Isle Of Wight Festival 2018 - Part Three - I Carried A Marker Pen

Friday 22nd June cont.

As the band headed back triumphantly to their dressing room to hang with Rita Ora(!!) me and Mark headed for a well earned pint. Tried to get Mark backstage but with only a day wristband it was never happening. I did the gentlemanly thing of saying 'I'm sorry but not sorry enough to not go backstage'. I'm such a good mate!!

I headed backstage to find the band were due to do an acoustic recording for Sky Arts in the artists village. Another buggy ride this time driven by the main man himself, Mr. John Giddings - the man behind the festival, the head of Solo Music Agency and a champion of BBR.

In a sweltering tent and barely half hour after their barnstorming Main Stage set Bang Bang Romeo once again delivered. Thankfully they only had to do the one song. Twice. The vagaries of television. 

Back to the dressing room which was now packed with band, family, friends, management, Eleven Seven guys, well-wishers and the wine Rita Ora had given Ross. It was all getting a tad claustrophobic so I nipped out just as some of Kasabian arrived. With Sean Dyche, friend of the band. I was straight over to congratulate him on Burnley's excellent season, to bemoan the fact he didn't get Manager of the Season and to discuss the upcoming European campaign. I didn't realise till looking at photos later that I was doing all this with a fluorescent green beard to go with the beacon orange hat. He must have thought I was a right wanker. 

Sam was getting organised again and had managed to collar Stuart, legendary minibus driver who had become the band's personal taxi the day before. We headed back to site, I stuffed some very warm Carling in my backpack and headed back in. It really was rank but at £5.30 for a small can of cooking lager in the artists village it would have to do. The plan was to hang around there till Kasabian came on. I should point out to get guest wristbands normally a boatload of I.D. is required so in my backpack as well as the warm beer was my passport and driving licence. Also a marker pen and my bank card for safe keeping. This will all become relevant later. I had my annual height off with Peter Crouch, he's still winning, and basically got pissed with James Walsh. I told him how I'd introduced my girlfriend to Starsailor and that she was in love with both the band and James. I sent her this, basically 'cos I'm a twat:

                                                   

 I got this back:

James found it hilarious.

We ended up in VIP to watch Kasabian. I'm not totally sure how and it was a double edged sword. It's VIP, I'm never gonna turn that down but this was the view of the stage:

Still, it wasn't rammed and we had space to dance. The Script were just finishing. I'm not a fan but quite liked the last song they did.

Kasabian know just how to deliver a festival headline slot. They said some years ago that they'd only play festivals if they were headlining and they're right to do so. We'd already had 'Three Lions' (it was everywhere that weekend) then as 'Nessun Dorma' rings across the stage the band saunter onto the stage and straight into 'Ill Ray' from last year's 'For Crying Out Loud'. It's an all eras set with every album represented at least once. They can't really fail and there is just something magnificent about Serge (man crush alert). 

During the set Rich and Stars were approached by a lady with two young children who had absolutely loved their set, were now massive fans and somewhat besotted with the band. This is why I brought a marker pen. About the only bit of preparation I did all weekend. Lanyard passes were signed and kindly handed over. The looks on the kids faces may well be the highlight of the weekend. (I should point out I asked permission from their mother to use these pictures).

Kasabian were still knocking it out the park on stage when we got the message they'd be sinking a few after the gig in the Medina Quay pub backstage if we fancied it. Well, yeah!! We flocked back, I had a wondrous pint of cold Guinness and told Danny from The Script that I wasn't a fan but liked the last song they did. 'Er, thanks. I think' was the response I got. Can't fault him really. I'd have told me to piss off. We'd been waiting ages, some of us were flagging so decided to call it a night. Turns out I missed Serge and Tom by 5 minutes. Oh well. No buggies at this time of night (2am) so it was a seriously long trek back to the tent. I emptied my pockets, went to put the marker pen back in my bag to realise I didn't have my bag. I'd left it in the pub, passport, bank card, driving licence 'n' all. No way I was walking back now. I really am a liability. 

After another dreadful night's sleep I woke up relieved that someone had returned my bag although I couldn't see it in my tent. Yeah. so that had been a dream and my bag was still lost. Curse my brain. My phone was dead. Chris and family were in a camper van which meant as I showered and Chris fed us I could charge my phone. After wandering around trying to get a signal it kicked into life and a flurry of messages filled my phone. Gave the bar a ring. They had my bag!!!! They asked what was in it and I reeled off the list. 'And house keys?' said the voice on the phone. 'God yes!!!!' My bloody house keys. I managed to blag a buggy from The Big Top to the bar and pledged my eternal love to the management. I had a celebratory hair of the dog whilst looking out on the Medina River and wondered why the guy hadn't mentioned the two kazoos in my bag. 

So hangover under control, bag in hand I wandered back to my tent ready to face Saturday. 

Isle Of Wight Festival 2018 - Part Two - BANG BANG ROMEO

'As long as the crowd reaches the first barrier...'

Bang Bang Romeo - Isle Of Wight Main Stage

 Friday 22nd June 2018

In 2015 Bang Bang Romeo were invited to play the This Feeling stage at The Isle Of Wight Festival. It flagged them up on John Gidding's radar and he touted them as future Main Stage headliners. Their fourth IOW, having played The Big Top in 2016 and 2017, sees them having the honour of being invited to open the Main Stage for the 50th anniversary of the festival. They are recently back from a trip to the States where they signed for Eleven Seven Records as well as recording their debut album, due to drop this Autumn. It's been some year already. 

If there are nerves (who are we kidding? Of course there are nerves) it didn't show. Ross and Rich take their place looking calm and collected. BBR live are fleshed out by Ray Loverock on bass and Richard Cook on guitar and keyboards. Ray is just one of the coolest people you'll meet, a phenomenal bass player with a musical ear second to none. His natural genius has allowed to Rich to mature into one of the finest rock drummers on the circuit. Cooky has been a multi-instrumentalist stalwart of the Yorkshire music scene for some time. There's very little he can't do. He's a welcome addition and it gives the band the live sound they always threatened.

The Natural Born Astronaut intro fills the air before the band dive into new song Baby Blue Bird and Miss Anastasia Walker takes the stage. Already they look and sound like this is their natural environment. I'm already filling up. I think the band judge their gigs on how many tears they get out of me. This one was off the Saynor-Tears Scale.  They make everything they do seem effortless. Ross' screaming guitar mercilessly taking your soul on journeys you're not sure are safe but you want to travel nevertheless, Rich's machine gun drumming shaking every fibre, pounding you into submission and Stars' voice tearing your heart from your chest and leaving you wondering if she'll grind it into the dust or return it on a silver platter. Her voice is a weapon. Powerful, mesmerising, tender, uplifting and heart breaking in equal measure. There is no one, NO ONE, who can come close to matching her.

This is one of the finest bands on the planet doing what they do best on the biggest of stages. Any fears of crowd size have long since evaporated as the unmistakable BBR sound draws people in from all over the festival site. John Giddings would later state it was the largest crowd for an opening Isle Of Wight act, ever. It should never have been in doubt. They have the songs, they have the stage presence, they have the sound, they have all boxes ticked.

You & I follows, Rich's staccato drumming to the fore, Ross kicking out one of the catchiest licks known to man. Chemical is up next and the first major singalong of the set. Even Stars' voice is almost, almost, drowned out by the crowd revelling in witnessing history in the making.

   

Natural Born Astronaut follows. It's a gem of a song, the closest they get to pop but still with that unique Bang Bang Romeo feel. It's plainly obvious from the crowd reaction they are making a lot of new friends today. I've given up trying to stop crying. The band are visibly overwhelmed by what's happening but never let it overcome them. They have a job to do and they are doing it to the maximum of their ability. Brand new single Shame On You is so new it came out the same day as the show and had been kept well under wraps. It's an impact song and it's a very clever way of giving it maximum impact. Written whilst in The States it's a song about those relationships/friendships that we know are toxic but we keep going back to. 'You're my favourite bad decision' beseeches Stars on top of a thumping Zeppelinesque groove. It's rock/pop. It's staggering. It's the ultimate earworm. Hours later I was walking through the site and heard some young kids singing 'That's what we do'. I don't know if they set out to write a stadium anthem but that's exactly what they've done. Download or stream it. You really won't regret it. 

https://bangbangromeo.ffm.to/shameonyou.OFP

Creep has been a part of the BBR set for sometime and I know there was some discussion on the merits of including a cover today. They chose to keep it in and it was most definitely the right move. It went down a storm and Stars' 'I've gotta sexy body' moment had everyone in the crowd melting. They really couldn't fail from hereon in. 

Former set closer Invitation now jumps in as the penultimate song. It has evolved into an epic, almost uncontrollable beast of a song. In years to come it will remain a fan favourite. The call and response part is deafening and the break down and pause is a sheer joyful triumph. On a stage like this invading the crowd is no longer an option but Stars still does her best to get right on in there. 

Despite the euphoria there is still a humility about the band. Yes they are up on the Main Stage because of pure talent and hard graft but they are fully aware that without a strong team and more importantly the support of a growing army of fans it just couldn't happen. They never forget that and it's just one more reason to love them. Adore Me closes things. I love a song that grows and Adore Me does just that. An endearing opening that builds and builds to a magnificent crescendo, a nightmare of glorious noise as Stars leaves with 'WE ARE BANG.................BANG.................ROMEOOOOOOO!!!' The band thrash out every last drop of life from the song before Stars returns to join her bandmates for the farewells, the bows, the accolades and to finally let what has just happened sink in. 

Future headliners? Unquestionably.

Set List

1. Baby Blue Bird
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2. You & I
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3. Chemical
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4. Natural Born Astronaut
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5. Shame On You
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6. Creep
   (Radiohead cover)
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7. Invitation
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8. Adore Me

Isle Of Wight Festival 2018 - Part One - I Carried A Satellite

Thursday 21st June 2018

So you may not know this but three years ago I had heart surgery. A surprise to some I'm sure 'cos I never talk about it. Much. Well, apart from constantly. Hey, why have major surgery if you can't milk it for everything you can? I digress. I did say back then as long as I reach fifty and see Bang Bang Romeo play a main stage at a major festival that'll do me. Well two months ago my fiftieth birthday happened and by then it was common knowledge that BBR were opening up the Isle Of Wight main stage for the fiftieth anniversary of the festival. The problem was I was struggling to get there. By the time I could afford the coach all the spaces had gone. Cars of mates were full too.

I had a few offers but the logistics behind them were mind-bending, plus none include a lift home on the Monday. Now the island is lovely, there is an excellent monkey sanctuary and the UK's oldest working phone box (the staggering thing there is the working bit) but I simply couldn't afford to live there. (Their rates are based on your height. Allegedly). Getting a lift home was imperative. Four days before the festival I wasn't going, then my girlfriend, Beckie, text me saying if I can get there I can get back on the Monday for twenty-odd quid with National Express, Southampton to Doncaster. Never even occurred to me to check them. On further investigation Donny to Southampton return and getting on the ferry as a foot passenger was the way to go. I was going, all booked and paid for. The band then messaged to say they'd have space for me on the way back. Still, I had my return ticket booked if there were any disasters.

So it was that 10am Thursday morning I boarded the coach for London Victoria. First thing that struck me was how comfy the coaches are now, with plug sockets and WiFi, then it occurred to me that the last time I travelled with National Express the guy who came up with WiFi probably hadn't even been born yet. All this comfort has replaced the jolly hostess selling crisps and tea for a sky-high fee though. I'd brought a book (the latest Lee Child 'Reacher'), hadn't brought my glasses. Useless. Anyway, some four hours later we hit London. I love London but the two times I've tried living there I've never quite got to grips with the place. I don't mind though, it means I can still stare with slack-jawed wonder at the sights. That Shard's big innit? Cracking view of Wembley before we were winding our way down on

,went past the mecca that is Lords Cricket Ground, wheeled round Number 1, London (Duke Of Wellington's modest abode), past some big gates with electric fencing that it took me a while to realise were The Queen's back entrance before pulling in to Victoria. Had an hour wait before heading off to Southampton. Nothing to report on that journey, by far the dullest part of the whole weekend (although Blossoms ran it close), though I did see Twickenham which completed the triumvirate of English sporting HQs, (well it excited me, OK?).  I had two hours from the coach arriving till my ferry but thanks to my ridiculously long legs and the genius that thought of putting wheels on holdalls I managed to hotfoot it in time for an earlier ferry. Cue obligatory leaving Southampton photo:

and for a change here's an entering Cowes photo:

I'm not gonna lie to you, I was very tempted to download a very different James Herriot inspired photo then but let's keep it classy. The plan was to let BBR tour manager, the omnipresent Sam Craggs, know when I was landing and he'd pick me up in the East Cowes Waitrose car park. Anyone who's been to the festival will know how useful that car park is for just waiting around. Sam said he may be some time and advised me to go shopping for sunscreen as it was brutal on site. I went shopping for beer. Whether I forgot or my subconscious was giving it the whole 'Hey, I'm too fucking cool to where sunscreen, man' I have no idea but I know within 24 hours I had several cans of 80 degree undrinkable lager and seriously burned skin. I'm an idiot.

The band had had a bit of a mare earlier sorting out their wristbands. I won't go into detail but it involved an 8 mile trek, sniffer dogs, a pack of Durex and Stars giving up on quitting smoking. To save time Rich had signed for my wristband so I was straight into guest camping. (For future reference Richard Gartland - drummer, shall be know as Rich and Richard Cook - guitar and keys will be known as Cooky). The band and some of the entourage had a 12 seater tipi somewhere else on site (I'm not sure seater is the right word there) and I was in guest camping with last years cohorts TV's Chris Walker and his magnificent other half, Sharron as well as new additions Chris' son Gabe and Sharron's son Lewis. Along with Alanah, Abbie, Amy, Brooky, Cooky, Roxy, Jo and Max we had our own little conclave going on. Our roles were designated - Chris was chef (well he has been on Masterchef) and we'd watch. It all worked out nicely. My tent was up, thanks to Sam and Cooky who seemed to do all the work while I pointed at tent pegs, and I was ready to go.

As always the main stage area wasn't open on the Friday but there was still plenty going on. Different this year was the fact that the festival was a sell out with numbers between 60,000 and 90,000 being banded around. Also everyone seemed to have turned up on the Thursday for a change. The place was rammed. This would become an issue over the weekend. The Wombats were on at the Big Top but there was no chance of getting close, which was OK 'cos my plan had always been Avalanche Party at the This Feeling stage. This Feeling once again had a line up of the best and brightest upcoming guitar bands and none shine greater than Avalanche Party.

Avalanche Party

They are ferocious and with Jordan Bell have one of the most intense, and sometimes genuinely frightening, frontmen you will ever witness. He's the perfect guy to front this feral-punk five piece. I've been to Castleton. It's a beautiful, tranquil gem of a place. It's not the kind of place you'd imagine would spawn the juggernaut that is Avalanche Party. Although it is home of the Devil's Arse, so, ya know. There is a reason that people leave Avalanche Party gigs touting them as the best live band they've seen though. They are simply a 'must see' band.

It had been a long-ass day and Avalanche Party had drained every bit of energy I had left, plus it was a big day tomorrow. BBR were all in bed ridiculously early, they know the score. I headed back to my tent to barely sleep. I do it every year, set my tent up, say I love camping I should do it more often, struggle to get any worthwhile sleep and wake up with not one part of my body willing to participate in any kind of moving. I love the idea of camping would probably be a more accurate statement. Plus this year the nights were bitterly cold. Wore a lot more clothes in my sleeping bag than I did wandering around the festival.

Friday 22nd June 2018

I awoke to this though:

and discovered we were camped next to Starsailor's James Walsh, one of the nicest and certainly most talented men in music. A reviving coffee courtesy of Chris and an even more reviving shower and I was starting to liven up. Went for a walk with Brooky to see if we could find the band. If anyone has Talk Talk on the Isle Of Wight I don't know how they ever cope. My signal was, let's say inconsistent all weekend. I finally got hold of Sam to find out we were waiting at completely the wrong tipi site but we couldn't work out who was closest to the main stage and which way we should walk. Turned round and there was the band carrying stage outfits and heading through the dust bowl, so that worked out nicely.  It's at this point that I always feel the need to justify my being here. Three years on the trot now BBR have got me guest list for the IOW festival and I simply cannot express my gratitude enough. It is why from this moment till the start of the gig I am forever saying 'What do you need me to do Sam?' I grabbed the merch box and we headed down to artist liaison at the back of The Big Top. From there the band, gear, girlfriends and this hanger-on were loaded into buggies and taken down to the artist village at the back of the main stage. We unloaded all the gear before loading the band again as they had an interview with ITN to do for that night's News At Ten.

This buggy literally took them ten yards to where the interview was happening. Whilst all this was happening Sam was doing this:

It has to be said that Sam Craggs makes the BBR machine work. He knows who and what needs to be where, and when. He is organised and where others may stress in what are very intense situations he is always calm and a genuine delight to be with. Whilst setting up he had stage and sound engineers bombarding him with questions and never once flapped. He was always informative and courteous whilst still grafting away. I love him dearly and know that Bang Bang Romeo are eternally grateful for the constant, selfless work that he puts in both on and off stage.

We'd had word from the band's manager, Guy, to get the gear down to the main stage so Sam and I loaded another buggy and headed down. Again I did my 'can lift heavy things bit' (including moving one of the satellite stage props onto the stage). I'm not gonna lie, it felt good to be helping the band set up but also the chance to say I'd stood on the IOW Main Stage was too good to miss.

I was chatting with Guy during the soundcheck and he said as long as the crowd fill the space between the stage and the first barrier he'd be happy. He really needn't have worried but more of that in the Part Two.






All set up and I was dispatched to round up various members of the entourage with their passes and bring them all backstage. That's more my limit to be honest. My duties successfully carried out we got fed. This was just getting better all the time.

And with that the band headed to the dressing room and I went to find my spot front of stage and see if my mate Mark had got in. He'd been ringing to say the queues were a nightmare but there was little we could do to help, plus I had my arms full of a satellite. He was there though. Ready for the main event.

To be continued....

Starsailor - All This Life album review

Starsailor – All This Life

Release date 1^st September 2017

This review was originally posted via Gig Junkies.

Some 16 years after their critically acclaimed debut release, ‘Love Is Here’, Starsailor return with their 5^th studio album ‘All This Life’. It’s also 8 years since previous studio release ‘All The Plans’. Prolific is not a word you’d associate with Starsailor.

2001’s platinum selling ‘Love Is Here’ reached Number Two in the UK album charts. In the same year they won the Brightest New Hope at the NME awards. Some might ask where did it go wrong for Starsailor. The simple answer is it didn’t. These long hiatuses lead to exemplary quality control. There is very little filler on a Starsailor album.

In ‘Break The Cycle’ James Walsh sings of “Running out of words to write”. I find this very hard to believe. It is Starsailor’s lyrics and Walsh’s unbelievably, achingly beautiful delivery that has always set the band apart.

There are songs on ‘All This Life’ that wouldn’t be out of place on any previous Starsailor album, that is not to say the band haven’t progressed. Opening track ‘Listen To Your Heart’ with its pounding drum intro and wailing guitar could be Biffy. Then the keyboards kick in and it’s The Killers. It’s not till we hear Walsh’s unmistakeable voice pleading as he sings the title that we know we’re listening to Starsailor and by that stage it couldn’t be any other band.

Starsailor have always delivered emotionally wrought lyrical masterpieces backed by some of the most haunting melodies. We still get that with tracks like ‘Blood’ and ‘Sunday Best’ but we get out and out pop with the title track and forays into funk with ‘Take A Little Time’ and ‘Caught In The Middle’. ‘Fallout’ harks back to big music epicness. It is Starsailor’s most complete album. It swells with the maturity of a band knowing they are (again) on the crest of a massive creative peak.

To pick a stand out track is tough but if I must it would be ‘FIA’. In a world of OMG, LOL, LMAO etc I was wracking my brains as to what FIA could mean. It was a genuine, and pleasant, shock when I heard Walsh’s unwavering ‘Nothing’s impossible when you say F*** It All’. It’s a beautiful, builder of a song, Barry Westheard’s echoing piano in particular taking us on a slow determined journey full of hope.

I first saw Starsailor as four nervous young lads supporting The Beautiful South right at the start of their career. They showed then that they had something special, if not a tad raw. I was lucky enough to catch them at The Isle Of Wight Festival this summer where they played to a rapturous packed out Big Top. They were magnificent. They head out on tour with ‘All This Life’ in October. Buy this album then go catch them live. You won’t regret it.

12^th Oct – Cambridge, Junction

13^th Oct – Norwich, Waterfront

14^th Oct – Bristol, Bierkeller

16^th Oct – Leeds, Beckett Students’ Union

17^th Oct – Birmingham, O2 Institute 2

18^th Oct – Sheffield, Leadmill

19^th Oct – Liverpool, Academy

21^st Oct – Newcastle, Boiler Shop

22^nd Oct – Glasgow, O2 ABC

24^th Oct – Manchester, O2 Ritz

25^th Oct – Brighton, Concorde 2

26^th Oct – London, KOKO

Welcome To The North - Leeds, Brudenell - July 1st 2017

Welcome To The North

Brudenell Social Club, Leeds

Saturday July 1^st 2017

Certain parts of the mainstream music media will tell you that guitar music is dead and there are no good bands coming through. It is absolute nonsense. There is an absolute wealth of talent just bubbling under ready to explode. Go to any This Feeling gig, especially one of their festival stages, and you will witness the evidence for yourself. George Holmes has worked with This Feeling and was now putting on his own festival of some of the brightest up and coming bands from The North. 16 acts in 10 hours or so on 2 stages. This was gonna be intense.

The Brudenell is the perfect venue for such an invent. The main stage is one of my favourite venues. Size, shape, acoustics – it is perfect. There is a secondary room (the games room) now done out to be an equally good venue. Also the Brudenell is still basically a working men’s club so bar prices are incredibly reasonable. (£2.50 a pint compared to the O2’s £6 a pint).

…And The Hangnails

York based duo …And The Hangnails kick things off. As always with an all day event crowds can be sparse early doors but this didn’t stop them putting in a blistering, furiously paced set of firebrand punk gems. Ever since I first saw Wet Nuns I’ve always been staggered by how just 2 people can make such an immense noise. Cracking start to the day.

Polar States

Straight into the other room for the melodic indie pop of Liverpool 4 piece Polar States. (The back to back bands would become an issue later). These guys were my first find of the day. Together 2 years but with a musicianship that defies their age. Already with Radio 1 and 6 Music plays behind them they are definitely ones to watch out for. Perfectly crafted gorgeous songs. I loved them.

Heavy Suns

The last time I saw Barnsley’s Heavy Suns (and it was only 3 weeks ago at The Isle Of Wight Festival) they were a 5 piece. In that time they’ve dropped a guitarist and this was their first outing as a 4 piece. I was intrigued as to how it would effect their psychedelic blues indie rock. It didn’t at all. They sounded like Heavy Suns always have only a little bit better. At times there’s an almost Stooges feel to their grinding, filthy, beautiful tunes. The boys from ‘The Tarn’ are a class act.

Nick Ellis

The second Scouse act of the day and the first solo artist. ‘Whispering’ Bob Harris called Nick Ellis’ music “fascinating”. Nick is a storyteller both with his music and between songs. (The grinder story was brilliant). For a solo acoustic act he manages to portray a dark, foreboding outlook but all built round stunning songs.

4 acts in and I was realising that there was no way I could watch every song by every act. Probably the only downside to the event was the constant live music. Even a non-smoking, non-drinking massive muso needs 10 minutes in the sun to recharge every now and then. (As a smoking and drinking massive muso I really needed it). Plus as always happens timings start to go a tad array and some bands ended up overlapping. I was determined to catch every act though, even if it was only a couple of songs for some of them.

Scott Quinn

Harrogate’s Scott Quinn was next up, alternative indie pop, just Scott and his keyboard. ‘Young’ stood out in the set, a song about a friend who had sadly took his own life but written as a celebration. That alone made Scott Quinn worth another listen.

The Lottery Winners

Another band from t’other side of The Pennines and my second find of the day. I’d almost caught the band a couple of times previously supporting The Wonder Stuff but traffic issues meant I’d missed out. The Leigh 4 piece play what could be described as Lancashire Surf. Maybe it was because of Katie Lloyd on bass but there was a Pixies feel to them, Pixies when they surprise us with an upbeat joyous indie pop song admittedly. The overall feeling is one of fun though, singer Thom Rylance has a natural and ridiculously funny rapport with the crowd. Behind all the fun though they really have the songs to back up any joviality. A real highlight of the day and a band you will definitely hear more of.

Mint

Another favourite of mine and a band I’ve seen several times previously, these Grimsby lads always put on a show. Its pure balls out indie rock of the highest order. The room is sweltering but that doesn’t stop the band putting in the high energy performance fans have come to expect. They have catches and hooks to die for. Stand out song for me is ‘Jimmy’ (similar to Scott Quinn’s ‘Young’ it’s a celebration of a friend who is no longer with us). It’s a slow build of a song that powers into a stunning crescendo. Another great set. Not even half way yet and it’s already a memorable gig.

The Howl & The Hum

My first time of catching the York based quartet. There is a seriously diverse range of music on offer today and The Howl & The Hum slow things down with shoegaze, distorted, gorgeous echoes. Beautifully crafted, slow building songs delivered with an assuredness many bigger names would be jealous of.

Fronteers

I needed food. The pizza van outside was a cracking idea. It did mean I only caught the last track by Hull’s Fronteers. Again, 4 alarmingly young lads already with a sound and talent that I’m sure should be illegal. I made a promise to myself to catch a full set as soon as I possibly could.

The Strawberries

The Strawberries are on home turf tonight not that they rest on their respective laurels. As tight a band as you could wish to see. They have a definite retro feel whilst always sounding fresh and original. Sam Neil slithers like an enigmatic snake round his mic stand when he’s not engaging guitarist Joe Dines in head to head combat. Backed by the Ben Heath (drums) and Ethan Sherwin (bass) rhythm section there is nothing not to love about this band. There are a lot of people touting this psychedelic blues foursome for big things. It’s obvious why. (Footnote: new single ‘She Rhymes To Get Away’ is one of the greatest songs ever).

October Drift

The week before October Drift were opening up The John Peel Stage at Glastonbury. The organisers said they’d never seen such a crowd at that time of day. Through relentless touring and hard work this Taunton (though often based in Sheffield) band have already built up a sizable following with a lot of record company interest. It’s fully deserved. It is live that they come into their own. It is literally a wall of noise with the most alarming melodies diving in and out of the maelstrom, fronted by Kiwi’s frankly stunning baritone vocals. Another band who put everything into their performance. I’ve never seen them come off stage anything other than drenched in sweat. The Brudenell sound really does them justice today and you can hear every intricacy. It is simply the best I’ve seen them.

Dantevilles

Dantevilles have already supported Blossoms at some high profile gigs and will just go from strength to strength. Sadly another band I didn’t catch much of today (but they are on the radar again when Tramlines comes round). They are keeping the Manchester indie flame burning bright with gorgeous, jangly tunes and infectiously catchy choruses.

Bang Bang Romeo

The buzz about Bang Bang Romeo has been growing and growing for some time now, so much so that there is no doubt these guys will be massive. And soon. Showing the commitment bands have to put in these days they’d played a festival in Gloucester earlier that day then driven straight up to Leeds for this gig. Not that this distracted in any way from their performance. Singer Anastasia Walker is like a woman possessed when on stage as the music takes over. She has a voice without parallel (seriously, there is no better singer in this country right now) but she needs it to front the beautiful, terrifying cacophony that makes Bang Bang Romeo unique. They have the songs, the talent, the theatrics, the presence, the whole package. Guitarist Ross Cameron will one day be talked about as one of our finest songwriters. Just check out new single ‘Chemical’ and you’ll see what I mean. With the Richard Gartland (drums) and Joel Philips (bass) rhythm section in perfect sync whether it’s the indie pop perfection of ‘Natural Born Astronaut’, the pounding relentlessness of ‘Invitation’ or the nightmarish crescendo of set closer ‘Adore Me’ there really is no limit to what this band can achieve. 

Hello Operator

Another band touted for bigger things are York’s Hello operator. Pure rock ‘n’ roll distorted blues and another band with the presence to back up their class output. There is no doubt that (like the majority of acts on the bill today) in years gone by they would have been snapped up by now. Again though, with Hello Operator it will happen. Any band with ‘Vex Money’ in their canon deserve immediate success.

The Sundowners

Another band who appeared on the This Feeling stage at The Isle Of Wight Festival 3 weeks ago are the North-West’s Sundowners. With Niamh Rowe and Fiona Skelly on vocals Fleetwood Mac comparisons are inevitable but to me it’s more Grace Slick or Sandy Denny. Another band bringing psychedelia into the 21^st Century and doing it magnificently. Sadly again I only caught a couple of songs tonight but they have always been nothing short of awesome every time I’ve seen them before.

The Vryll Society

Closing up are Liverpool 5 piece The Vryll Society. Sadly due to train times I had to go just as they took the stage. In the past I’ve described them as the ultimate soundtrack to the best come down ever. Superbly crafted mesmerising, psychedelic grooves. Gutted I had to go because they are the perfect band to end such a staggering day.

So that was Welcome To The North. 16 bands well worthy of your attention. Ignore what the mainstream says, the future is very bright indeed. 

A Beautiful Day Out - The Levellers, The Waterboys, Billy Bragg, Dreadzone, Beoga - Castlefield Bowl, Manchester. 2nd July 2017

A Beautiful Day Out

Levellers. The Waterboys. Billy Bragg. Dreadzone. Beoga

Manchester, Castlefield Bowl

Sunday July 2^nd 2017

A Beautiful Day Out – you couldn’t wish to find a more aptly named gig. Five quality bands on a glorious sunny afternoon in the best outdoor venue I’ve ever witnessed. 

Irish folk quintet and Grammy nominated Beoga start proceedings, fresh from playing with Ed Sheeran at Glastonbury. As bodhran player Eamon Murray says, they like to give these upcoming artists a start. It’s a perfect start to the day as the lively (I believe Beoga means lively in Gaelic) foot tapping reels echo across the bowl.

The venue is starting to fill up as Dreadzone take the stage, a band who inexplicably have passed me by all these years. Forerunners of dub and bass but I have to confess ‘Little Britain’ was the only tune I really knew prior to the gig. What a tune though! MC Spee walks with a cane and sits on a high stool throughout following knee ligament surgery some years ago yet is still more animated than many a singer you will see, conducting the crowd with his cane when not using it as percussion. Their electro reggae is infectious. This is a band who fully love what they do and they do it so well.  Us newcomers are firmly welcomed into the “Dreadzone Family” after an outstanding set.

You can’t discuss Billy Bragg without mentioning politics. As someone growing up in a mining town in the ‘80s The Bard Of Barking has always been relevant to me. In the current political climate he is more relevant than ever. (Even if you don’t agree with the message you can’t, and shouldn’t, ignore him). He starts with a reworking of Dylan’s ‘The Times They Are A-Changin’’, brought up to date for the Trump era ending with the announcement that Downing Street have invited Trump over. The crowd boo. “Don’t boo. Buy a f***ing ticket. He won’t come to you”. Every track comes with a story and/or dedication. “In 2017 I can’t believe I’m having to dedicate Sexuality to Arlene bloody Foster”. We get a snippet of White Stripes 7 Nation Army with the anticipated ‘Oh Jeremy Corbyn’ chant. “What was that you said about Jeremy Clarkson?” The police, firefighters and nurses get ‘Power In A Union’ dedicated to them. Before ‘Between The Wars’ we get an impassioned plea, “The war on empathy, accusations of political correctness, virtue signalling, are attempts to stop two forces coming together – empathy and activism. Put empathy and activism together and you get solidarity, the key driver to social change”. It is truly moving.  ‘Handyman Blues’ goes out to “all those men who have to accept that they will never be as good at DIY as their fathers”.

You forget sometimes just how much fun Billy Bragg is, the political tirades go hand in hand with his humorous, often self-deprecating speeches. You can never accuse Mr. Bragg of fence sitting. I love, and have always loved, him dearly for it. “Never had you down as folky singalong crowd. Let’s do some singalongs’ – cue ‘Levi Stubbs’ Tears’ and ‘Greetings To The New Brunette’.  It’s a truly joyous set, ending with ‘A New England’. The extra verse from Kirsty MacColl’s version is dedicated to the brilliant and much missed Kirsty. To a person the crowd roar the chorus back as we’re asked to “sing for your Uncle Bill”.

Some 34 years ago (give or take) a friend lent me a tape of an album he thought I might like. I have absolutely no recollection of what it was. Can’t have been that memorable. On the other side was a band I’d never heard of. I flipped the tape over out of interest and listened to The Waterboys for the first time. I fell instantly and head over heels in love, a love that still burns strong to this day. I went out the next day and bought everything I could by my new (and still) favourite band and have continued to do so ever since.

Mike Scott has always been something of a maverick. On the back of third album ‘This Is The Sea’ and a tour that blew the roof of every venue it visited the musical world was at his feet. A similar follow up would have guaranteed U2 status. The story goes that rather than promote ‘Whole Of The Moon’ on Top Of The Pops Scott was in his flat jamming with Bob Dylan. Bemoaning the fact that he was down to three chords he upped sticks and headed to Galway, coming back 4 years later with the folk tinged ‘Fisherman’s Blues’. He has always done things his way.

Despite a new bass player, Aongus Ralston, this seems to be the most settled Waterboys line up for some time and with long time cohort, fiddle player, The Wick - Steve Wickham, Scott appears to be enjoying his music more than ever. Live they are still as spectacular. As if to emphasise Mike Scott’s eclectic career they start with ‘Still A Freak’ from 2015’s ‘Modern Blues’. The pounding, fiddle driven ‘Medicine Bow’ follows and the crowd are lapping it up. Two songs in and we are fully aware this is a band truly on fire. Mike Scott saunters over to his piano to hammer out the opening of first single ‘A Girl Called Johnny’, his tribute to Patti Smith. There has been some criticism levelled the bands way at The Wick’s fiddle taking over the sax parts from the early songs. “Play that sax Brother Steve” Mike shouts during Wickham’s fiddle solo. Brilliant.

Fisherman’s Blue’s epic ‘We Will Not Be Lovers’ follows next (first time I saw it live it was dedicated to Thatcher – showing our respective ages now). On record it’s 7 minutes long. Live it’s even longer with Scott and Wickham head to head like rutting stags. It is frankly awesome. We get all eras Waterboys with ‘Nashville, Tennessee’ from upcoming album ‘Out Of All This Blue’ next. I think (I may be wrong) it’s a tribute to keyboard player ‘Brother’ Paul Brown. It seems to be since Brother Paul joined the band that the band have really took off again. The man is a force of nature, with a staggering career behind him.

It’s a 75 minute 12 song set that is over far too soon. ‘Whole Of The Moon’, which for years they were reluctant to play is a massive singalong with the band milking the ending for all they’re worth. Steve Wickham’s fiddle as the song reaches its climatic ending may well be my favourite snippet of music ever. Another mass singalong of ‘Fisherman’s Blues’ ends the show. I get the feeling they had more for us but extending some of the songs due to the pure enjoyment of playing may have curtailed the set. Today they reminded me once again why I fell so much in love all those years ago.

Waterboys Set List

Still a Freak

Medicine Bow

A Girl Called Johnny

We Will Not Be Lovers

Nashville, Tennessee

Glastonbury Song

Rosalind (You Married the Wrong Guy)

The Raggle Taggle Gypsy

Stopping By The Woods

The Whole Of The Moon

Celebrate

Fisherman's Blues

The Levellers have matured into one of this country’s most popular, and best, live acts. On the back of last years ‘Levelling The Land’ 25^th anniversary tour they are still

playing their 2^nd seminal album in full. It means we kick off with ‘One Way’ complete with some seriously energetic confetti cannons. We’re half way through the song before I can see the stage again. The crowd front and centre already pogoing and crowd surfing. I’ve seen bands do full albums live before and often they seem to race through the tracks, almost forgetting they’re gigging. Not so The Levellers. Both Mark Chadwick and Simon Friend always find time for a chat with the crowd in their casual, laid back manner. I’ve always found it very endearing. It’s the perfect foil for bassist Jeremy Cunningham and fiddle player Jon Sevink who whirl around constantly, often swapping sides of the stages, never once missing a beat. ‘Fifteen Years’, ‘The Boatman’, ‘Liberty Song’, ‘The Riverflow’ et al. The album finishes with the beating folk/punk of ‘Battle Of The Beanfield’ reminding us what an inspiring and important album it is before Mark introduces didgeridoo player Stephen Boakes with “Well that was ‘Levelling The Land’, this is a man dressed as a girl’.

2012’s ‘Truth Is’, a personal favourite, fires across the packed Castlefield Bowl as dusk falls, an impressive light show in full effect now. Looking down on the crowd is like looking down on a sea of rainbows, a vivid moving throng. All across the venue people are dancing. It truly is a beautiful sight.

We’re asked to demonstrate our singing voices. A loud cheer erupts. “Well that was your hello how are you voices, now let’s hear your singing voices” demands Chadwick and receives an even louder cheer before leading the band far back into the midst of time with debut single ‘Carry Me’, the crowd given full lead vocal duties for most of the song. Charlie Heather (drums) and Matt Savage (keyboards, percussion, great shirt) tap out the intro to ‘The Cholera Well’ before Jon Sevink’s fiddle kicks in and it feels like the whole site itself is reeling as every single person there (literally from 7 to 70) give it their all. Naturally ‘What A Beautiful Day’ closes proceedings, another mass of confetti fills the air. It is the perfect and only way to close such a show. 

We all have a list of our top five gigs and naturally it is forever changing. This one is firmly planted in the top five. Was it the best gig I’ve ever been to? Five acts at the top of their game giving it everything. A superb venue with excellent sound. A crowd up for it right from the off without ever becoming rowdy. Yes, this was the best gig I’ve ever been to. A truly Beautiful Day Out.