Category Archives: live reviews

Live review: Seth Lakeman at De La Warr Pavilion, Bexhill 7/3/19

This review was originally published by The Stinger here

It doesn’t seem too long ago that Seth Lakeman was being hotly-tipped as one of the young rising stars of the contemporary folk scene and, back in 2005, was being nominated for the Mercury Prize. Now in his early forties and a father of three, but still maintaining those boy-band good looks, he’s become one of the folk scene’s seasoned figures and has no problem packing out the De La Warr.

For this tour he’s supported by singer-songwriter, Carus Thompson. The singer/guitarist does a nice line in Aussie-flavoured Americana, including a love song that was inspired by playing in a maximum security German prison. Once part of Australian folk/country band Carus & The True Believers, Thompson’s music is well worth checking out.

Lakeman has the audience onside from the first song and takes us on a thrilling but thoroughly modern folk-rock romp. The set-list includes material from his 2018 album The Well Worn Path, as well as highlights from across his now-considerable back-catalogue – both traditional and self-composed.

Set highlights include ‘The Educated Man’, a song from the new album which is surely destined to be an audience favourite for many years to come. Another favourite is ‘Portrait of My Wife’ a traditional ballad that Lakeman initially performed as part of the Full English folk collaboration back in 2013. It’s just Lakeman and his fiddle right at the front of the stage for this – the band and even the microphone are dispensed with. The impact is stunning and the crowd join in the song’s chorus of ‘raise your glass to the one you love’.

Accompanying Lakeman, who alternates variously between fiddle and acoustic guitar, are Kit Hawes on guitar, Ben Nichols on double bass and Evan Jenkins on drums. Nichols’ bass playing produces a deep and powerful sound and Jenkins’ drumming really gives the band that folk rock oomph. However, it’s the interplay between Lakeman and Hawes that proves crucial to the dynamic on stage tonight. Whether it’s acoustic guitar versus electric, banjo versus acoustic, electric versus fiddle or acoustic versus fiddle it’s never less than totally captivating and the sound from the two musicians is glorious.

Lakeman tells us we’re the best audience of the tour so far and the band are clearly delighted with the response they get from the De La Warr tonight.

I volunteer for this project called Gig Buddies which is about giving adults with a learning disability opportunities to have an independent social life and I invited my gig buddy, Glenn, along to accompany me to this gig. The final verdict on Seth Lakeman’s performance tonight, therefore, goes to Glenn and he writes: “I enjoyed seeing Seth Lakeman and I love his songs. He was fantastic and I got to meet him afterwards.”

(Additional reporting by Glenn Harris)

https://www.sethlakeman.co.uk/

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Related reviews:

Seth Lakeman at Folk by the Oak 2014

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Live review: Glen Matlock headlines Hastings Fat Tuesday 5/3/19

It’s often remarked upon what a uniquely thriving local live music scene Hastings has. Nowhere is this more in evidence than the annual Fat Tuesday extravaganza. Taking in over 250 separate performances from over sixty different bands across more than twenty-five venues over five days simply a whirlwind of live music. And most of these gigs are completely free.

Headlining it all this year is none other than rock ‘n’ roll legend and former Sex Pistol Glen Matlock. Like the other bands performing on the final night – Fat Tuesday itself – Matlock plays several twenty minute sets in several different venues tonight. But, as the main headliner, he also gets an additional forty-minute slot after the other bands have finished, courtesy of the Carlisle.

While Matlock is whizzing around these other venues it gives me the chance to catch another couple of bands in the Carlisle first: the excellent Hastings-based punk-folk outfit Matilda’s Scoundrels and then the Tunbridge Wells outfit Suncharmer with their brand of riffed-up indie rock.

Both bands are well received but the place soon gets properly crammed in time for Matlock. Playing a mix of Sex Pistols classics (‘God Save The Queen’, ‘Pretty Vacant’), recent solo material (‘Keep On Pushing’, ‘Fisherman’s Friends’) and classic cover versions such as Bowie’s ‘John I’m Only Dancing’ and The Small Face’s ‘All Or Nothing’. With a great band behind him (bass, vocals and electric guitar) and Matlock on vocals and acoustic guitar, they cram a pile of great rock’n’roll into their forty-minute set. Matlock’s adulation of the rockabilly era is apparent throughout – but for all the year zero posturing back in the day, punk was always about rediscovering the format of the classic three-minute rock ‘n’ roll song. It’s a superb performance that goes down perfectly with a suitably raucous crowd.

There had been other highlights from the weekend for me, of course. Saturday – branded as the unplugged day – saw me catch more of Matilda’s Scoundrels, some Indie-ish pop-rock from Elephant Radio, a gloriously insane set from Brass Funkeys and an excellent acoustic set from indie-folk singer-songwriter Trevor Moss. But having a genuine legend to headline was a fitting end to the madness that is Fat Tuesday.

A bona fide rock ‘n’ roll icon. Performing in the pub. Free entry. On a Tuesday night. It can only be Hastings…

http://glenmatlock.co.uk/

 

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Related posts:

Fat Tuesday 2017 preview

Fat Tuesday unplugged 2017 review

Dodgy at Fat Tuesday 2017 review

 

Live review: Cara Dillon at the Birley Centre, Eastbourne 21/2/19

From ‘She’s Like The Swallow’ from her very first album released, incredibly, some eighteen years ago through to songs from her 2017 album The Wanderer, folk singer Cara Dillon treats the audience to a beautiful and varied selection of songs tonight.

I’ve enjoyed seeing Dillon performing live several times now, the last occasion being at Hastings’ St Mary In The Castle with a full band. Tonight, however, it’s just Dillon, her voice, a little bit of Irish whistle-playing and her husband and musical partner, Sam Lakeman, accompanying her on piano and acoustic guitar. There’s nothing bare-bones and basic about tonight’s performance, though, nor indeed about the setting. The ultra-modern Birley Centre theatre space at the private Eastbourne College, lavishly equipped with a Steinway grand piano, is clearly a gift for Lakeman to perform at tonight, as he compares the Steinway to some of the more battered instruments he’s had to play on elsewhere on the tour.

Whether it’s her interpretations of traditional songs or her own writing, Dillon’s Irish roots and County Derry upbringing are never far from the surface. ‘The Leaving’ is a song she wrote about the tradition of what was once known as ‘the living wake’, she tells us, where relatives would make merry until the early hours to say their farewells, not to a deceased relative but to one emigrating to America, very often never to be seen again. It’s a beautiful, emotive song but an even more poignant moment comes with her rendition of the Troubles-era song ‘There Were Roses’ about two boys, one catholic one protestant, who were both murdered in tit-for-tat killings back in the 70s. Dillon promises not to go on about Brexit but, as she introduces the song, very movingly talks of the threats to the peace process and the crushing of feelings of hope and optimism amongst young people that the current Irish border issues throw up back in her home town. Inviting the audience to join in the chorus, which we all do in our gentle, quiet, thoughtful way – adds to the poignance.

Another especially moving moment in the evening comes about with Dillon’s rendition of the song ‘Lakeside Swans’ from her latest album The Wanderer, which she was inspired to write as a result of the refugee crisis and seeing those awful images of the drowned little Syrian boy on the beach that appeared on the front pages of every newspaper a few years ago.

Always a mixture of beautiful singing, emotive lyrics and captivating performance an evening with Cara Dillon and Sam Lakeman on stage is never less than something very, very special. Eastbourne tonight demonstrates their ability to pull this off once again.

http://www.caradillon.co.uk/

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Related reviews:

Cara Dillon at Cropredy 2014
Cara Dillon at Hastings 2016

Live review: Holy Holy perform The Man Who Sold The World & Ziggy Stardust at De La Warr Pavilion, Bexhill 17/2/19

The Bowie-inspired supergroup Holy Holy, featuring original Spider from Mars Woody Woodmansey and David Bowie collaborator and legendary producer Tony Visconti, first got together in 2014 when they toured Bowie’s groundbreaking The Man Who Sold The World album in full, which both men played on. This was followed with a 2017 tour playing The Rise And Fall Of Ziggy Stardust And The Spiders From Mars in full. Now, in 2019, Holy Holy are back with another tour performing not one, but both of these legendary albums in full, back-to-back. Bexhill’s De La Warr is absolutely packed out for an evening of Bowie worship. Fronted by Heaven 17’s Glenn Gregory, Woodmansey and Visconti are joined by James Stevenson and Paul Cuddeford on guitar, Berenice Scott on keyboards and Jessica Lee Morgan on saxophone, guitar and additional vocals.

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Beginning with The Man Who Sold The World set, the heaviest of Bowie’s early 70s albums, the band don’t hold back on songs like the doom-laden All The Madmen and The Supermen as well as the lighter but no less brooding ‘After All’, not to mention a majestic rendition of the album’s title track. As I observed on a previous tour, Gregory is a powerful singer and great performer who does a nice line in Bowiesque vocals but without ever descending into play-acting or parody. Although the venue is all-seated tonight, many in the crowd don’t need much encouragement at all from Gregory when he says they are welcome to make their way to the front (even if the venue management appear to take a slightly different view).

If the atmosphere for the moody, dark proto-goth vibes of The Man Who Sold The World is reverential when the band switch to performing Ziggy Stardust, however, it’s one of unadulterated, joyous celebration. This is exactly as it should be for one of the truly classic albums of the second-half of the twentieth century. From ‘Five Years’ (track 1 side one on the original vinyl) through to ‘Rock n Roll Suicide’ (track 6, side 2) the classic songs keep rolling one after another, each one greeted with tumultuous, affectionate, thunderous applause.

Yes, those on stage didn’t write these songs and (in the majority of cases) weren’t the ones to originally perform them. Their creator, together with two of his three Spiders From Mars band-mates, is no longer with us. And yet, and yet… this is very much a band, not a disparate collection of musicians and competing egos coming together to reel off a tribute, but a band – one that has genuinely gelled musically, one that works the stage together and one that laps up the love shown by tonight’s audience. Everything about this performance screams out that this is something special, that this is something way beyond the myriad of Bowie tributes that can be found up and down the country.

The encore sees a surprise rendition of Bowie’s 2013 hit ‘Where Are We Now’, something the band only hit on part way through the current tour, Gregory tells us. That’s followed by a triumphant ‘Life On Mars’, a superbly energetic’Changes’ and a gloriously raucous ‘Rebel Rebel’.

Bowie’s music needs to be kept alive and deserves to be kept alive and, really, no-one does that better than Holy Holy.

Set-list:

Width of a Circle
All The Madmen
Black Country Rock
After All
Running Gun Blues
Saviour Machine
She Shook Me Cold
The Man Who Sold The World
The Supermen

Five Years
Soul Love
Moonage Daydream
Starman
It Ain’t Easy

Lady Stardust
Star
Hang On to Yourself
Ziggy Stardust
Suffragette City
Rock ‘n’ Roll Suicide

Where Are We Now
Life On Mars
Changes
Rebel Rebel

http://www.holyholy.co.uk/

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When Darren met Woody…

Related reviews:

Holy Holy at Shepherd’s Bush Empire 2017

Mike Garson perfoms Aladdin Sane at Birmingham O2 2017

 

Live review: Giants of Rock, Minehead 25-28 January 2019

This was the sixth annual Giants of Rock weekend hosted by Butlins in Minehead – and my fifth. Here’s a small selection of bands that stood out for me this time, as well as one that I’m afraid just didn’t do it for me at all.

Worth seeing

Sometimes you want to see an artist, at least just the once, for the small part they played in rock ‘n’ roll history. For me, original Thin Lizzy guitarist, Eric Bell, was one of those names who fitted into that category. It meant missing the much-praised ‘New Wave Of Classic Rock’ band Ethyrfield on the other main stage, sadly, (but I made up for this by buying Ethyrfield’s CD from the merch stand later). Eric Bell gave us a run-through of rock ‘n’ roll and blues standards. It’s a little ragged in places but we’re soon into a rendition of ‘Whiskey In The Jar’ – a slightly different arrangement of the old folk song compared to Lizzy’s version that many of are used to but Bell’s unique guitar sound is unmistakable and this is basically what I came in to hear. Ironically, the drum-kit of Bell’s former band-mate, Brian Downey, sits unused behind Bell’s band because Downey’s own take on Thin Lizzy’s heritage, in the form of his Live & Dangerous tribute, was the next act. Anyone hoping for some form of cross-fertilisation between these two performances, however, would have been disappointed. There are no guest jam spots or even any acknowledgement that the two bands are in the same building on the same stage on the same evening. Compared to the revived Thin Lizzy of a few years ago (which ended up morphing into Black Star Riders) this is more faithful copy of classic-era Lizzy in conventional tribute act format. But Brian Downey has more than earned the right to perform and celebrate these songs as many times as he likes and the band get a good reception.

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Eric Bell http://www.eric-bell.com/

Ones to watch

Now performing under their new identity (but still down in the programme as VOiD due to them still using their old name when they were originally booked last year) Scarlet Rebels emerged as one of the stars of the introducing stage this year. “Unfortunately, there are about a million bands called Void and no-one could ever find us,” lead singer, Wayne Doyle, tells the crowd. I had caught these guys doing a support slot a year ago and what has not changed is their brand of classy, melodic hard rock which immediately impressed me first time around. Lead guitarist, Chris Jones, is an absolute live-wire on stage, injecting wave after wave of energy into the crowd with his soloing, while front-man, Doyle, has a great voice that’s just perfect for modern-day classic rock. Let’s hope any identity issues that the band suffered under their previous moniker are now firmly behind them and that Scarlet Rebels get the recognition they deserve. As one of the triumvirate of introducing stage winners over the three days they’ll be back at Butlins on one of the main stages next year. Thoroughly well deserved.

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Scarlet Rebels http://www.scarletrebels.com/

Surprise of the weekend

Playing only their second gig in 35 years (the first being at Skegness Butlins the week before) the newly-revived Geordie are one of the biggest surprises of the weekend. The band had a handful of hits in the mid 70s but are now best-known as the band that launched Brian Johnson’s career prior to him being tracked down by AC/DC in 1980. Original members Tom Hill (bass) and Brian Gibson (drums) are joined by Steve Dawson (guitar) and Mark Wright (vocals). Powerful, foghorn very Johnson-esque vocals from Wright with a very well-rehearsed band behind him served to breathe new life into some long-neglected songs. It was great to hear the likes of ‘Can You Do It’, ‘Don’t Do That’ and ‘All Because of You’ getting a live airing after all these years. I’ve seen numerous band revivals at weekends like this, sometimes on some really rather tenuous ground. I therefore approached this with a mixture of curiosity and cynicism but they massively, massively exceeded expectations. A real surprise. I was half-hoping that Geordie would encore with a cover of Back In Black or Rock n Roll Ain’t Noise Pollution as a cheeky little nod to the part they unwittingly played in rock ‘n’ roll history – but it wasn’t to be (Geordie – if you are reading this you should absolutely do it!). The job of delving into AC/DC’s back catalogue was instead left to the next act, Chris Slade’s Timeline when the current (and former) AC/DC drummer ran through a selection of classic songs from his various bands. For sheer impact and confounding expectations, however, the afternoon very much belonged to Geordie.

https://www.facebook.com/GeordieFanpage/

Old favourites

Sweet delivered a blistering set and hopefully gained a few more “oh, I just thought they were just a pop band I didn’t realise they were such a great rock band” converts in the process. However, I’ve written about this band many, many times before and readers of Darren’s music blog will be left in no doubt at all of my affection for all things Sweet. Instead, I’m going to give a mention to Oliver/Dawson Saxon. After they had both walked away from Biff Byford’s Saxon, guitarist, Graham Oliver, and bass player, Steve Dawson, got together and formed their own version of the band. Now I’m not saying Oliver Dawson Saxon are better than the actual continuing Saxon – but they are certainly more fun. With his on-stage patter, lead singer Brian Shaughnessy is more Wheeltappers and Shunters Social Club than Hallo Wembleyyyy  and cuts a hilarious and quite bonkers stage presence but he is an absolute dynamo of a vocalist. When it comes to belting out all those old Saxon classics there is always so much energy from this band and Minehead 2019 was no exception. There are no pretensions to be anything else with this performance. It’s just good old-fashioned New Wave Of British Heavy Metal played exactly the way it should be. The perfect party band to end the night with on a weekend like this. Oliver/Dawson Saxon we salute you.

http://www.odsrock.co.uk/

And one that just wasn’t for me

Paul Manzi had quite a busy weekend. He did an excellent job filling in as a temporary member of Sweet on the Saturday night due to Pete Lincoln’s absence and then he was back on the Sunday night fronting Cats In Space. There’s another Sweet connection, too, because former Sweet bass player, Jeff Brown, now carries out that very same role for Cats In Space. Like Sweet, harmony vocals and hook-laden melodies are in integral part of the band’s sound. Rather than the British glam rock era of the early 70s, however, this band very much take their cues from the American AOR/ power pop era of the early 80s, when albums were as shiny, polished and lavishly-produced as an episode of Dynasty. Unfortunately, as with that TV series it’s a genre of rock that simply leaves me cold. It’s clear that Cats In Space love what they are doing and they execute it with total professionalism. I really wanted to like them but three songs in I realise it’s never going to be. If the previous night was Sweet this, for me, was saccharine. I up and leave for the other stage. Raw, raunchy down to earth blues rock from guitar maestro, Rob Tognoni was the perfect antidote to what I’d just walked away from – and someone I look forward to seeing more of.

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Rob Tognoni https://www.robtognoni.com/

Related reviews:

Giants of Rock 2018

Giants of Rock 2017

Rock & Blues weekend, Skegness 2018

Live Review: Steve Harley & Cockney Rebel at De La Warr Pavilion, Bexhill 19/12/18

This review was originally published by The Stinger here

Steve Harley and his band-mates take the stage and launch straight into George Harrison’s Here Comes The Sun, a top ten hit for Harley and co, in 1976. It’s well received by the audience and I’m instantly transported back to the previous (and only) time I saw Steve Harley and Cockney Rebel, one blazing August afternoon at the Reading Festival back in 1983 when that song worked its magic on the crowd. It’s a great start. The trademark combination of electric violin, electric and acoustic guitars and keyboards all in place, the band have the audience on side straight away.

After a couple of energetically performed hits, however, he takes us into some of the more reflective songwriting of his later solo career. Harley is a hugely talented and award-winning songwriter, but my view has always been that with an instantly recognisable but fairly limited vocal range, Harley’s voice is better suited to the more upbeat pop-rock material. That was confirmed for me tonight. There’s some beautifully heartfelt songs and some absolutely superb musicianship. Original Cockney Rebel drummer, Stuart Elliot is still with the band and Paul Cuddeford is an absolute whizz on guitar. Between songs Harley is a witty, sincere and, at times, a surprisingly emotional host. However, much as I admire his evident songwriting skills on the slower, more sensitive material, the delivery didn’t always quite work for me.

After a short interval though we’re back on to some of the rockier material where the band excel, particularly the aforementioned Cuddeford, and where Harley’s vocals are perfectly suited. And as we come to the end we start to get another blast of the hits. Over the course of the evening we are treated to Mr Soft, Love’s A Prima Donna, Best Years Of Our Lives, Sebastian and many more. Struggling to move around following a recent hip operation Harley tells the audience he’s not going to hobble off stage, wait in the wings and hobble back on for an encore as he introduces his best-known and one of the most memorable pop songs of the past fifty years. Now in use by Pfizer as the soundtrack for a Viagra ad, he jokes that he offered them Mr Soft but they insisted on this one.
The normally genteel, all-seated De La Warr audience start to get up and make their way up to the front to dance along to a wonderful, life-affirming rendition of Make Me Smile (Come Up And See Me).

I learnt a lot more about what makes Steve Harley tick tonight. For someone who did not always endear himself to the media circus back in the day, he comes across as genuinely likeable and engaging. I’m still always going to love him more in glam rock god mode than in sensitive singer songwriter mode, much as I have a deep love for both genres, but this is a gig I am certainly glad I did not miss.

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Photo credit: Sarah-Louise Bowry

https://www.steveharley.com/

Live review: Toledo Steel at The Carlisle, Hastings 3/11/18

A third live blast of this band for me in recent months, Toledo Steel are rapidly becoming one of my absolute favourite modern-era heavy metal bands.

Although they released their debut album ‘No Quarter’ earlier this year, the band are not quite new kids on the block, having been around since 2011 and with two prior EPs and a relentless round of gigging under their belts. Unlike a number of similar bands, however, their line-up has been relatively stable during that time and on-stage they are a formidable unit together.

Rich Rutter’s powerfully melodic vocals, combined with the twin guitar assault of Tom Potter and Josh Haysom and some truly, truly memorable songs make Toledo Steel a really great classic heavy metal outfit.

Storming through a set-list including ‘Heavy Metal Headache’ and ‘No Quarter’ from their recent album and ‘City Lights’ and ‘Speed Killer’ from their last EP the impact on the crowd is instant. These are not just great songs. They are fully-formed heavy metal anthems.

And with a nod to the classic era of heavy metal that has done so much to help shape and influence this band we also get a brilliant cover of Judas Priest’s ‘Heading Out to the Highway’.

Following in the footsteps of Black Sabbath and Motorhead in having an eponymously-named killer track they leave us with a momentous blast of ‘Toledo Steel’ for an encore and for everyone to roar along to. Superb!

While the Carlisle is not packed tonight the band absolutely storm the place and it’s clear Toledo Steel have some committed fans in the audience, myself included. Hopefully, it won’t be too long before they are playing on far bigger stages to far bigger crowds. They 100% deserve it.

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http://www.toledosteel.co.uk/

Related reviews:

Toledo Steel – album launch gig in London

Toledo Steel at Mearfest 2017

 

Live review: Ashley Hutchings ‘The Beginnings of Fairport Convention’ at Cecil Sharp House 1/11/18

As well as being a hugely influential musician Ashley Hutchings is a natural raconteur and an elegant wordsmith and here he’s built on his previous touring show (captured on the album ‘From Psychedelia To Sonnets’ in 2016) to put something together specifically about the early days of the band he founded: Fairport Convention.

Part book reading, part anecdotal reflection, part theatrical performance, part quiz show (!) and part full-on folk-rock concert, The Beginnings Of Fairport Convention is a two-hour show celebrating Hutchings’ period with the band 1967-69 and the four iconic albums they released.

For these performances Hutchings has put a full five-piece band together. Initially influenced by the folk rock that was springing up on America’s west coast and the burgeoning singer-songwriter genre Hutchings and his band-mates perform material that the original Fairport performed in their early days: songs like Eric Anderson’s ‘Close The Door Lightly When You Go’ and Leonard Cohen’s ‘Bird On A Wire’. It’s far removed from the English folk rock that Fairport Convention would move on to in just a year or two’s time and Cecil Sharp might be turning in his grave if he were to hear what was being performed in the hallowed venue he gave his name to but Hutchings and co. do a superb job of capturing the sound, and some of the energy, of those early Fairport gigs. (Well I was only a toddler at time so what do I know but to my ears it was like having some of the BBC sessions from Fairport’s Heyday album being brought to life some fifty years later.)

There’s anecdotes, too, of course: the band’s first gig, Jimi Hendrix asking if he could jam with them one night and, for their second album, Sandy Denny joining.

After a short break the band return and Hutchings talks us through the band’s evolution from ‘Britain’s Jefferson Airplane’ to the pioneers of English folk rock, following the band’s tragic crash on the M1. Hutchings recalls the weeks spent poring over manuscripts in the library next door and the revolutionary sounds they began to create together rehearsing in the Hampshire countryside ahead of the recording and release of the iconic ‘Liege and Lief’ album. The unforgettable instrumental from that album (‘The Lark In The Morning’ Medley) is recreated together with a beautiful version of Richard Thompson’s and Dave Swarbrick’s ‘Crazy Man Michael’. Becky Mills, who performs on the aforementioned ‘From Psychedelia To Sonnets’ album, does a beautiful job throughout the evening performing songs once sung by Sandy Denny, Judy Dyble and Iain Matthews.

Ashley Hutchings “the single most important figure in English folk rock” as Bob Dylan puts it, has more than earned his right to celebrate the legacy of the band he helped create in this way and, with the help of some talented musicians, gives us a very entertaining two-hour show.

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http://ashleyhutchings.co.uk/

Related reviews:

Album review – Ashley Hutchings ‘Twangin’ ‘n’ a-Traddin’ Revisited’

Album review – Ashley Hutchings ‘From Psychedelia to Sonnets’

Album review – Fairport Convention ‘What We Did On Our Saturday’

Fairport’s Cropredy Convention August 2017

Albion Christmas Band at Kings Place 16/12/14

Live review: John Fogerty at the O2 25/10/18

A few years ago when, tragically, we began to lose more and more of our rock ‘n’ roll icons I made list of artists I had never seen live before but wanted to catch before they finally stopped touring. I had pretty much ticked off everyone on my list (Alice Cooper, Deep Purple, Ritchie Blackmore, Jerry Lee Lewis, Sabbath with Ozzy, The Who, Steve Winwood, Roger McGuinn) apart from two – Chuck Berry and Creedence Clearwater Revival’s John Fogerty. Sadly, a Chuck Berry gig was not to be but at London’s O2 I finally got the chance to see John Fogerty.

Before Fogerty we have a full set from the Steve Miller Band, Miller himself celebrating fifty years in the business as he delights us with classics like ‘Abracadabra’, ‘Space Cowboy’ and ‘The Joker’. I’ve sometimes found the atmosphere in the O2 a bit sterile at times, particularly for support acts, and even though I can’t help feeling I would have liked to have seen this hour-long set in a more intimate venue nevertheless he and his band are warmly received and there is genuine affection for Miller and co.

After the interval the atmosphere is simply buzzing as John Fogerty takes the stage. His voice, his guitar, his songs and his stage demeanour leave every member of the packed O2 in no doubt that we are in the presence of one of the true icons of American rock music. The classic songs come thick and fast: ‘Travelin’ Band’, ‘Up Around The Bend, ‘Who’ll Stop The Rain’, ‘Born On The Bayou’ and many, many more. And paying tribute to the musical traditions of the American south the band deliver fine covers of ‘My Toot Toot’, ‘Jamabalya’ and ‘New Orleans’ before launching into another round of era-defining Creedence classics, including ‘Have You Ever Seen The Rain’, ‘Fortunate Son’ ‘Bad Moon Rising’, ‘Proud Mary’. Fogerty’s post-Creedence output is represented by ‘The Old Man Down The Road’ (the track for which Fogerty was famously accused of plagiarising one of his own earlier songs in one of his many legal battles) and ‘Rockin’ All Over The World’ (indelibly imprinted in the minds of every British rock fan due to Status Quo’s legendary cover – but it’s great, for once, to see the song performed by the man who wrote it).

My one tiny regret is that we don’t get ‘Some Day Never Comes’ a moment of sheer unadulterated brilliance on CCR’s very patchy final album, recorded just as the band were imploding. Nevertheless, every single second of John Fogerty’s set tonight is a bucket-list performance at a bucket-list gig. I am very happy I was there to witness it.

Set-list:

Travelin’ Band
Green River
Hey Tonight
Up Around the Bend
Who’ll Stop the Rain
Lookin’ Out My Back Door
Rock and Roll Girls
Good Golly Miss Molly
Psycho
Long as I Can See the Light
Mystic Highway
Born on the Bayou
My Toot Toot
Jambalaya (On the Bayou)
New Orleans
Have You Ever Seen the Rain?
Rockin’ All Over the World
Down on the Corner
The Old Man Down the Road
Keep On Chooglin’
Fortunate Son
Bad Moon Rising
Proud Mary

https://johnfogerty.com/

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Live review: John Verity Band at Printers Playhouse, Eastbourne 20/10/18

When the booking for another venue in the town had fallen through and John Verity’s wife/manager, Carole, put out a call out on social media asking for possible alternatives I suggested Eastbourne’s Printers Playhouse, fast establishing itself as a decent small venue. Given that my off-the-cuff suggestion actually worked out and the John Verity Band were able to secure a booking there I thought the least I could do was get myself along. No chore this though. I have seen the former Argent guitarist at various Butlins weekends and it’s always a highly enjoyable set.

Playing some beautifully emotive slow blues as well as a few well-chosen rock classics, John Verity and his band-mates, John Gordon on bass and Liam Gray on drums, give us ninety minutes of sheer quality in this intimate and tightly-packed upstairs venue. While there are a fair few self-written songs played tonight, like ‘Blues in Heaven’ a beautiful tribute he had written for a former colleague and friend who passed away, there’s no shortage of covers either. Verity has never been at all snobbish about doing cover versions, whether blues standards or rock classics, but he always puts his own indelible stamp on them with his own inimitable guitar sound. As well as a cracking cover of a late-period Etta James song ‘The Blues Is My Business’ we are treated to J.J. Cale’s ‘Cocaine’ and, towards the end an awesome version of Hendrix’s ‘Purple Haze’.

Though he defines himself as a blues guitarist through and through, Verity does tell the audience, he “did have a little diversion at one point” before launching into the familiar powerful chugging intro of ‘Hold Your Head Up’ for a superb version of the Argent classic.

A hugely-talented blues guitarist, a genuine rock legend, an engaging stage personality with a nice line in self-deprecation and a really, really tight, together band it is well catching John Verity on one of his frequent tours.

http://www.johnverity.com/

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