next time I saw Ian he was fronting The Doors (of the 21st Century) at Manchester Arena in 2004. The line-up of this incarnation of The Doors was Ray Manzarek – keyboards, vocals; Robby Krieger – guitar, vocals; Ian Astbury – lead vocals; Ty Dennis – drums, percussion; Angelo Barbera – bass guitar. Drummer John Densmore declined to take part in the project and sued the other band members over their use of the name. I had mixed views about going to the gig. The last time I saw the band (1972) Ray and Robby took vocal duties and the set was largely new material. The picture, courtesy of Wikimedia Commons, shows the line-up of The Doors that I witnessed in 1972.

This time it was clear that the set would be classic Doors and Ian was almost mimicking Jim Morrison. I wasn’t sure how I would feel about that, and how appropriate it was. However we (I and my son David) did attend, out of interest as much as anything. The 20,000-capacity venue was nowhere near full, I would say it was a quarter full if that. We had great seats a few rows from the front. There was no support act, and the band were onstage for a couple of hours, the set consisting of a selection of Doors classics. One disappointment for me was that they didn’t play “Riders on the Storm”. Picture of Jim courtesy of Wikimedia Commons.

But putting that aside, this was a great gig, which Ian carried off well. He looked like Jim, was dressed like him, and must have studied videos of his movements. As a massive Jim Morrison fan, Ian must have been in his element. We had many of the old songs, a psychedelic light show, and a band with two original members. It was just great and made me realise how amazing The Doors must have been in the day.

And so we move to the current day and The Cult 8424 Tour at Newcastle City Hall 2024
The support act was very weird. He was a guy called Jonathan Hultén, who was the original guitarist of the Swedish death metal band Tribulation. He was dressed with some very strange sort of cone above his head. At times he disappeared into a bizarre looking tent. This is the best I can describe it (have a look at the images). His website read: “Building on the haunting beauty of his 2020 debut album Chants From Another Place, Swedish songwriter Jonathan Hultén returns today with news of his highly-anticipated follow up Eyes Of The Living Night, set for release on 31st January 2025.”

“While going through this trial, you also discover hidden treasures along the way—important emotions and insights—that help guide you on your path through the seemingly endless night. When you finally reach the burning candle at the heart of the labyrinth, you realize that all along you were on a quest to find all those hidden treasures, and that they actually were things you had once lost—namely, parts of yourself.” It was clear that the guy was trying to take us on some sort of spiritual journey, but more of that later. I found him strange, intriguing, entertaining in terms of his performance art and his music. A great introduction to another spiritual journey.

Guitarist Billy Duffy said of the new tour: “Following up from the great energy of Death Cult 8323 shows, I’m looking forward to bringing that sense of celebration of the band’s music, and the communion with our fans, to Cult 8424. CFFC. Let the ceremony commence!”

And ceremony was the right term to describe the event. This was a coming together of the electric and Goth tribes, to a ceremony which celebrated the life of an iconic band. I did not realise just how much The Cult fans idolised this band until this concert. The City Hall was absolutely crammed, and Jackie and I were perched high above the crowd looking over the proceedings. It seemed that everyone was dressed in black, and the majority appeared to be what, one would term, Goths.

And, it seemed like Ian Astbury had morphed back into their Death Cult days. Ian was wearing a bandanna and black tunic which was almost like a Gothic dress with a short skirt. See the pictures and you will see what I mean. Billy Duffy remains the consummate electric guitarist. These two original members swirled through their back catalogue. The lighting was dark, sometimes red, sometimes blue. This had become a spiritual gathering of the clans and a celebration of the music of The Cult from 1984 to 2024, hence 8424, spanning 40 years and matching the period since I last saw the band. The crowd went crazy.

To be honest, many of the songs were unfamiliar to me. “Sweet Soul Sister” was familiar and reminded me of the 1984 tour when I saw glimpses of Black Sabbath and Led Zeppelin coming through the performance. If you look at the titles of some of the other tracks that they played you can see the sort of vibe that this band carries with them: “The Witch”, “Lucifer”. Say no more. By the time The Cult reached the encore we were back on familiar territory. The closing song just had to be “She Sells Sanctuary”. The crowd went absolutely crazy. Nuts. This band is magical and crosses the territory between pure Goth and electric heavy rock.

By the way does anyone who reads this blog know what Billie Duffy means by “CFFC” which he uses in the quote above? This keeps bugging me! Many thanks to Jackie for the photos, and Chris for manipulating the site. Oh, and I treated myself to a signed poster (see image) which was rather expensive as I recall, perhaps £75? What the hell. Well worth every penny.

Setlist: In the Clouds; Rise; Wild Flower; Star; Mirror; The Witch; The Phoenix; Resurrection Joe; Edie (Ciao Baby); Sweet Soul Sister; Lucifer; Fire Woman; Rain; Spiritwalker; Love Removal Machine.
Encore: Brother Wolf, Sister Moon; She Sells Sanctuary.

31 Dec

The Pretenders The Glasshouse Gateshead Oct 17 2024

Posted by vintagerock in Chrissie Hynde, Pretenders. Tagged: , , , , , , , .

“I’m special, so special” (Brass in Pocket, The Pretenders, 1979)

and that is oh so true of the legend that is Chrissie Hynde. Chrissie Hynde and The Pretenders are synonymous and are, in fact, one and the same today.

From The Glasshouse site: “Unmistakable. Timeless. Female fronted force. Rock icons The Pretenders are opening their 2024 UK tour here at The Glasshouse on Saturday 24 February. Off the back of their latest album Relentless, The Pretenders have been blowing away crowds with their high-energy sets. Their recent sold-out club shows were described as “iconic” (Evening Standard) and “outrageously good” (Louder Than War).

The new songs shine alongside classics in an inspiring display of longevity. With surprise Glastonbury performance featuring special guests Johnny Marr and Dave Grohl, them joining Guns N’ Roses at London’s BST Hyde Park and a spectacular UK homecoming at BBC Radio 2 In The Park in front of 35,000 fans in Victoria Park, Leicester, The Pretenders prove they still rock as hard as ever. Don’t miss the chance to see these Rock and Roll Hall of Fame inductees bring their rebellious, crowd-rousing spirit and enduring songbook to The Glasshouse stage.” “persistently brilliant songwriting … surely how Chrissie Hynde always wanted The Pretenders to sound”. MOJO. “as sharp as ever, with new songs stealing the limelight from classic hits”. The Guardian.

I have seen The Pretenders many times before. My blog memories are below. This turns into quite a marathon tour of Pretenders concerts over the years for which I apologise. However, what the hell, I think it is important to give some context to my overall memories of an excellent sassy lady and her evolution through different versions of her band.

The Pretenders Newcastle gigs 1979 – 1981
Chrissie Hynde moved to London from the USA in 1973, finding work at the NME and at Malcolm McLaren and Vivienne Westwood’s clothes store. She became involved with the early punk scene, and hung around with the Pistols, The Clash and The Damned. She had a few short-lived bands and then formed the Pretenders in 1978 with Pete Farndon on bass, James Honeyman-Scott on guitar, and Martin Chambers on drums. They released a cover of The Kinks “Stop Your Sobbing” in 1979, followed by the great “Kid”. It was around the release of “Kid” when I first saw the Pretenders on 3rd August 1979 at Newcastle Mayfair.

The Mayfair was a big heavy metal haunt, and the audience would give punk and new waves bands a hard time. The Pretenders were no exception, and they faced an onslaught of beer glasses. If I remember right, Chrissie Hynde put on a brave front arguing with the hecklers, but they eventually abandoned the gig, soaked with beer. Nonetheless, they played a great set and left me wanting to see them again. In January of 1980, the Pretenders hit No 1 in the UK charts with “Brass in Pocket”. On 8th February 1980 I saw them play to a packed, sold out, Newcastle Polytechnic.

They gave a storming performance, and Chrissie was simply amazing. This remains the best time I have seen them in concert, and a gig that sticks in my mind as something pretty special. It was one of those nights where you felt that you were seeing a band on the verge of the big time, they knew it, we knew it and the atmosphere was electric; I think they may have been No 1 the week of the gig. From there on the next couple of visits to Newcastle were to the City Hall; on 6th October 1980 with (Swords of 1000 men) Ten Pole Tudor as support and again on 30th November 1981. The Pretenders were a great live act; Chrissie all swagger, tunes with great hooks, and a sense of their ’60s pop roots blended with punk and new wave. By the end of 1982 both Pete Farndon and James Honeyman-Scott had died from drug overdoses, and it seemed that the band would be no more. However they were to regroup in 1983 and were back at the City Hall in 1984.

The Pretenders Newcastle City Hall 1984
The Pretenders regrouped in 1983 with original members Chrissie Hynde (guitar and vocals), and Martin Chambers (drums). They were soon back in the UK charts with “Back on the Chain Gang” and “2000 miles”. By the time I saw them in concert at Newcastle Hynde and Chambers had been joined by Malcolm Foster (bass) and Robbie McIntosh (guitar). The line-up was professional, and the concert good, but I felt some of the rawness of the original band was lacking. However, Chrissie Hynde remains an engaging performer to this day. I next saw the Pretenders when they supported Rod Stewart at St James Park Newcastle in 2007. It was then 10 years before we met again. Time flies in the life of a rock ‘n’ roll concert follower.

The Pretenders Newcastle City Hall 2017
Laura, Jackie my carer and I went along to the City Hall looking forward to hearing a string of hits, some great rock ‘n’ roll, and seeing the living icon that is Chrissie Hynde. The girls sitting beside us were a little worse for wear, singing along with every song and every now and then threatening to fall on top of, and flatten, Laura. All the ingredients for a fun night out, on the town (or should I say “the toon”). And a fun night it was. The Pretenders treated us to a set of new songs, old hits, Chrissie Hynde solo tunes and more. After a couple of songs I didn’t recognise the old classics started to emerge: “Message of Love”, the exquisite “Talk of the Town” and then we were back to the start and “Kid” with images of the young Chrissie being soaked in beer thrown over her by members of the crowd at the Mayfair in the late 70s flashing through my mind.

The band may be different with only Hynde and drummer Martin Chambers remaining from the original Pretenders, but the sound and the songs remain the same. The new members bring new life and continue the soulful, edgy, rock ‘n’ roll that is The Pretenders. “Don’t Get Me Wrong” was followed by “I’ll Stand by You” and then after a few more songs my mind was flashing back again to the first time I saw the band in the Mayfair with the Kinks classic “Stop Your Sobbing”. “Back on the Chain Gang” took us towards the end.

But we knew it wasn’t really going to be the end. The encore included the classic ballad “I Go to Sleep” and finished with (of course, what else but) “Brass in Pocket” taking me back to the Friday night in Newcastle Polytechnic Students Union, the week the song was number one in the charts, standing on the tables with Marie, while the place erupted around us. It was so many years ago and yet in many ways it seems only like yesterday. The girls next to us finally fell on the floor. 

The Pretenders The Cluny Newcastle 2023
Wow! Sometimes there are gigs where everything comes into place, and you have an unforgettable evening. Well this was one such occasion. The Cluny is a tiny pub venue in Newcastle. It cannot hold more than a few hundred people. So when the Pretenders announced that they were playing some intimate gigs and one of them was the aforementioned Cluny I just had to go along. The tickets sold out in minutes, if not seconds. I was lucky enough to score one for myself and a companion, who turned out to be Elaine, and who also took some great photos. We arrived around 8:10 PM. The Pretenders were due on stage at 8:30 PM. So we were just in time to squeeze through the tiny door which gained us entry into the concert room at the back of the pub.

We came into the concert part and were faced with a jampacked room, filled with a sea of people. We couldn’t move and couldn’t see a thing. Now usually I don’t take advantage of being in a wheelchair. But this was one occasion I broke my rule and used my disability to my advantage. I slowly moved forward asking people to let me through to the front. Slowly but surely, everyone was so kind, and I reached a spot almost at the front of the crowd, one person between me and the stage. I had a wonderful view of everything. Thank you so much Cluny crowd! Elaine followed nervously behind me. I asked her to go to the bar and get me a drink and a T-shirt. “I can’t possibly move at all” she explained “and if I do get to the bar there is no way I can get back!” And she was right. We were completely crammed in and could not move at all.

The entire venue was completely full and there was no room to move anywhere. Wonderful. It felt just like the old days when I was used to being crammed down close to the front. 8:30 PM. The band come on stage. Chrissie is just in front of me and looks just great. This lady is 71 years old and looks just wonderful. She is the archetypal rock chick in thigh length black leather winklepicker boots, jeans, and a black shiny leather jacket. She sounds great and the new band she has assembled are excellent musicians.

The advertising for the show told us that there would be no hits. But as I said, sometimes magic does happen and four songs in we get “Kid”. A meltdown moment. Tears in my eyes. And a mix of great rock ‘n’ roll and hits follows. But the evening gets better. Chrissie Hynde spots me and asks the people in front of me to move aside so I can see. “Are you okay? Can you see?” She says to me. I told you it was one of those evenings. Chrissie Hynde talking directly to me. I tried to mouth back “do you remember playing the Mayfair?” But she can’t hear me.

So we get “Back on the Chain Gang”, “Talk of the Town” and “Don’t get me Wrong”. All played at full volume, with great raspy vocals from Chrissie. At one point she asks, “did any of you see the New York Dolls?” A big cheer. “And Johnny Thunders. He’s dead now. But so is everyone these days.” Says Chrissie. “We could play arenas if we wanted to, but we want to come back and play little venues. We are losing a f***ing fortune!” Chrissie also talks about the Grammys: “what happened to real music and great rock ‘n’ roll?” More rock ‘n’ roll follows. And then they are gone.

They play three encores. It is 9:50 PM. A member of the crew gives me a set list. Everyone is so kind. Thank you, Chrissie, for a wonderful evening. Special things happen every now and then. This was one of them. We wander out of the venue not quite believing what we have just witnessed. Elaine loved it and so did I. Proper rock ‘n’ roll in a small venue. And so close to the band. And Chrissie spoke to me and looked after me! As I said magic does happen now and then.

And so have we are in 2024, in the much staider venue of the majestic Glasshouse, only a year after being crammed into that magical night at the Cluny. Chrissie looks just great, a little older, but very much the same sassy lady that I first witnessed all those years ago. The set comprises old and new, but the old ones are, at least for me, the best. So, after a few unfamiliar tunes, the years rolled back to “Talk of the Town” and, yes, right back to the very start (I’m in the Mayfair again) and “Kid” still as jangly and soulful as ever.
A few songs on and we get “Back On the Chain Gang” and “Don’t Get Me Wrong”. Both magic.

Then a surprise, Chrissie does her own take of Grace Jones’ “Private Life” and pretty good it is too. The first encore starts off with the sublime “I Go to Sleep”. Finally the evening closes with (what else but) “Brass in Pocket”. Chrissie still has “it” (whatever “it” is) in droves. Thank you for coming with me on my short tour of Pretenders gigs over the past 45 years. “Who Knows Where the Time Goes?” (Sandy Denny, 1966). Many thanks to Jackie for the photographs and to Chris for manipulating the site. Images come from my own collection and Wikimedia Commons.

The 2024 Setlist: Losing My Sense of Taste; A Love; Accountant Daddy; Talk of the Town; Kid; Hate for Sale; The Buzz; My City Was Gone; The Losing; You Can’t Hurt a Fool; Back on the Chain Gang; Don’t Get Me Wrong; Private Life; I Think About You Daily; Biker; Thumbelina; Night in My Veins; Time the Avenger; Junkie Walk; Let the Sun Come In.
Encore: I Go to Sleep; Precious; Middle of the Road.
Encore 2: Brass in Pocket.

29 Dec

Paul Weller The City Hall Newcastle 24 October 2024

Posted by vintagerock in Jam, Liam Bailey, Paul Weller, Style Council. Tagged: , , , , , , , , .

Paul Weller, the Modfather himself, brought his unrelenting energy and trademark swagger to Newcastle City Hall. The night was a masterclass in blending rock, postpunk and acoustic brilliance and was a testament to his legendary career.

I first experienced Weller way back in the days of The Jam. My blog entry of the time jogs my Memory (At Least A Little): “The Jam 1977 And 1978. When We Think Of Late 70s Punk Rock, We have a certain image of safety pins, spitting, the pogo, and fast furious rebellious rock. In reality the punk scene was a pretty broad church, which drew from a wide range of influences.

The Jam burst onto the scene in 1977, blending mod, sharp suits, with attitude, arrogance, and great catchy pop songs. They had obviously been influenced by, soul, R&B, The Who and Small Faces and you could tell that lead singer and guitarist Paul Weller was a huge fan of Steve Marriott and Pete Townshend.

I attended a few early Jam concerts in the Northeast, at Newcastle Mayfair and at Sunderland Seaburn Hall. These gigs were pretty wild affairs with Weller and the guys having to dodge a hail of glasses (and they were real glass in those days, not plastic) and waves of spit.

The Seaburn Hall gig (see postcard of Seaburn which I recently purchased on eBay, Seaburn Hall is top left) was particularly ferocious; it was attended by a group of skinheads (“We hate punks”) who were looking for trouble and there were several scuffles. The Jam set in those days drew from their first album, their early singles, and a nifty cover of the Batman them closed the show. They were a breath of fresh air, and it was evident even at those early gigs, that this was a band that stood above the rest and would ultimately transcend the punk movement.

By 1978 The Jam had graduated to playing Newcastle City Hall (see ticket above), a venue that would be host to some great Jam gigs over the next few years. I also saw them headline the Friday night of the Reading festival in the same year. Sample Jam setlist from 1978: The Modern World; London Traffic; I Need You (For Someone); The Combine; Aunties & Aunts; Standards; Here Comes the Weekend; Sounds From the Street; News of the World; London Girl; In the Street, Today; Bricks and Mortar; In the City; In the Midnight Hour; Carnaby Street; All Around the World.” Thanks to Wikimedia Commons for the picture of the Jam in concert at Newcastle City Hall in 1982, a concert which I almost certainly attended.

I saw Paul many times after those early performances including further Jam concerts at Newcastle City Hall, their farewell tour at Whitley Bay Ice Rink (the first concert at that cavernous, cold venue), and when he formed The Style Council (see my recent purchase of the single “Ever-Changing Moods” by the Style Council) including momentous performances at Live Aid and as part of Red Wedge, which Paul founded with Billy Bragg.

The tour was to mark the release of Paul’s latest album 66 which is his 17th solo album and was released on Polydor Records on 24 May 2024. The artwork was by Sir Peter Blake, who designed The Beatles’ Sgt Pepper’s LP all those years ago, again demonstrating Paul’s 60s influences. 66 is named partly for his age at release and partly, he claims, for 1966 – the year that produced much of the music that fired him up in the first place. (From Newcastle University website).

Such memories swirl around my head as I go to see Paul Weller again. It has been some years since I’d last seen Weller live; his arena tour in 2009 to be precise. So, I figured it was about time to see him again. Supporting Paul was Liam Bailey an English singer-songwriter from Nottingham. Liam is noted for his soul, reggae, and blues-influenced vocal style. He was an excellent opening act, warming the crowd up for the main man. Paul Weller kicked off the evening with “Cosmic Fringes”, and “That Pleasure”, Weller wasted no time, igniting the crowd and reminding us all what a great performer he still is.

Backed by his excellent band, he smoothly moved through an eclectic mix of music from his solo work, Style Council hits and even provided a nod to his Jam days. The audience erupted during “Start” and “Shout to the Top”, songs that remain as anthemic as ever! Midway Weller softened the pace with poignant renditions of “Broken Stones” and, later “Wild Wood”; his voice strong, filling the hall with warmth. The audience were captivated as they were taken through the depth and breadth of his career.

During the encore, the energy reached an all-time high. “That’s Entertainment” and “Town Called Malice” had the entire hall on their feet, singing every word as one. I was reminded of all the times I’d seen The Jam, and, for a moment, it felt like no time had passed since those days. Indeed, leaving Newcastle City Hall that evening, it was clear to me that Weller continues to be a great live performer and remains a true rock ‘n’ roll legend.

He is a world class act through and through. In many ways he carries his mod colours loud and proud; the 60s, Small Faces, The Who and my own particular hero Steve Marriott resonate throughout his every move and sinew. Class indeed. Many thanks to Jackie for the photographs, along with Laura for helping complete the entry and Jan and Chris for navigating the site.

Setlist: Cosmic Fringes; That Pleasure; Soul Wandering; My Ever-Changing Moods; Have You Ever Had It Blue; All the Pictures on the Wall; Headstart for Happiness; Above the Clouds; More; Stanley Road; Glad Times; Village; Hung Up; Shout to the Top!; Start!; Broken Stones; Nothing; Jumble Queen; Out of the Sinking; Into Tomorrow; Peacock Suit.

Encore: The Changingman; Porcelain Gods; You Do Something to Me; Wild Wood.
Encore 2: That’s Entertainment; Town Called Malice.

27 Dec

Maximo Park The Fire Station Parade Ground Sunderland 31 August 2024

Posted by vintagerock in Maximo Park. Tagged: , , , , , , , .

I have seen Maximo Park several times in the past. Although I can’t claim to know many of their songs, I always enjoy their performance. They are entertaining, full of rocky energy and Paul Smith is the consummate front man, resplendent in bowler hat (or something similar) and leaping all over the stage.

It was great to see them again in my local venue The Fire Station, outside in the Parade Ground when I recently saw Inspiral Carpets. When I arrived, with Jan, The Fire Station had very kindly reserved a table for us with a splendid view of the stage. Thank you very much, lovely treatment from my favourite local venue.

 

The Fire Station announced the show: “We’re delighted to host indie rock icons Maximo Park for a very special show in The Parade Ground as part of The Fire Station’s Summer Parties season. Like their friends and neighbours, The Futureheads and Field Music, Mercury Prize-nominated Maximo Park craft smart, sharply catchy songs inspired by post-punk and new wave legends like The Jam, XTC, Wire, and The Smiths.”

Once again Maximo Park did not let me down. It was great seeing them outside on a lovely late summer evening. As referred to above, these local legends are massively popular in the north-east, coming originally from Newcastle. They soon recruited Paul Smith from Stockton on Tees as singer: “When he first joined, we didn’t know if he could [sing]; just that he was a lunatic jumping around in a suit, it felt like the last piece of the jigsaw”. (From Wikipedia). He has certainly done them proud and has become the focal point for their live performances.

This was another important, and ultimately triumphant, concert for the band. The first time that I saw them at such an important concert was when they played at Newcastle City Hall, a large venue and a right of passage for any local band entering the “big time”. I wrote the following about that concert.

This concert was a big deal for Maximo Park. Their Facebook page proudly declared “everyone has played Newcastle City Hall: Bob Dylan, the Beatles; and now we are playing there”. The concert had sold out quickly: a hometown show with the added attraction that the band were showcasing their excellent debut album “A Certain Trigger” in full was bound to be a big draw. Laura was really excited about going but sadly came down with flu on the night of the concert, so along I went to the City Hall on my own.

Maximo Park exploded onto the stage to a big loud and friendly roar from the home crowd. The set was one of two halves, opening with 11 tracks drawing from across their career, starting with “Girls who play guitar”. This was followed by a performance of all 13 tracks from “A Certain Trigger”. Ten years on the songs from the first album sound as fresh and modern as ever. The crowd loved it, and you could see how much the band enjoyed the night, and how keen they had been to grace the City Hall stage.  A great performance from a local band who maintain a loyal and strong following.

Roll on to 2024. Paul remains as always. Full of energy, singing a set of songs that were very familiar to the audience. Everyone was singing along and appeared to know every word! An impressive performance by a magnificent local band. I bought a signed album (pictured). Many thanks to Jan for the photographs and Atlanta for manipulating the site.

Setlist: The Coast Is Always Changing; Girls Who Play Guitars; The End Can Be as Good as the Start; All of Me; Leave This Island; Hips and Lips; Quiz Show Clue; Questing, Not Coasting; I Want You to Stay; The National Health; The Kids Are Sick Again; Going Missing; Risk to Exist; By the Monument; What Equals Love?; Favourite Song; Our Velocity.
Encore: Versions of You; Books From Boxes; Apply Some Pressure.

24 Dec

Steve Hackett Glasshouse Gateshead 19 October 2024

Posted by vintagerock in Genesis, Steve Hackett. Tagged: , , , , , .

Steve Hackett’s 2024 tour celebrated 50 years of the iconic Genesis album The Lamb Lies Down on Broadway. The Glasshouse website stated that “Alongside his outstanding touring line-up of Roger King (keyboards), Nad Sylvan (vocals), Jonas Reingold (bass, backing vocals), Rob Townsend (saxophone, flutes, additional keyboards), Craig Blundell (drums) and special guest, Amanda Lehmann on guitar and vocals. Hackett will perform Lamb highlights plus Genesis classics and solo gems.” So, as a long-standing Genesis fan, I decided to go along and see him.

Hackett delivered a spectacular performance. The show was in two parts. The first part focused on Hackett’s solo material. Joined by his brilliant band, Hackett opened the evening with solo pieces “Every Day” and “A Tower Struck Down”. His guitar playing held the audience spellbound, his dexterity mesmerising. It was a testament to the versatility of the instrument and, the first half of the show symbolised Hackett’s status as a legend of guitar playing.

The second half of the show was what I’d been most keen to see. Hackett dedicated this section to Genesis classics. “The Lamb Lies down on Broadway” and “Carpet Crawlers” took us all back in time. Hackett’s intricate playing breathed new life into these old favourites. The highlights for me were the haunting, magical “Dancing with the Moonlit Knight” and the soaring instrumental beauty of “Firth of Frith”.

I saw the original Lamb lies Down on Broadway tour at Newcastle City Hall in 1975. At the time I wrote on my blog: Always listen to the album before you go to the concert. That is a piece of advice I keep giving to myself, but I often don’t follow. It was never truer than in this case. It had been a couple of years since I last saw Genesis, and I was interested to see their new production for the new album The Lamb Lies Down on Broadway.

I’d read the reviews but hadn’t heard the album (you see; mistake). For some reason, I hadn’t bought a ticket for this tour, but when Genesis reached Newcastle City Hall, I decided to go along on the night and try to buy a ticket. I managed to do so, purchasing a ticket for a little more than face value from someone outside the venue.

My seat was pretty near the back, but hey I was in! I knew what to expect; the set was the entire new (double) album played in sequence to tell the story of Rael and was their most theatrical show to date. Peter Gabriel really excelled himself in terms of his performance and in costume changes, the most spectacular and outrageous of which was the Slipperman who was covered in terrible growths.

The concert was incredible as a piece of theatre, however having not heard the album, I found it difficult to follow at times. Even to this day, I don’t fully understand the story or know many of the tracks; and I do have a copy now. My favourite is of course “Carpet Crawlers”. My memory tells me that they came back at the end and encored with “The Knife”, but published setlists tells me that it was likely to have been “Watcher of the Skies”, “The Musical Box”; or both.

Roll on almost 50 years to 2024 and as the last notes of “Los Endos” rang out, the audience erupted into applause. We’d all witnessed an evening celebrating one of prog-rock’s finest. Steve Hackett remains an absolute master of his craft. I wish that he had closed with “The Knife” as Genesis did back in the old days, but hey you can’t have everything. A beautiful reminder of an era sadly passed. Thank you, Steve, for helping us to relive our old memories and of happy, happy days.

I treated myself to a programme, signed LP, and signed drum skin. Class. Many thanks to Jackie for taking the photos and to Laura and Chris for helping with the blog entry and manipulating the site.

Setlist: People of the Smoke; Circo Inferno; These Passing Clouds; The Devil’s Cathedral; Every Day; A Tower Struck Down; Basic Instincts; Camino Royale; Shadow of the Hierophant.
Lamb Highlights: The Lamb Lies Down on Broadway; Fly on a Windshield; Broadway Melody of 1974; Hairless Heart; Carpet Crawlers; The Chamber of 32 Doors; Lilywhite Lilith; The Lamia; it; Dancing With the Moonlit Knight; The Cinema Show; Aisle of Plenty.
Encore: Firth of Fifth; Drum Solo; Los Endos / Slogans / Los Endos.

15 Dec

Walter Trout plus special guest Laura Evans The Glasshouse Gateshead 18 October 2024

Posted by vintagerock in Laura Evans, Walter Trout. Tagged: , , , , , .

On 18th October, the Glasshouse in Gateshead was the place to be for blues enthusiasts, as the legendary Walter Trout took the stage, with support from Laura Evans. The evening was a masterclass in blues guitar and soulful vocals, with both artists delivering performances that resonated deeply with the audience.
The Glasshouse website announced the concert: “Hardy. Hearty. Healing blues music. Resilient blues-rock phenomenon Walter Trout rides a creatively formidable wave. He heads into 2024 with Broken an album that’s raucous, wild and poignant. It features appearances from powerhouse singer Beth Hart, Twisted Sister’s Dee Snider and Harmonica virtuoso Will Wilde. It comes out on March 1 via Provogue / Mascot Label Group.”

“All of us are broken. But no one’s beyond repair- a philosophy that Walter Trout’s lived by during seven volatile decades at the heart of America’s blues-rock scene. Even now, with the world more fractured than ever – by politics, economics and social media – the fabled US bluesman’s latest album, chronicles the bitter schisms of modern life but refuses to succumb to them. In Broken some of Trout’s most raw and bruised songs of his career lie. Still, hope leads the way with the notion that music can help us overcome brokenness – one note at a time.”

This was my first encounter with blues man Walter Trout, although I had been meaning to see him for some time. My friend John encouraged me to go along and see the guy. John is a big fan and has seen him several times in the States. And I was glad that I finally took the plunge and went to see Walter Trout perform.

Laura Evans opened the event with an impressive set that showcased her powerful voice and emotive songwriting. Her ability to blend contemporary themes with a classic blues sound set the tone for what was to come. Then came Walter Trout, whose decades long career has cemented him as a true icon of the blues. From his first notes of his opening track, “I Can Tell”, it was clear that Trout was here to deliver nothing less than an authentic blues performance. His signature guitar and roaring, heartfelt vocals energised the crowd, many of whom were up on their feet from the start.

Trout’s set was a journey through his classic back catalogue of blues standards and newer material. It displayed his incredible skill as a guitarist and his deep connection to the blues. Highlights included the fiery “Wanna Dance” and the emotional “Say Goodbye To The Blues”. The crowd erupted during “All In This Together” a song that speaks to the resilience and unity of the human spirit.

Trout told lots of tales about his life, which has been pretty tragic, partly as a result of his alcohol and substance addictions. The guy really opened up his soul to us. And the audience were entertained throughout. At the end of the performance Trout explained he had just seen Rory Gallagher’s famous Stratocaster sold for thousands (or was it millions?) in an auction.

From the Rory Gallagher website: “Brilliant news, Rory’s 1961 Fender Stratocaster has been bought for approximately €1,069,000 and the purchaser, MCD and Live Nation, is donating the guitar to the National Museum of Ireland as confirmed by Catherine Martin the Minister for Tourism, Culture & Arts.” So the guitar was going home to Ireland, just back where it started with Rory in the 1960s. I first saw Rory in his band Taste at Sunderland Empire in 1969 or 1970. He Stratocaster was battered then! I sat, 13-year-old and enthralled by his guitar prowess. Happy days. Happy memories. RIP Rory.

I had bid in the same auction for one of Rory’s foot pedals and dropped out at £1000. I wish I had kept bidding. I recently treated myself to a programme from a Taste tour from the same era on eBay (see image). All of this story led to Walter performing Rory Gallagher’s “Bullfrog Blues”, although he confessed to not understanding the meaning of the lyrics. He asked us all if we’d ever woken up with a bullfrog on our mind! Some people, jokingly, put up their hands. “What the hell does it mean?” continued Trout “Waking up with a bullfrog on your mind! Crazy, man”

The evening concluded with an explosive encore of “Going Down”, a blues rock anthem that left the audience on their feet, cheering for more. It was the perfect end to a night that celebrated the enduring power of the blues.

Thanks to Jackie for the photos and Laura and Chris for helping with the blog entry.

Setlist: I Can Tell; Courage in the Dark; Wanna Dance; Say Goodbye to the Blues; Say Goodbye to the Blues; Ride; Follow You Back Home; We’re All in This Together; Bleed; Red Sun.
Encore: Going Down

11 Dec

Squeeze 50th Anniversary Tour O2 City Hall Newcastle13 October 2024

Posted by vintagerock in Badly Drawn Boy, Squeeze. Tagged: , , , , , , .

On 13th October, I was lucky enough to attend a spectacular performance by Squeeze at the Newcastle City Hall. Celebrating their 50th anniversary, the band delivered a powerhouse show packed with timeless hits and fan favourites.

The Squeeze website announced: “UK Tour starts next Friday. First, a big thank you to everyone who came out to see us this past month in the USA and Canada. The gigs were electric, and we had an absolute blast. A very big thank you as well to Boy George, his band and crew, and our own indispensable crew for making it all possible. No rest for the wicked, though, as we kick off another two months of shows across the UK, starting in Sheffield next Friday, 4 October along with our special guest Badly Drawn Boy.” Picture courtesy of City Hall website.

I have seen Squeeze at least eight times prior to this. The first time was when they were supporting Eddie and the Hot Rods at Newcastle City Hall in 1978. I wrote at the time “By 1978 The Hot Rods had enjoyed chart success with Do Anything You Wanna Do and had released their second album Life on the Line. They returned to the City Hall with another strong supporting line-up of Radio Stars and Squeeze. Radio Stars had supported the Hot Rods at the City Hall the year before, so we were already acquainted with the mad antics of Andy Ellison, and their great song Dirty Pictures.”

“Squeeze were new to the scene and were the first band on the bill at this concert. Squeeze had just released their first album and single: “Take Me I’m Yours” and there was a buzz about them, but this was before the massive hits “Up the Junction” and “Cool for Cats”, which followed in 1979. This was the original line up of Squeeze, featuring Chris Difford, Glenn Tilbrook, and Jools Holland. I remember making a point of getting to the gig early to see Squeeze and Radio Stars. Eddie and The Hot Rods were great as usual, super high energy rock n roll. Another fun night. Both support bands were excellent, and it was clear that Squeeze had a big future ahead of them.”

The first time I saw Squeeze was when they were supported by Wreckless Eric at Newcastle Mayfair in 1980. I’d seen Squeeze supporting Eddie and the Hot Rods, The Tubes, Dr Feelgood, The Police and at the Reading Festival, but this was the first time, and only time, I saw them as a headline act.

This was the classic Squeeze line-up featuring Chris Difford, Glenn Tilbrook, and Jools Holland. Squeeze had just released their third album Argybargy and had already made the UK top 20 four times, with their first single “Take Me, I’m Yours” which reached No 19 in 1978, the excellent “Cool for Cats” and “Up the Junction”, both of which reached No. 2 in 1979 and their most recent release at the time, “Another Nail in My Heart”, which made No. 17 in January 1980.

Support came from the crazy Wreckless Eric, whose most well-known song is the wonderful “Whole Wide World”. Squeeze were a great live act who produced a clutch of perfect pop songs; my favourite is “Up The Junction” which is just pure class. I have missed many opportunities to see them since, including several at Newcastle City Hall and the Glasshouse Gateshead. Big mistake.

Squeeze have always been experts in blending catching melodies with razor sharp storytelling and this evening was a testament to their enduring legacy. From the opening chords to the final encore, the energy in the hall was electric and the band took the audience on a journey through their incredible 5-decade career. Support came from Badly Drawn Boy who warmed the crowd up with a set of excellent songs. I was very glad that I arrived early enough to see him.

The Squeeze set list was nothing short of a greatest hits compilation, starting strong with “Black Coffee in Bed” and flowing effortlessly into tracks like “Up the Junction” and “Cool for Cats”. Fans were on their feet, singing along at the top of their voices. One of the standout moments of the night was the performance of “Labelled with Love” a ballad that highlights the band’s knack for weaving vivid narratives throughout their music. It was also a treat to hear some newer tracks, proving that Squeeze continue to create music which resonates with audiences today. My favourite was, as always, “Up The Junction” and it was great to see them return, at the very end, to the very start with “Take Me I’m Yours”. Happy days.

The chemistry between the band was as evident as ever, their harmonies perfectly in sync and their stage banter making it clear how pleased they were to still be going, 50 years on. They showcased the depth of their catalogue with a performance that was both nostalgic and refreshingly lively. It was more than just a celebration of the past, it was a reminder how their music has stood the test of time, still sounding as fresh and relevant as it did decades ago.

Setlist: Black Coffee in Bed; Footprints; Is That Love; Up the Junction; One Beautiful Summer; Someone Else’s Heart; In Quintessence; Departure Lounge; Some Fantastic Place; If I Didn’t Love You; Pulling Mussels (From the Shell); Another Nail in My Heart; Annie Get Your Gun; You Get the Feeling; Trixie’s Hell on Earth; Goodbye Girl; Cradle to the Grave; Slap & Tickle; Tempted; Cool for Cats; Labelled With Love; Hourglass; Take Me I’m Yours.

25 Nov

Tom Robinson The Fire Station Sunderland 6 October 2024

Posted by vintagerock in Rob Green, Tom Robinson. Tagged: , , , , , , .

Tom Robinson and I go back a long way. The Tom Robinson Band are often overlooked when the history of punk and new wave is written. That’s a shame, because they were one of the best live acts of the period, and their songs contained all of the necessary political messages of the time. I first saw them live in the early days, probably 1977, at Middlesbrough Rock Garden. It was probably only about half full, and the punks and skinheads were very unsure as to how to take an openly gay singer but managed some quite nervous singing along to “Glad to be Gay”.

Tom Robinson must have had some nerve, it was quite a brave thing to do, to go out and sing that anthem in clubs packed with punk and skins, many of whom had strong right-wing views. I was impressed by TRB that night, although it was the first time that I was seeing the band, and I hadn’t heard any of the songs before, it was obvious that they were strong pop songs, with political messages and great hooks.

The first, and classic, line-up of the band was Tom Robinson (vocals, bass), Danny Kustow (guitar), Mark Ambler (keyboards) and Dolphin Taylor (drums). The other band members were all an important part of the mix, particularly Danny Kustow; his guitar playing was excellent and his passion, energy, and presence matched Tom’s. And they had a clutch of great tunes, many of which ended up on the first Tom Robinson album, which is one of the strongest debuts of the time.

Most people remember the big hit single “2-4-6-8 Motorway”, but there were better tracks on the album including the call to arms: “Up Against the Wall” and “The Winter of ’79”, the simply excellent catchy “Long Hot Summer” and title track “Power in the Darkness”. The big live favourites were the sing-along chirpy ode to a big brother “Martin” (just listened to it on YouTube and it sounds as good as it ever did) and “Glad to be Gay” which seemed to be playing everywhere I went in 1977 and 1978.

I saw the Tom Robinson band at a triumphant concert at Newcastle City Hall on 27th September 1978 and also at Reading festival 1978 and at Sunderland Mayfair on 28th March 1979. By the time of the Sunderland gig both Ambler and Dolphin had left the band, and things were never going to be the same. The Tom Robinson band split in 1979, shortly after the 1979 tour and the release of their second, and much less successful, album. Support at the City Hall gig was the excellent Stiff Little Fingers. In those days I would always watch support acts as they often went on to greater things.

The Fire Station website stated: “A tour of songs from the albums POWER IN THE DARKNESS and TRB TWO. The first Tom Robinson Band emerged amid the turmoil of late 70s Britain – in a time of punk rock, political unrest, and economic gloom. TRB became known for the hit single 2-4-6-8 Motorway, their vocal support of Rock Against Racism and for the anthem Sing If You’re Glad To Be Gay, which made the Top Twenty despite a ban by BBC Radio 1.”

“The original TRB consisted of Robinson on bass and vocals, drummer Dolphin Taylor, keyboardist Mark Ambler and their incendiary guitarist Danny Kustow – who died early in 2019 at the age of 63. They made just two albums – Power In The Darkness and TRB TWO and ended – like the Seventies – just as Margaret Thatcher swept to power. The current Tom Robinson Band will play a 23-date tour in October/November 2024 showcasing those first two albums, in tribute to the original band members. The setlist has been chosen by fans via an online poll [I was not aware of this!] and will include some album tracks from the era that have never previously been performed live.”

“Alongside Robinson on lead vocals and bass, the band features Faithless drummer Andy Treacey, guitarist Adam Phillips from the Richard Ashcroft Band, keyboard virtuoso Jim Simmons and Northern soul singer Lee Forsyth Griffiths on acoustic guitar. “45 years on,” says Tom “some of the original TRB lyrics – about division, injustice and uncertainty – still feel depressingly relevant in a world of Trump, Farage & Suella Braverman. I also owe a huge amount to the musicianship of Mark, Dolphin, and Danny back in the day. We’re hoping to do that early band – and the songs – full justice this Autumn.”

Support came from Rob Green who delivered a rousing performance which warmed the crowd up for the main act. But everyone was waiting for one thing. To see their hero from all those years ago. Would he be as strong and outspoken as ever? What would Tom Robinson 2024 be like? We were soon to find out. And we were pleasantly surprised. He looked and sounded great.

Roll-on almost 50 years since I first saw Tom Robinson and he sounds as passionate and uncompromising as ever. He spits out the vocals with as much rage as he did in 1978. He starts with (as you would expect) “2 – 4 – 6 – 8 Motorway”, followed swiftly by the anthem “Glad to be Gay” with everyone singing along just as was “back in the day”. The crowd knew all the songs.

And so those classic songs continued. Many told the story of Tom’s young life: “Grey Cortina” was about his car and the fun he had in it, “Martin” was about his brother. Everyone sang “Martin” back to him. They had obviously seen this guy before in the late 70s. I often wondered if the story of Martin was really true. “Long Hot Summer” is a classic pop song.

To summarise the guy recreated the music and the songs just as they were all those years ago. The crowd knew them all and sang them well. He seems as uncompromising and angry as he ever was. It is great that some things never change. And thus so it should be. Another great performer returns to this great hometown venue and puts on a magnificent performance.

Many thanks to Elaine for the photographs and to Chris for manipulating the site. Some of the pictures come from Wikimedia Commons and my old programme and LP.

Setlist included: 2-4-6-8 Motorway; Glad to Be Gay; Up Against the Wall; Grey Cortina; Ain’t Gonna Take It; The Winter of ’79; Martin; Power in the Darkness; Bully for You; Long Hot Summer; Blue Murder; Days of Rage.

“The British Police are the best in the world
I don’t believe one of these stories I’ve heard
‘Bout them raiding our pubs for no reason at all
Lining the customers up by the wall
Picking out people and knocking them down
Resisting arrest as they’re kicked on the ground
Searching their houses and calling them queer
I don’t believe that sort of thing happens here
Sing if you’re glad to be gay
Sing if you’re happy that way”
(Tom Robinson, 1976)

24 Nov

Nik Kershaw: The 1984 Tour The Fire Station Sunderland 4 October 2024

Posted by vintagerock in Nik Kershaw. Tagged: , , , , .

The Fire Station website announced this show: ”Step back in time to 1984 as Nik and the band hit the road celebrating 40 years since the release of Human Racing and The Riddle with both epic albums being played in their entirety! Nik Kershaw exploded onto the UK pop scene in 1984 as a solo artist. A string of global hit singles – including ‘Wouldn’t it Be Good’, ‘The Riddle’ and his biggest hit, ‘I Won’t Let the Sun Go Down on Me’ – helped to propel him to 62 weeks on the UK Singles Chart through 1984 and 1985 – beating every other solo artist, together with performing at Live Aid.”

“After stepping out of the limelight to concentrate on writing and producing, Nik wrote Chesney Hawkes’s ‘The One And Only’ and has collaborated with Elton John (including writing and producing one of the songs on the Duets album), Sia, Gary Barlow and Bonnie Tyler , whilst continuing to release his own well-reviewed studio albums, featuring his distinctive voice and highly personal lyrics.”

Now it was actually in 1984 that I last saw Nik Kershaw at Newcastle City Hall. Nik was very busy during that year. I saw him at a massive Elton John concert at Wembley Stadium that summer, and on his winter tour, when he called at Newcastle City Hall. His backing band (who even had their own billing on the ticket!) were known as The Krew, and consisted of local Sunderland lad, and old friend, Keith Airey on guitar, along with Tim Moore, Mark Price, and Dennis Smith.

The 1984 tour was to promote the album The Riddle. The song “The Riddle” is quite a strangely structured, but also very catchy song, a great favourite of mine at the time, and remains so to this day. I remember the City Hall concert being packed and big singalongs. I also saw him, for the last time until recently at the massive Live Aid concert at Wembley Stadium in 1985. Happy memories.

And so to the present day and The Fire Station concert. Nik Kershaw looked very smart and very much the same as I remember him, perhaps the hair is a little greyer, but the guy is still full of energy and delivered a magnificent performance which was in two parts. The first set focused on the album The Riddle. The second set focused on the album Human Racing.

Although many of the songs were lost in the depths of my memories somewhere, several were familiar with me. My favourite “The Riddle” still has its lovely melody complete with fascinating twists and turns. “Wouldn’t it Be Good” was well as good (pun intended) as ever, as was “I Won’t Let the Sun Go Down on Me”. The guy still sounds great, and his backing band was excellent.

The encore finished with “The One and Only” which I had forgotten that Nik had written for Chesney Hawkes (I always thought that it was written by his father Chip Hawkes of the Tremelos). A great end to an impressive performance. The memories rolled back 40 years. Nostalgia is a wonderful thing, particularly at my age.

Many thanks to Jackie for taking the photographs, to The Fire Station for another excellent night out and to Joanne for manipulating the site.

Setlist:
The Riddle Set: Roses; Know How; Wide Boy; City of Angels; Easy; Don Quixote; Wild Horses; You Might; Save the Whale; The Riddle.
Human Racing Set: Cloak and Dagger; Human Racing; Bogart; Dancing Girls; Shame on You; Gone to Pieces; Wouldn’t It Be Good; Faces; Drum Talk; I Won’t Let the Sun Go Down on Me
Encore: When a Heart Beats; The Sky’s the Limit; The One and Only.

“Near a tree by a river, There’s a hole in the ground, Where an old man of Aran, Goes around and around, And his mind is a beacon, In the veil of the night, For a strange kind of fashion, There’s a wrong and a right, But he’ll never, never fight over you” (The Riddle, Nik Kershaw, 1984).

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