Category Archives: Hastings music scene

Live review: Anvil at The Crypt, Hastings 15/10/24

Some rock and rollers make for charismatic front-men by dint of being unfeasibly cool, others through virtuoso musicianship and others through seemingly hypnotic personal appeal. With Anvil frontman, Steve ‘Lips’ Kudlow, however, it is simply his sheer, childlike wonder at the privilege of being up on stage performing to people by playing the music he loves.

I first saw the Canadian heavy metallers, Anvil, at Preston Guildhall as a 17-year-old when they were supporting Motorhead on their Another Perfect Day tour back in 1983 (a birthday gift from my father). And even 40 years later, Kudlow’s enthusiasm is as infectious as ever. Of course, Anvil’s profile in the past decade has been helped enormously by the hugely successful ‘Story of Anvil’ film, a tale of perseverance that The Times once deemed “possibly the greatest film yet made about rock and roll”. How much of a material impact the film has ended up having in terms of day to day life on the road for Anvil it’s hard to tell. They are still playing small clubs, like the one here in Hastings tonight, but they are playing them to a deluge of love and affection and, looking around at the audience tonight, while there’s a few of us who may have remembered them from that early Motorhead tour there’s plenty who were clearly not even born when Anvil first came to the UK.

Still with original vocalist/guitarist, Steve Kudlow, and original drummer, Robb Reiner, these days the pair are joined by bass-player, Chris Robertson, whose now been playing with them for a decade. From the moment the trio hit the stage the energy levels remained stratospheric. Kicking off with ‘March of the Crabs’ and ‘666’ there was no shortage of classics from Anvil’s early ’80s heyday, and the band’s Metal On Metal and Forged In Fire albums were well represented in the set-list. But there was also more recent material, too, including the band’s tribute to the Canadian government’s legalisation of cannabis – the title track of their 2020 Legal At Last album, as well as ‘Bitch In The Box’ (about satnavs!) from the excellent Pounding The Pavement album – and a new song ‘Truth Is Dying’ (about online misinformation) from the band’s very latest album.

It’s powerhouse drumming, thunderous bass-lines and monster guitar riffs throughout. The only time they stop for a breather is when Kudlow regales us with anecdotes about touring with Motorhead and (for a Canadian) he doesn’t do a bad Lemmy impersonation either – wonderfully capturing that deadpan, Jack Daniels-soaked, Stoke-on-Trent gruffness.

As the band draw to a close, and following an immense drum solo from Reiner, Kudlow pays emotional tribute to former Anvil second guitarist, Dave Allison, who died recently and dedicates ‘Jackhammer’ to him. Then it’s almost all over as the trio blast us with their bona fide metal anthem, ‘Metal On Metal’. But it’s not quite over. Kudlow jumps down into the crowd, guitar on his shoulder, soloing and sharing selfies. Neil Diamond’s ‘Sweet Caroline’ blasts from the PA while he continues doing selfies, shaking hands and thanking everyone for coming to the party. What a party it was.

Related post:

Metal: album review – Anvil ‘Pounding The Pavement’

Live review: Oysterband & June Tabor, De la Warr Pavilion, Bexhill 5/10/24

It was almost exactly ten years ago when I last saw June Tabor and Oysterband at the De La Warr Pavilion, my first time visiting this stunning piece of 1930s architecture. I wasn’t even living down here yet but a friend had a spare ticket going and I came down for the weekend. So, when Oysterband announced their ‘Long Long Goodbye’ farewell tour with June Tabor, once again, as their very special guest I booked a ticket straight away.

For a band that’s been going almost five decades, it would be unthinkable for them not to include June Tabor as they begin playing their final gigs. From the moment they made their first album together it was a match made in heaven. When Freedom and Rain came out in 1990 Oysterband’s rebooting of the folk-rock genre for the ‘80s and ‘90s combined with Tabor’s darkly elegant vocals to create an unforgettable slice of pseudo-gothic cool. Two more hugely popular collaboration albums have followed.

With two hour-long sets and a short interval, I wasn’t completely clear how they were going to approach things and hadn’t read any other reviews. Would they play the first set as Oysterband and the second with June Tabor? Or would they mix and match? To warm applause Oysterband sans Tabor took to the stage for the first song, then Tabor joined them to launch into their unforgettable cover of Velvet Underground’s ‘All Tomorrow’s Parties’, a shared love of Velvet Underground as well as traditional songs being something that helped cement the foundations for the two joining forces, recalled Tabor.

The remainder of the evening proceeds in that same vein with a superb mix of songs that Tabor and Oysterband had collaborated on for their previous albums (including an utterly spellbinding ‘Bonny Bunch of Roses’ and their unique interpretation of Joy Division’s ‘Love Will Tear Us Apart which is just perfection) alongside regular Oysterband classics, like ‘A River Runs’ and ‘Dancing As Fast As I Can’. For a couple of songs the rest of the band vacate the stage and Tabor sings alone with acoustic accompaniment from Oysterband guitarist, Alan Prosser, including a cover of Les Barker’s humorous rewrite of Roseville Fair, as her warmly-felt tribute to the comic poet who died last year.

At one point Tabor tells us how much she loves what she calls ‘cinematic songs’, songs where the lyrics are so vivid in painting a picture and telling a story. There are few singers, however, who make an audience hang on to every word in the way that Tabor does. I’m so glad I got to see this most perfect of musical collaborations one final time. And an encore of Jefferson Airplane’s ‘White Rabbit’ and an emotional crowd sing-along of Oysterband’s ‘Put Out The Lights’ made the evening even more special. An unforgettable evening – catch them while you can!

https://www.oysterband.co.uk/

Related posts:

Oysterband with June Tabor at Bexhill-On-Sea 27/9/14

Live review: Fairport’s Cropredy Convention August 2018

Live review: Martin Turner ex Wishbone Ash – White Rock Theatre, Hastings 6/9/24

The revamp of the White Rock’s downstairs area into a more intimate studio space below the main theatre means the venue is now well-equipped to host two gigs simultaneously on the same night. Upstairs in the main auditorium was the Bob Marley tribute show – Legend, while downstairs in the studio we had a bona fide living legend in the shape of Martin Turner.

Turner was, of course, one of the founding members of Wishbone Ash and its bass-player and lead vocalist from the band’s formation in 1969 until his departure in 1980. Although he had a couple of reconciliations with Andy Powell in the 80s and 90s (the sole remaining original member of Wishbone Ash) for the past two decades Turner has been on the road with his own interpretation of the band’s legacy. I first caught Turner and his band in 2010 performing the classic 1972 Argus album in full at the first High Voltage festival in London and again doing similar at one of the Butlins Giants of Rock Festival a few years later.

For this tour things are fast-forwarded a few years, with a set-list focused around celebrating the Wishbone Ash Live Dates Volume 2 album, released in 1980. It follows a previous tour last year, performing the original 1973 Live Dates album in its entirety.

I’ve never actually owned either of the Live Dates albums and I’m generally a lot more familiar with the band’s early ‘70s studio material than with later releases – so the full set-list won’t all be entirely familiar to me. Nevertheless, it’s a gig I’ve been looking forward to for many months and Turner and his band have never disappointed when I’ve seen them live.

Performing two hour-long sets with a short half-hour interval in the middle, it’s a superb night packed full of Wishbone classics. I won’t say I haven’t enjoyed Andy Powell’s ‘official’ version of the band when I’ve seen them live but, for me, what gives Turner’s outfit the edge is being able to hear the original voice behind many of Wishbone Ash’s most famous songs live on stage. And his bass-playing is as majestic as ever. Moreover, the twin lead guitar work, courtesy of Danny Wilson and Misha Nikolic who have both been with the band a good number of years, is just absolutely stunning and does the band’s legacy proud.

Wilson also took the lead vocal on a couple of songs that had originally been fronted by Laurie Wisefield and his predecessor Ted Turner back in the day. The line-up is completed by the new boy of the band is drummer, Sonny Flint – son of Blues Band legend, Hughie Flint – who has been with the band since 2022. He gets a special cheer when he’s introduced, not only for his excellent drum-work but also for being one of Hastings’ many resident musos.

Turner is an entertaining and affable frontman, with his between-song patter bringing a touch of old-time music hall to the world of progressive rock, as well as providing some fascinating insights into the inspiration behind a number of the band’s classic songs.

It’s the songs, of course, that made this such a special gig. And there was no shortage of memorable classics, including ‘Doctor’, ‘The Way of The World’, ‘Rock and Roll Widow’ (with lead vocal from Wilson), ‘Time Was’ and, of course, ‘Blowin’ Free’ a song inspired by a love-struck teenage Turner being on Dartmoor with a visiting Swedish girl. Turner told the audience that the rest of the band wanted to keep the track off the Argus album as it didn’t fit the more serious, proggy themes of the rest of the album. Turner responded by going “psychotic” and the song remained. Phew!

https://www.martinturnermusic.com/

Related review:

Martin Turner at Giants of Rock 2018

Live review: The Cold Stares at The Carlisle, Hastings 30/8/24

As well as their usual Saturday night fare of free hard rock, heavy metal and punk gigs, Hastings infamous seafront rock pub, The Carlisle, has also been putting on a slew of great ticketed gigs of late. This week it was the turn of acclaimed blues rock band, The Cold Stares – all the way from Indiana, USA. Kicking in Denmark the previous week, Hastings is the first date on the UK leg of a European tour.

Support is in the shape of the excellent AK & The Red Kites, the new power trio formed by songwriter/guitarist, Andrew Knightley, who are well worth keeping an eye out for and have recently released their debut EP, Proverbial Storm.

Andrew Knightley of AK & The Red Kites

They got the crowd nicely warmed-up for the main event and a short while later The Cold Stares launched straight into ‘Horse to Water’, the recent single from their brand-new album, The Southern, which is officially released on 6th September. Described as a homage to Southern rock, it combines the riff-laden muscularity of bands like Humble Pie with that special Southern sweetness of Lynyrd Skynyrd. Another great song from the new album, also is given an airing tonight, is ‘Third Degree’, a punchy rocker that morphed into an extended, hard-rocking instrumental work-out.

The Cold Stares have the songs, the sound and the attitude that is just tailor-made for the power trio format. But it’s only relatively late on in their career that they’ve embraced such a set-up, with guitarist/vocalist Chris Tapp and drummer Brian Mullins being joined by bassist Bryce Klueh in time for the release of their sixth album (and their first trio album) Voices in 2023.

Chris Tapp of The Cold Stares

With quite an extensive back catalogue to draw on, there is no shortage of older material though, including a nice, rootsy rendition of ‘In The Night Time’ dedicated to the sunset on Hastings beach earlier in the evening and the raw, guttural blues of ‘Prosecution Blues’, complete with spellbinding guitar.

Giving us a good hour-and-half set of gutsy, energy-packed, hard rock and blues, and some mellower moments where Tapp dons his steel guitar, the trio draw things to a close with some obvious crowd-pleasers.  ‘Two Keys and a Good Book’ elicits plenty of cheers when it’s introduced as an encore and the full-on freak-out of ‘Head Bent’ rounds off the evening in brilliantly OTT fashion.

If you’ve a chance to catch The Cold Stares on the remainder of this tour, do take it up. You won’t be disappointed.

The Southern is released 6th September 2024

https://www.thecoldstares.com/

Album review/live review: Praying Mantis ‘Defiance’ + album launch, The Carlisle, Hastings 25/4/24

One of the advantages of living in Hastings, now the adopted home-town of Praying Mantis founder Tino Troy, is getting the chance to see the band performing tracks from their new album, Defiance, down the road in your local rock pub within days of its worldwide release. Indeed, introducing the title track of the new album tonight, Tino Troy acknowledged it would be the first time it has ever been performed in public.

First, however, we hear from Gypsy’s Kiss who have the claim to fame of being the first band Iron Maiden’s Steve Harris played in. Like Praying Mantis, they formed over fifty years ago, with their first gig being played back in April 1974. Founder Member and guitarist, David Smith, reformed the band in 2018 with a new line-up and they’ve gigged solidly since then, as well as releasing an album and a couple of EPs. Indeed, this is their third time playing the Carlisle and they’ve built up quite a local fan-base now. They play a mixture of songs from their original tenure and off their new album and if you like that brand of good, honest, 1970s, guitar-driven hard-rock, in the vein of say Stray or a heavied-up Wishbone Ash, it’s a very enjoyable set. Not to mention the historical curiosity element that comes from hearing the songs that were performed by Iron Maiden’s Steve Harris at his first ever public gigs.

And then it was on to the main event. The set from Praying Mantis included material from the early days like ‘Captured City’ and ‘Praying Mantis’ alongside more recent material, like ‘Keep It Alive’ and ‘Cry For The Nations’, together with two tracks from the brand-new album, the aforementioned ‘Defiance’ along with ‘Standing Tall’, with its unexpected dance-beat. A packed-out Carlisle gave the band a rousing reception, with bass-player Chris Troy, in particular, visibly moved by the response. The band rewarded the crowd with an encore that included a rendition of Lynyrd Skynyrd’s ‘Simple Man’ and their own ever-green ‘Children Of The Earth’.

But what of the rest of the album?  Eleven tracks that are “a perfect blend of classic Praying Mantis with a contemporary twist,” as bass-player, co-founding member and principal song-writer, Chris Troy puts it.

As well as nine original songs and an instrumental track, there’s all a cover of the Russ Ballad-penned classic, ‘I Surrender’, a huge hit for Rainbow in 1981 and a track I absolutely loved as a young teenage rock fan and still love today – a song that marked the high-point of Rainbow’s post-Dio embrace of more accessible, melodic hard rock. Rainbow are now long-gone, of course, but who better to continue flying the flag for accessible-but-intelligent, polished, melodic, hard rock than Praying Mantis? Interestingly, Praying Mantis, themselves, were actually in the running to release this song back in the early ‘80s but were overtaken by events when Blackmore and co. were given the nod to release it themselves. They certainly do it justice here. Other album highlights include the instantly-catchy rocker, ‘Feeling Lucky’ and the nicely mellow ‘One Heart’, with its lovely keyboard flourishes and Spanish-style guitar.

Both a highly-enjoyable album and a equally enjoyable album launch, Praying Mantis have definitely earned themselves the right to be a tad defiant these days.

Released: 19th April 2024

Related posts:

Live review: Tytan / Praying Mantis at Blackbox, Hastings 22/11/23

Live review: the final ever Giants of Rock, Minehead 21-23 January 2022

Live review: Four Sticks Classic Rock Weekender at the New Cross Inn, London 5-7 October 2018

Live review: Moya Brennan at De La Warr Pavilion, Bexhill 28/3/24

How I choose which gigs to go to has definitely evolved over time. When I lived in London I would be constantly checking out my favourite artists’ tour schedules, working out which venue on the tour would be easiest to get to and booking accordingly. Having lived down in Hastings some eight years now my approach has changed considerably and generally involves checking out the gig listings for the venues within a five-mile radius of my flat, working out who I want to see most and booking accordingly. In some parts of the country, that approach would be really restrictive but we are pretty spoilt for choice in terms of great venues, both large and small, on this part of the East Sussex coast.

And so this is exactly how I came to be at the De La Warr Pavilion for a performance by Moya Brennan. Publicised as ‘The Voice of Clannad’ in the tour promotion, I instantly decided this would be a must-see for me. I hugely enjoyed Clannad’s stunning set at Cropredy festival two years ago and while I was completely unfamiliar with Moya Brennan’s solo career beyond Clannad, I knew that any performance with her vocals at the heart of it was going to be well worth seeing.

Her voice is as pure and enchanting as ever, with Brennan taking lead vocals and harp just as in Clannad. Her band is something of a family affair with her daughter, Aisling Jarvis, on guitar and her son, Paul Jarvis, on keyboards and percussion, alongside leading Irish harpist and long-time collaborator, Cormac De Barra, and fiddle-player, Cathal Curran. Unfortunately, Brennan explained, the latter was not able to make Bexhill, the final night of the UK tour. However, she had persuaded a last-minute replacement (I didn’t catch his name unfortunately) to fly in to Gatwick that afternoon to do the gig. Only 17, he did a remarkable job stepping in and was very warmly-received by the De La Warr audience.

Material-wise, there was a heavy emphasis on songs Brennan had recorded with Cormac De Barra, with whom she has made a number of albums, including their latest project – an album celebrating the career of renowned Irish singer and harpist, Mary O’Hara. In contrast to the ethereal, other-worldly nature of much of Clannad’s back catalogue, there were also some sing-along moments, too. I certainly hadn’t expected a rousing communal rendition of ‘Lord Of The Dance’ but we all joined in with gusto. “I’ve been told you all learnt this at primary school over here,” she said, encouraging us to sing along. Indeed, we had and so that’s exactly what we did.

There would also be a few Clannad songs “for those who need that,” Brennan added dryly and we were treated to stunning renditions of ‘In A Lifetime’, ‘I Will Find You’ and ‘Two Sisters’.

A wonderful evening.

https://www.facebook.com/MoyaBrennanOfficial

Related post:

Clannad at Fairport’s Cropredy Convention, 2022

Live review: Saving Grace with Robert Plant & Suzi Dian, White Rock Theatre, Hastings 23/3/24

Like many regional theatres in the UK, the events programme for the White Rock In Hastings has been the typical mix of touring tribute shows, musicals and panto with the odd stand-out musical gem thrown. Recently, the theatre saw a change in operator with Trafalgar Theatres (who run many similar venues across the UK), giving way to the Guildhall Trust. The latter are a charity that operate the Portsmouth Guildhall and they came in promising “exciting times ahead” and a “broader programme of entertainment” for the White Rock. Certainly, having Robert Plant on stage sets high bar and is hopefully a foretaste of what’s to come once the new team get their feet well and truly under the table.

In the decades since Led Zeppelin’s demise, Plant has had a consistently fascinating career and some fascinating and highly inventive musical collaborations. I remember braving the mud to witness him with Strange Sensation at Green Man festival in 2007 and, more recently, his superb set with Alison Krauss at Hyde Park when they supported the Eagles two years ago.

His latest band is Saving Grace, composed of Plant, alongside Suzi Dian (vocals), Oli Jefferson (percussion), Tony Kelsey (mandolin, baritone, acoustic guitar), and Matt Worley (banjo, acoustic, baritone guitars, cuatro) have been around for five years now with several UK tours behind them. Somewhat rockier than previous projects they are a perfect amalgam of Plant’s long-standing interests in the realms of hard-rock, traditional folk, bluegrass and blues, offering up a compelling mix of rocked-up interpretations of traditional songs and folkified versions of Led Zep classics.

Again, we see him returning to the male/female duet set-up, that worked so spectacularly when Sandy Denny was recruited to provide co-lead vocals for ‘Battle Of Evermore’ on Led Zeppelin IV back in the day and more recently through the work with Alison Krauss. It’s a format that Plant is clearly comfortable with and this latest pairing is equally well-chosen. Whether she’s harmonising or taking the lead, Suzi Dian’s rich but delicate voice is just the perfect fit alongside Plant’s still instantly-recognisable vocal (albeit with a more restrained delivery these days…) The band behind them deliver powerful and at times almost almost hypnotic rhythms, with Tony Kelsey and Matt Worley working their way through a plethora of stringed instruments, both electric and acoustic, alongside Oli Jefferson’s pounding percussion. The effect is simply mesmerising with every song drawing you in completely.

Of all the ‘70s rock gods, Robert Plant is perhaps the one who has most has steadfastly refused to be pigeon-holed in the superannuated, stadium heritage rock act persona. It’s meant he’s continued to surprise and delight with new musical ventures. And it’s meant I could stroll along up the road to see him and his band perform an intimate gig in my local theatre.

https://www.robertplant.com

Set-list:

Gospel Plow

The Cuckoo

Let the Four Winds Blow

Friends

Is That You

Too Far From You

Everybody’s Song

I Never Will Marry

The Rain Song

As I Roved Out

It Don’t Bother Me

Four Sticks

Angel Dance

Gallows Pole

And We Bid You Goodnight

Related posts:

Robert Plant & Alison Krauss at Hyde Park 2022

“We were never about making the same album twice” – Led Zeppelin III: 50th anniversary interviews

July 2012: The night Jimmy Page asked if he could hang out with me

Live review: Joanne Shaw Taylor at De La Warr Pavilion, Bexhill 26/2/24

“I’m a blues guitarist but not necessarily a blues artist,” Joanne Shaw Taylor confides in the De La Warr audience at one point in the set, explaining her desire not to be boxed in too much by the constraints of genre labels. And that pretty much sums up her whole approach on stage tonight. From the pounding rhythm and blues of show-opener ‘In The Mood’ to the heart-wrenching classic blues of the Albert King cover ‘Can’t You See What You’re Doing To Me’, to the polished pop-rock of recent single ‘Wild Love’ to the elongated ‘60s-style freak-out of ‘Watch Em Burn’ to the funky licks of ‘Diamonds In The Dirt’ to the mellow, acoustic beauty of ‘Fade Away’ we get a taste of many things tonight.

Photo credit: Marty Moffatt

At the heart of it all is the incredible talent of Joanne Shaw Taylor, her soulful voice and great song-writing much in evidence, alongside her much-praised guitar wizardry. Discovered  and mentored by The Eurythmics’ Dave Stewart at just 16, she has uncanny ability to harness the passion, raw emotion, and sheer exhilaration that great blues guitar-playing can engender and then take that and place it in pretty much any setting.

And the results are spectacular – with a packed-out De La Warr Pavilion showing its appreciation throughout. Shaw Taylor is ably assisted, of course, by a hugely-talented band (Shane Sanders – bass, Joey Spina – second guitar, Eric Savage – drums, and Phil Whitfield – keyboards). Whitfield, in particular is a delight to watch, taking us from lush, exquisite, soulful keys to pounding, energetic honky-tonk piano during the course of tonight’s show.

Photo credit: Marty Moffatt

With an eagerly-anticipated new album coming out in June we get a taste of what’s to come via a couple of songs tonight (‘Sweet ‘Lil Lies’ and ‘Wild Love’) alongside more established favourites from her, by now, extensive back catalogue. Heavy Soul will be Shaw Taylor’s twelfth album since her 2009 debut, White Sugar and tonight’s show is proof as to just how much she’s established herself as blues rock royalty these past fifteen years. An absolute masterclass of a performance.

Heavy Soul is released 7th June 2024. For Joanne Shaw Taylor website visit here

Set-list:

In the Mood

Keep On Lovin’ Me

All My Love

If You Gotta Make a Fool of Somebody

Can’t You See What You’re Doing to Me

Dyin’ to Know

Wild Love

Won’t Be Fooled Again

Watch ’em Burn

Diamonds in the Dirt

Fade Away

Runaway

Sweet Lil Lies

Bad Blood

Going Home

Connor Selby – support

A shout-out, also, for the young blues-roots, guitarist singer-songwriter, Connor Selby, the one-man support act for this tour. The polite, well-mannered introductions to his songs belie a vocal delivery of real depth and grit, some nifty blues guitar work and some impassioned song-writing. Definitely one to be added to my ones-to-watch list, he entertained with a highly enjoyable set in his allotted 30-minute slot.

Connor Selby – photo credit: Phil Honley

For Connor Selby’s website visit here

Related post:

‘Wild Love’ – sultry new single for Joanne Shaw Taylor ahead of February 2024 UK tour

Live review: British Lion at Blackbox, Hastings 23/1/24

Well it’s not every day you get to the chance to see Steve Harris from Iron Maiden performing in a small upstairs venue above a bar on a wet Tuesday night in Hastings. But it seemed like an extremely promising choice for my first gig of 2024. Strictly speaking, it was actually my first ticketed gig of the year because I did see the impressive Lost Asylum in the Carlisle (Hastings’ main rock pub) a few nights back.

Blackbox is a great small venue but it can sometimes take quite a while to fill up. Not tonight though, as the place is completely packed-out as I walk in and the support act has already just taken the stage. Multi-instrumentalist and singer-song-writer, Tony Moore, was very briefly in an early line-up of the fledgling Iron Maiden but remained friends with Steve Harris over the years which landed him the support slot. He tells the crowd that as a kid he got to see Pink Floyd, Jethro Tull and Ziggy Stardust. And he ended up wanting to be all of them. His multi-media one-man show ‘Awake’ is a flamboyantly bombastic mix of prog-meets-glam-meets-rock-opera. It’s slightly bonkers and absolutely glorious. Hugely entertaining, moving and packed full of great songs, it was not what I was expecting at all as the opener tonight but I’ve definitely added Tony Moore to my list of people worth seeing again.

I’d long been aware of British Lion, Steve Harris’s side-project which originally started out as a solo album and then evolved into a fully-fledged touring band . But in terms of actually seeing them live or hearing either of their two albums they had completely escaped me. I turned up, therefore, without any familiarity with the material and with a completely open mind about what to expect.

It is said that Harris formed the band as both an opportunity to pursue different writing styles, away from the Maiden-esque long epics, and also to get up close and personal with audiences playing the small, sweaty clubs. I’m completely won over a few seconds into the first song and although British Lion is obviously a very different beast to Iron Maiden, they do come across as being very much a Steve Harris vision of what a successful rock band should be about. And that is meant as a compliment. There’s some real power-house rhythm, front and centre of the band’s sound, a great collection of songs with some shit-hot memorable melodies and while it’s all done on a miniscule scale compared to Maiden, the whole thing just oozes energy and charisma.

The band themselves (Richard Taylor – lead vocals, David Hawkins and Grahame Leslie – guitars and Simon Dawson – drums, alongside Harris on bass) work great together. This looks and feels like a proper band not just an occasional side project and the crowd clearly contains many dedicated British Lion fans, not simply Iron Maiden fans wanting to get a glimpse of Harris in the flesh. Every song from across the band’s two albums (plus a couple of newbies) is greeted like an old friend and I came away thinking I had some catching up to do. The merch desk didn’t seem to have any CDs for sale and Amazon drew a complete blank as well but I’ve just ordered their first album off ebay. I have got some serious catching up to do. British Lion are superb!

britishlionuk.com

Set-list:

This Is My God

Judas

Father Lucifer

2000 Years

The Burning

Legend

These Are the Hands

A World Without Heaven

Spit Fire

The Chosen Ones

Land of the Perfect People

Us Against the World

Wasteland

Lightning

Last Chance

Eyes of the Young

Live review: Tytan / Praying Mantis at Blackbox, Hastings 22/11/23

Blackbox on the main thoroughfare in the heart of Hastings Old Town is proving to be a superb small music venue for the town. It is pretty much what the name suggests, a 200+ capacity oblong room with the stage across the front, the bar across the back and, unlike many small venues inhabiting reconfigured old buildings, there are no awkwardly-placed pillars or over-congested bars getting in the way of sightlines. Black Box is fast-developing a reputation for pulling in some pretty big-name acts, too. They’ve recently welcomed both Mike Peters from the Alarm and Mark Chadwick from the Levellers and in January they are due to host British Lion, the side-project of Iron Maiden’s Steve Harris. Tonight it’s the turn of New Wave Of British Heavy Metal legends, Praying Mantis, who are supported by another veteran name of the era, Tytan.

Tytan were the band put together by Angelwitch bassist, Kevin Ruddles, on the demise of the original Angelwitch in the early ’80s. That band also fell apart after a couple of years, although their debut album was eventually released in 1985. Then in 2016 Ruddles reformed Tytan – now fronted by the impressive Tony Coldham who possesses a fantastic rock voice with a great vocal range. Providing top-notch support, Tytan deliver a superb slice of powerful but melodic early 80s heavy metal, performing songs from both their original 1985 album, Rough Justice, and its Iong-awaited 2017 follow-up, Justice Served. I was impressed enough to pick up a copy of the former from the merch desk and would certainly enjoy seeing this band again.

Unlike Tytan, Praying Mantis are a band I have seen live on several occasions in recent years, courtesy of numerous retro-themed hard rock and heavy metal weekends. Although not quite as chequered as the aforementioned Tytan, like many still-touring bands of the original NWOBHM era, Praying Mantis have still have something of a chequered past with various changes in personnel and a long hiatus throughout most of the ‘80s. For the past decade, however, the band’s line-up has been entirely stable with Dutch lead vocalist, John Cuijpers, fronting the band; alongside guitarist Andy Burgess, drummer Hans in’t Zandt and the ever-present Troy brothers, Tino on guitar and Chris on bass. As he alluded to on stage, Tino Troy has recently moved to Hastings which definitely assured him an extra warm welcome tonight. Not exactly a home-coming gig it was more of a housewarming party.

Few bands of the NWOBHM era are able to combine machine-gun heaviness with finely-polished melodiousness quite like Praying Mantis and tonight was no exception. It’s a superb set and the quality of material the band continues to release these days means that they are not simply reliant on old stage favourites – with the eponymously named ‘Praying Mantis’ and the ecologically-themed ‘Children Of The Earth’ from the band’s early days, appearing alongside the excellent ‘Cry For The Nations’ from the band’s 2022 album and other newer material.

An excellent night of old-school heavy metal in a superb local venue.

Related posts:

Live review: the final ever Giants of Rock, Minehead 21-23 January 2022

Live review: Four Sticks Classic Rock Weekender at the New Cross Inn, London 5-7 October 2018