Tag Archives: Hastings

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: 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: 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

This week’s featured artist: south-coast psychedelic rock from The Clocks

Straddling the territory between indie, alt-rock and psychedelia The Clocks are a three-piece outfit from down here on the Sussex coast in Hastings. Formed in 2018, they are: George Bond (guitar/lead vocals), Adam McSweeney (bass/backing vocals) and Garry Alexander (drums).

As well as picking up a growing number of followers on the local live circuit, there has also been a flurry of recording activity over the past eighteen months. Initially releasing several singles independently, the band then signed with local label, Frontier Music. More releases soon followed, such as recent single ‘The Conversation’ which came out back in the summer.

The Clocks: “This track is more than music – it’s a conversation between the instruments and your soul. Let the waves of sound wash over you and take you on a musical adventure like no other.”

‘The Conversation’ is one of eight tracks that appears on the band’s long-awaited and newly-released debut album Road To Ascension which came out on 27th October.

From Cream to the Jimi Hendrix Experience to Grand Funk Railroad, the classic power trio line-up of bass-drums-guitar remained a key fixture of the psychedelic era. The Clocks remain true to that tradition. And while there’s more than a nod to rock’s illustrious heritage in The Clock’s sonic template – from the early ’60s beat boom to the late 60s psychedelic ‘era and beyond – the band also have their feet planted firmly in the present. More contemporary indie-rock influences are also very apparent, too. It’s an appealing mix and makes for an impressive debut and one that is likely to enhance the band’s reputation and and win them over plenty of new fans.

Available on all the main digital platforms you can check out Road To Ascension here:

https://distrokid.com/hyperfollow/theclocks/road-to-ascension

https://www.facebook.com/TheClocksUK

Live review: The Sensational 60s Experience at White Rock Theatre, Hastings 11/6/23

Regular readers of Darren’s Music Blog will not be surprised that my interest in glam rock has taken me to quite a few ‘70s-themed package shows over the years. However, although I’ve seen many such tours advertised I’d never actually been to one of the ‘60s-themed ones before now. I’ve always had it in mind to catch one while there’s still, at least, a chance of seeing one or two of the original performers from the era still touring. Walking along Hastings seafront a few days ago, I noticed the poster for the Sensational 60s Experience appearing at Hastings White Rock Theatre later in the week. I checked on my phone to see they still had tickets and booked then and there.

First up tonight are The Fortunes. Lead vocalist and founding member, Rod Allen, had kept the group going from its inception in 1963 through until his death in 2008. Guitarist, Michael Smitham, the longest serving member of  the current line-up has been around since 1983, however, with the others joining in more recent decades. Clearly, we weren’t going to see any of the original Fortunes tonight but they rattle through a few hits, songs like ‘Here It Comes Again’ and ‘You’ve Got Your Troubles’ from the 60s and (straying into the early 70s when The Fortunes enjoyed a bit of a revival in their own fortunes) ‘Freedom Come, Freedom Go’ and ‘Storm In A Teacup’.

Vanity Fare were formed in 1966, had three Top Twenty UK hits in the late 60s and even though their last original member, Trevor Brice, left them in 1979, they can still boast Guitarist/vocalist, Eddie Wheeler, who has been with them since 1970. Moreover, bass-player, Bernie Hagley, has been around since 1974 so they can claim a reasonable pedigree. I’m not too familiar with their material but they are good musicians – and as well as their own hits they throw in a couple of entertaining cover, too, including a lively version of ‘Spirit In The Sky’.

After performing several songs under their own steam, Mike d’Abo is then invited on stage to join them – a genuine, bonafide 60s hitmaker if ever there was one. Vanity Fare do an excellent job substituting for d’Abo’s former band as he powers through a selection of Manfred Mann hits: ‘Just Like a Woman’, ‘Semi-Detached Suburban Mr James’ and ‘Ha! Ha! Said the Clown’; as well as couple of d’Abo’s own songs that others enjoyed success with: ‘Build Me Up Buttercup’ and the unforgettable ‘Handbags and Gladrags’. d’Abo is in strong voice tonight, exudes charisma on stage and is the stand-out act of the evening in my view. He leaves us with a spirited rendition of the pre-d’Abo, breakthrough hit for the Paul Jones-fronted version of the band. ‘Da Wah Diddy Diddy’ gets us all singing along before we hit the interval, and a chance to meet the man himself.

Mike d’Abo came out to sign CDs and meet fans during the interval

An appropriately double-denim-clad Swinging Blue Jeans then kick things off in the second half. Again, it’s another group on stage tonight without any members who played on their original hits. However, vocalist/lead guitarist, Alan Lovell, has been with the band since 1999 and did play alongside original members, Ray Ennis and Les Braid, for a number of years. The other musicians in the band can also boast some impressive rock and roll credentials between them, playing with the likes of Joe Brown, Cliff Richard, Jerry Lee Lewis and Chuck Berry among others. While the line-up might be the real thing, it’s probably the most authentically rock and roll performance of the evening, sticking to the basic template established by the first generation of US rockers back in the 1950s. As well as The Swinging Blue Jeans’ own biggest hit ‘The Hippy, Hippy Shake’ (which was originally written and recorded by US rock and roller, Chan Romero, in 1959), we get the likes of Jerry Lee Lewis’s ‘High School Confidential’ and Little Richard’s ‘Good Golly Miss Molly’.

Next up are Tremeloes tribute, The Trems. Unlike the others on the bill tonight they don’t claim to be the actual band (a version of which is still going, containing two sixties-era members). Rather, The Trems are billed as “former members of the Tremeloes”. Joe Gillingham (on keyboards) has been playing with the Tremeloes/Trems since the late 80s while Jeff Brown (on bass and vocals) has been with them since 2005. Brown, who also did a long stint with Andy Scott’s Sweet throughout the 90s and early 2000s needs no introduction to me as I’d seen him numerous times before, albeit in 70s glam persona rather than swinging 60s! It’s the closest thing tonight to a straightforward tribute act but Brown is an entertaining frontman and he and his bandmates get a deservedly enthusiastic response from the audience.

Dozy, Beaky, Mick & Titch wouldn’t have been my obvious choice as headliner for a 60s tour but proved to be the real surprise of the evening. Former frontman, Dave Dee, sadly passed away in 2009 and the original Dozy also passed away in 2015 and we have a replacement Mick (drummer, John Hatchman who’s been playing with them since the early 80s), a new Titch (lead guitarist Jolyon Dixon, who’s been around since 2014) and a new Dozy (Nigel Dixon on bass, who joined in 2015). But it’s still the original Beaky and rhythm guitarist, John Dymond, carries the air of surprised, bemused delight that he’s still doing this 58 years after releasing their first single. It’s all rather glorious as they amp up the sound and blast out the old hits like ‘Bend it’, ‘Zabadak’, ‘Legend of Xanadu’ and ‘Hold Tight’ with a raucous rock and roll swagger. Full of energy, spectacularly bonkers and hugely entertaining, it was a great end to the evening.

The original Beaky (centre) with Dozy, Beaky, Mick & Titch

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Live review: The Manfreds at Congress Theatre, Eastbourne 26/10/21

Live review: Francis Rossi – ‘Tunes & Chat’ at White Rock Theatre, Hastings 3/6/23

Always quite a Quo fan since being a young teenager, I’d originally booked to see Francis Rossi on his ‘I Talk Too Much Tour’ back in 2020. Covid came along and that got rescheduled and then cancelled altogether but Rossi finally makes it to Hastings’ White Rock Theatre on his follow-up tour, ‘Tunes and Chat’.

The previous tour adopted that well-established format for this type of evening: seasoned music journo chats to acclaimed rock star about their life and career, interspersed with some live songs. Sadly, (for the reasons given above) I didn’t get the chance to see Rossi do this with veteran rock writer, Mick Wall, when they went out on the road but Rossi clearly enjoyed himself because he’s back for more. However, this time he’s eschewed the standard format of on-stage bantering with an established music journo and it’s just Rossi and his guitar tech and accomplished co-musician, Andy Brook.

Brook famously doesn’t say a word during the show until right towards the end when he reads out some audience questions for Rossi to answer. So the “chat” part is very much Rossi in solo mode. It soon begins to remind me of one of those monologues that Ronnie Corbett used to do sitting on that massive big chair meandering away when he did his solo segment on The Two Ronnies. It’s very stream-of-consciousness with lots of ad-hoc, one-liners interspersed with recollections about growing up in an Italian family in south London, getting hooked on music and embarking on a potentially-lethal home experiment in trying to create his first ever electric guitar.

Along with the more generic chit-chat, there’s also some fascinating insights into how certain Quo songs came about. And, my, do we get the songs. Starting off with some of the early material like ‘In My Chair’ and ‘Down The Dustpipe’ before moving on to some of the songs recorded at the height of the band’s success in the 1970s and early 1980s, there is absolutely no shortage of Quo classics, including ‘What You’re Proposing’, ‘Paper Plane’ and ‘Rocking All Over The World’.

I’ve seen Status Quo perform acoustically in the past, of course, when they did their ‘Aquostic’ project some years back but this is a much more intimate affair and Rossi is in fine voice and clearly in his element. On stage, Rossi and Andy Brook spar extremely well together musically – even if not conversationally – and the evening ends with a wonderful, communal sing-along to ‘Caroline’.

Structured? Not really.

Insightful? Partly.

Entertaining? Absolutely!

https://www.francisrossi.com/

Related posts:

Status Quo – Aquostic at Hammersmith Apollo 26/4/15

Status Quo at Hammersmith Apollo 28/3/14

Live review: Peter Knight’s Gigspanner at Stables Theatre, Hastings 7/11/21

This review was also published by the Hastings Online Times here

Given both guitarist, Roger Flack, and percussionist Sacha Trochet are both Hastings residents and fiddle-player Peter Knight has a longstanding association with the town going right back to his Steeleye Span days, the Gigspanner concert at the Stables Theatre in Hastings old town was something of a post-lockdown homecoming gig. There was certainly a packed auditorium to welcome back the trio.

Peter Knight’s Gigspanner has now being going for well over a decade, with their first album released back in 2009. Initially starting out as a side project from his main work as part of Steeleye Span, Knight eventually left the folk rock icons in order to make Gigspanner his main priority. Now he’s back to juggling two different bands again with an expanded Gigspanner Big Band – which incorporates multi-instrumentalist dup Phillip Henry and Hannah Martin as well as Bellowhead icon John Spiers joining the core trio. The expanded set-up are in East Sussex next month, performing at Hailsham Pavilion on 4th December. Tonight, however, it’s the regular-size trio version of Gigspanner taking the stage.

With a set that included many Gigspanner live favourites like ‘Seagull’, ‘Butterfly’, ‘Bows of London’ and ‘Sharp Goes Walkabout’ each one is greeted like an old friend. There’s no letting up in the flair, inventiveness and spirit of improvisation to the performance, however, as they distil that trademark blend of English and Irish folk and a vast array of world music influences to deliver something that continues to be spell-binding and utterly mesmerising.

The newest member of the trio, Sacha Trochet, who took over from original percussionist Vincent Salzfaas, has help propel the already excellent Gigspanner to a whole new level, bringing in a much more experimental bent to the percussion and a broader texture of sounds.

It is always an absolute delight seeing Gigspanner and after a big Covid-shaped hole in my gig diary these past eighteen months it’s lovely to have them back.

https://www.gigspanner.com/

Gigspanner at Hastings 2017

Gigspanner Big Band at Hastings 2016

Gigspanner ‘Layers of Ages’ album

Steeleye Span in London 2015

Gigspanner at Hastings 2015

Gigspanner at Whitstable 2014