Tag Archives: live review

live gig review

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.

20181103_224017

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

Related reviews:

Toledo Steel – album launch gig in London

Toledo Steel at Mearfest 2017

 

Advertisements

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.

20181101_204338

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/

b545741774f3b6f912190275f41736d2-rimg-w720-h288-dc27606f-gmir

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/

20181020_193203

Live review: Fairport’s Cropredy Convention August 2018

This review was originally published by Get Ready To Rock here

Day one: Thursday

Cropredy 2018 kicks off with Fairport Convention doing a brief twenty-minute acoustic stint. We’ll be hearing a lot more from them later on in the weekend, of course, but a short opening set from the hosts has become something of a Cropredy tradition.

OLYMPUS DIGITAL CAMERA

Fairport are then swiftly followed by Smith & Brewer. Ben Smith and Jimmy Brewer met a few years ago while on tour with Joan Armatrading and their Americana-infused acoustic playing, combined with August sun and a few beers is the perfect way to get us into the festival vibe for this most friendly and laid-back of festivals. Next up and on a similar sort of theme is Police Dog Hogan. Guardian readers will perhaps be aware of them through Guardian writer, Tim Dowling’s regular exploits as banjo player for the band in his regular Saturday column. No reflection on Tim or the rest of the band but your GRTR crew departed at this stage for a bit of chill-out time back at the campsite ahead of the evening’s headliners – 80s folk rock veterans Oysterband and surf supremo, Brian Wilson.

OLYMPUS DIGITAL CAMERA

Oysterband are as good as ever but for me, and many others, it’s Brian Wilson’s night. A visibly frail Brian Wilson took to the stage assisted by a walking frame and a couple of roadies. Seated at his huge white keyboard in the centre of the stage, however, he was master of all he surveyed giving us an hour and a half of sheer magic. He’s accompanied, of course, by a stage full of top class musicians and amazing vocalists and hit after hit of Beach Boys classics come thick and fast, followed by a rendition in full of the masterpiece that is Pet Sounds, followed by yet more hits. Wilson these days is also often accompanied by his old Beach Boys colleague Al Jardine. At 75 his voice sounds almost as fresh as it did at 20. Jardine’s son Matt, blessed with equally amazing vocal abilities, is also part of the line-up. If there comes a time when the last surviving Wilson brother becomes too frail to tour I would happily pay good money to see Jardine and his son continuing the Beach Boys legacy. Definitely one of the highlights of the weekend for me.

OLYMPUS DIGITAL CAMERA

Day Two – Friday

Festival-goers will be familiar with those days when the skies are grey, the temperature drops, the rain is relentless and everything – just everything – becomes an ordeal. Friday is one of those mornings. None of our group can face the thought of standing in the wet and cold all day and we head off to explore the ‘Cropredy Fringe’. Although Fairport have resisted the pressure to go down the route of other festivals and introduce multiple stages, a mixture of local pubs and enterprising landowners have put together their own programmes of entertainment to compliment (or compete with?) the action on the main stage. We therefore spent the first couple of hours in a marquee full of soggy festival-goers drinking cider and looking out on some truly depressing weather. Missing the first two acts on the main stage we were contemplating whether to brave it for the third when the sky brightened, the sun shone and we made it back to the main arena on a glorious August afternoon just in time to catch The Travelling Band begin their set. This talented band’s brand of Mancunian Americana was the perfect tonic as the day morphed from a horrendously cold and wet morning into a beautiful lazy sunny afternoon.

OLYMPUS DIGITAL CAMERA

I assume that a big chunk of this year’s artist budget had been blown on securing Brian Wilson (a decision I thoroughly, thoroughly approve of by the way). In consequence, compared to other years this year’s line-up was perhaps a touch lighter on household names. However, even if it lacked many big names we did have the likes of Jim Cregan who had an 18-year stint with one of the biggest names ever – Rod Stewart. A talented musician and songwriter Cregan co-wrote a number of Stewart’s hits and Cregan and Co turned out to be one of the unexpected highlights of the whole weekend. 20,000 people up dancing and singing along to the likes of Baby Jane, You’re In My Heart and Tonight I’m Yours as hit followed hit followed hit. Cregan also reminded us he’d done a stint with Steve Harley & Cockney Rebel – before launching into a wondrous Come Up And See Me (Make Me Smile) which sent the crowd even crazier. We even got a special treat right at the end as the Fairport boys came out en masse to do the mandolin part on Maggie May.

Larger than life Quebec folkies Le Vent Du Nord never disappoint and they wowed the crowd at Cropredy, just as I’d seen them wowing the crowd at Womad a couple of years earlier. Then it was the former Marillion main-man, Fish, but sadly coming on for that early evening slot where, once again. we really needed some chill-out time if we were to keep going until midnight.

We did make it back to the arena to see an utterly stunning set from Kate Rusby. Witty, passionate and engaging, with beautiful voice and deeply emotional songs the Barnsley-based folkie absolutely stormed it, in a time-slot where, to be truthful, I’d seen other female folkies struggle a bit to keep the crowd’s attention in the past.

OLYMPUS DIGITAL CAMERA

Then came Friday headliners, The Levellers, who I found to be a real disappointment to be perfectly frank. I’d seen them only a few weeks ago where they have been completely reworking their material in a sit-down, mellow, acoustic set accompanied by a string orchestra. Now while that was well-received in a medium-sized theatre with an audience of devoted fans, it is really not what you want for a festival set – certainly not when you are headlining and it’s late at night, it’s getting cold and the majority of the crowd were probably expecting to warm themselves up bouncing around to a full-on, rocked-up, classic Levellers set. A huge missed opportunity for the band – an innovative idea but just completely the wrong approach for a festival.

Day Three: Saturday

No relentless rain to put a damper on things on the Saturday morning, we have bright sunshine for Richard Digance, who has become quite a Cropredy institution over the years. His sentimental and gently humorous songs may not be everyone’s cup of tea but his set is worth it alone for the surreal sight of 20,000 white hankies waving in the air when Digance finishes his spot each year by getting the whole crowd on their feet for some mass morris dancing.

With a brief interlude from singer song-writer Eric Sedge, it’s time for yet more insanity, this time from the Bar-Steward Sons Of Val Doonican. Their formula isn’t a million miles away from the path trodden over many years by the likes of the Baron Knights, the Wurzels et al – humorously silly alternative lyrics to well-known pop songs. But the Doonicans dress it up with a bit of very twenty-first century surrealism including, at one point, the lead singer launching himself off the stage to surf above the crowd in a rubber dinghy. I spoke to people who had been crying with laughter and had them down as one of the absolute highlights of their weekend while my brother (and GRTR’s official photographer for the weekend) was adamant that they were the worst act ever to appear at a festival in his entire existence. I quite liked them.

Next up is young singer-songwriter Will Varley. A great voice and superb musicianship I felt at times, that he perhaps has to develop a bit more as a writer in order to give us some truly memorable songs – but I’m sure that will come. Then it’s time one of the weekend’s highlights for me was a cracking set from Sam Kelly & The Lost Boys. Putting a modern edge on traditional folk, Kelly and his band-mates really get the crowd up and jigging. Definitely one of the most exciting bands to emerge on the contemporary folk scene in recent years.

OLYMPUS DIGITAL CAMERA

Then it was back to the van for a big long snooze, missing both Afro Celt Sound System and Al Stewart. In my mitigation I thought the Old Speckled Hen mini keg that I’d polished off that afternoon contained five litres rather than five pints. Still, I was up bright, refreshed and rested for Fairport Convention’s Saturday night headline slot and, even more impressive, I’d completely missed out on all the heavy rain.

OLYMPUS DIGITAL CAMERA

Fairport Convention always strive to give us something a bit different with their mammoth Saturday night set each Cropredy festival. Last year was very much a celebration of the band’s fiftieth anniversary, with surviving former members from each era reuniting on stage. This year the two stand-out sections of the set were a lengthy and poignant tribute to former lead singer, Sandy Denny, who died forty years ago this year, and an emotional and amazingly touching tribute to another former member, multi-instrumentalist Maartin Allcock. The latter’s musical input was a huge part of the band’s renaissance as a touring, recording, functioning outfit in the 80s and early 90s. A couple of months before this year’s festival, however, Allcock announced on his website that he had been diagnosed with terminal liver cancer, was unlikely to be around for very much longer and that Cropredy would be his final public performance. An incredibly brave way of facing the final chapter of his life but what a performance it was and what love for him in the assembled crowd. Playing the rocked up ‘Metal Matty’ version of Fairport’s traditional classic. Matty Groves, that Allcock helped create back in his days with the band and, finally, taking centre stage to play out the encore Meet On The Ledge he said goodbye to the Cropredy Fairport family in true style with grace, dignity and some stunning playing. Certainly one of the most emotional moments I’ve ever experienced in thirty-odd years of festival-going. Thank you for your contribution Maartin and may your final days be full of love and free of pain.

OLYMPUS DIGITAL CAMERA

All photo credits: Sam Reynolds

Related reviews:

Fairport Convention at Cropredy 2017

Fairport Convention at Cropredy 2014

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

 

Live review: The Blues Band at St Mary in the Castle, Hastings 16/6/18

This review was originally published by The Stinger here

Vocalist and harmonica player, Paul Jones, departed pop/r&b group Manfred Mann for a solo career in the mid 1960s but in the event said career ended up being more about acting than about singing. However, in 1979 he and some friends got together The Blues Band and, almost forty years later, they are still gigging and recording.

The first half of their set at St Mary In The Castle tonight is heavily dominated by songs from the brand new album which the band are completely shameless in endlessly plugging tonight, so much so that it becomes something of a running joke between each song. (For this most civilised bunch of blues hellraisers there is also a plug for the band’s roadie’s art exhibition which comes to Hastings this summer, too.) The relentless plugging seems to have done the trick, however, and there is a very healthy queue to buy the album and get it signed by the five band members during the interval. Indeed, with the quality of songs on offer tonight it is easy to see why the band are understandably very proud of the album. Comprising nine original tracks and three arrangements of old traditional songs ‘The Rooster Crowed’ is released this month.

When we think of the blues musicians we tend to think of the guitar first and foremost, and there is some excellent blues guitar tonight, but the harmonica is as much a signature sound of traditional blues as the guitar and I was struck by how central Jones’ harmonica-playing is to the performance tonight and, moreover, what a brilliantly emotive player he is.

The second half sees the band delve back into some earlier material. However, unlike Jones’ other outfit, The Manfreds (who guitarist, Tom McGuinness, and drummer, Rob Townsend, also tour with) it’s less about rattling through a back catalogue of top ten hits and more about celebrating the history of the blues over many, many decades. Accordingly, band material is interspersed with renowned classics like Fats Domino’s ‘Let The Four Winds Blow’ and Big Joe Turner’s ‘Shake Rattle and Roll’.

Seeing the Blues Band live was a first for me, although I do remember my dad buying their debut album not longer after it came out. However, it is clear the band are able to deliver seemingly effortless musicianship without ever losing that all-important ability to really connect with an audience on an emotional level. A highly enjoyable gig.

http://www.thebluesband.net/

81lXpbklCQL._SL1200_

Live review: Sweet – fiftieth anniversary concert at Spandau Citadel, Berlin 9/6/18

From a small trickle (The Stones, The Beach Boys et al) fiftieth anniversaries are now coming thick and fast in the rock world. 1968 was the year The Sweet were formed so this year it’s their turn and a special celebratory outdoor gig in Berlin.

Guitarist Andy Scott didn’t join until 1970 but, save for a short period in the early 80s when the band was on hiatus, Scott has been consistently touring and flying the Sweet flag for the past five decades. Germany, where Sweet have enjoyed a strong and dependable following over the years seems as good a place as any to host it and fans have flocked from all over Europe, including quite a sizeable contingent from the UK. Indeed most of us from the British contingent are still sitting at the back leisurely quaffing beer when the opening bars of ‘The Stripper’ blast from the PA system. An unexpectedly early start to the gig, we hurriedly race to the stage area to make sure we don’t miss anything.

The band rip into ‘Hellraiser’ but, lest anyone think this is just going to be a standard greatest hits set, we soon get some nice surprises. ‘Turn It Down’ never a big hit in the UK but the heaviest and the rawest of the Chinn-Chapman singles gets a welcome airing, as does ‘Defender’ the band’s most recent single, a sing-along slice of melodic hard rock released in 2015.

Former Sweet guitarist Steve Mann, who was with the band for seven years in the early 90s but was also a key figure in the NWOBHM metal scene in the 80s, is welcomed on stage to guest with the band for much of the gig. And before too long Krokus’s Marc Storace is also introduced to the crowd. Performing ‘American Woman’ and Neil Young’s ‘Rockin’ In The Free World’ this is a nice touch, demonstrating how much Sweet in the early 70s helped lay the the foundations for the generation of rock bands that came afterwards. Another guest is German metal vocalist Doro, who delivers a fantastic version of ‘All We Are’ and proves a perfect fit for the Sweet. Harmony vocals, always an intrinsic part of the Sweet sound, are boosted on stage tonight by the additional presence of some of the Rock Meets Classic touring band.

20180609_201816

A visibly moved Scott makes dedications to the original band members who are no longer with us, Brian Connolly and Mick Tucker, but amidst the plethora of special guests one person is notable by his absence. Apparently, attempts were made to get Steve Priest along but to no avail. Whatever has gone on between the two in the past it would have been nice to see the two surviving members of the classic 70s era of the band reunite on stage for the band’s fiftieth but it was not to be. None of this prevented this from being a very, very special gig, however. The band unleash powerful versions of some of their more hard-rocking album classics ‘Windy City’, ‘Set Me Free’ and ‘AC/DC’ – proving to any doubters that there was always far more to this band than just the glam hits.

Acoustic versions of ‘Lady Starlight’ and ‘Lost Angels’ follow, along with a medley of the band’s earliest bubblegum hits. Then, after an energetic workout from long-time drummer Bruce Bisland, it’s time to whip the crowd up with some of the glam-era smashes like ‘Teenage Rampage’ and ‘Wig Wam Bam’, not to mention a majestic ‘Love Is Like Oxygen’ and a fabulously rocking ‘Fox On The Run’, the band’s first self-composed mega-hit.

20180609_203625

There is an electric atmosphere in the huge outdoor courtyard of the historic Spandau Citadel (not the place where Rudolph Hess was sent to prison by the way, which was demolished after his death to prevent it becoming some sort of weird neo-Nazi shrine). Andy Scott and his band-mates (Bruce Bisland, Tony O’Hora and Pete Lincoln) are clearly moved by the reaction they get tonight and there’s soon thunderous cries for an encore. The band oblige, returning to blast out ‘Action’, Blockbuster’ and, finally, ‘Ballroom Blitz’ the latter with Marc Storace and Doro returning to the stage once more to share vocals with the band.

20180609_214447

Sweet (and their special guests) truly give fans a night to remember in Berlin. What a fantastic way to celebrate 50 years of this iconic band.

34860810_1894299917256434_4302479984074686464_o

http://www.thesweet.com/

Related posts:

Sweet at London and Bilston 2017
Sweet with Ritchie Blackmore’s Rainbow
Sweet at Bilston 2016
Sweet at Dartford 2015
Sweet at Bilston 2014
The riff in Blockbuster and Jean Genie

Live review: Toledo Steel at The Dev, Camden 12/5/18 (album launch gig for ‘No Quarter’)

The New Wave Of British Heavy Metal (NWOBHM) gave a shot in the arm to the hard rock/heavy metal scene in the late 70s/early80s. By the second half of the seventies many of the original pioneers from the late 60s/early 70s were on hiatus or running out of steam and a crop of new bands took the can-do spirit of punk and began taking hard rock out of the mega stadiums and into the altogether more accessible pubs and small venues. The scene didn’t last long and apart from a few bands who made it into the mega stadiums themselves, many fell by the wayside. In recent years, however, there has been a renewed interest in the NWOBHM. A number of the old bands have reformed and are out gigging again but, importantly, a whole new generation of younger bands, many of them taking direct musical inspiration from that scene, are once again filling up pubs and small venues, releasing albums and building up solid fan-bases.

One of those bands is Toledo Steel who are releasing their debut album ‘No Quarter’ and, in the guise of playing the official after-show party for the Frost & Fire heavy metal all-dayer at Camden’s Underworld, are at The Dev to formally launch it with a special gig.

Formed in 2011 in Southampton and with two well-received EPs under their belt the five-piece combine melodic vocals, a twin guitar attack, furiously heavy delivery and a ear for a catchy well-written song. Indeed, those very qualities that made NWOBHM bands like Saxon and Iron Maiden such a breath of fresh air back in the late 70s.

With two EPs and a brand new album the band have a really decent stash of powerful material to draw from, their set-list tonight combining earlier material like the utterly unforgettable ‘City Lights’ with material from the new album like the excellent title track ‘No Quarter’ and a song that celebrates the curse of tinnitus ‘Heavy Metal Headache.’

Looking around the crowd packed into this smallish boozer tonight it’s noticeable that there are a fair few of us in our late 40s/early 50s, clearly drawn to this renaissance of classic-sounding metal. But what is more significant is that we are far outnumbered by much younger guys and girls around the same age as the band. This is looking far less like a mid-life crisis driven nostalgia-fest and far more like a genuine movement – and that is a very hopeful sign for the future of rock.

Fast and furious, loud and heavy as hell but never less than tuneful and melodic Toledo Steel are everything you want from a truly great heavy metal band and ‘No Quarter’ is a brilliant debut album.

Released: May 18th 2018

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

61BGSrxzTNL

Related review:

Mearfest at the Carlisle, Hastings 2017

Live review: Show Of Hands at St Mary in the Castle 4/5/18

This review was originally published by Hastings Online Times here

Touring together since the early 90s, picking up more awards than you’d care to mention and selling out the Albert Hall on several occasions, Devon’s Show Of Hands are one of the best-known names on the contemporary folk scene. As the venues got bigger and the album sales increased the original duo of Steve Knightley and Phil Beer were joined by double bass virtuosos, Miranda Sykes, along the way.

For this tour however, sans Sykes, the duo have decided to go back to their roots, performing songs from early on in their career. They are ably supported by Geoff Lakeman, father of a whole brood of award-winning folk musicians in Sean, Sam and Seth Lakeman. An engaging folk singer and concertina player with a lifetime’s experience as part of the local west country folk scene, Lakeman entertains the audience as he adopts the bemused persona of someone who finds themselves touring in support of their very first album at the age of 69.

Show Of Hands’ set features songs from Knightly and Beer’s early years of playing together at the Deer Leap folk club in Devon, in addition to songs voted for by their fans from the duo’s first five albums. There’s a nice variety in terms of both traditional material and Knightley’s own songs. As one would expect, it’s also a great showcase for Beer’s musical genius on fiddle, guitar and mandolin. Perhaps more so than a typical Show Of Hands gig, however, the nature of the performance gives the two a real opportunity to talk about their original coming together as a duo, their musical influences and some of the things that had happened to them over the years – both the hilarious and the poignant.

Introducing ‘Seven Yellow Gypsies’ Knightley explains that they were once playing the song to a group of musicians in India when the host musicians responded with a song of their own that had an almost identical melody and subject matter. It’s a lesson in realising however English we might think many of these old folk songs are there is something universal about much traditional music and also reminds us how well-travelled some of these songs are.

It isn’t all music from the early days though. The duo wrap up with a ‘greatest hits’ collection, giving some of their best-known anthems like ‘Arrogance, Ignorance and Greed’, ‘Country Life’ and ‘Cousin Jack’ a good airing. There’s plenty of Life In Show Of Hands yet and, I’m certain, there’ll be plenty more caustic observations of modern-day life but for this tour it was nice, also, to celebrate the duo’s early days with them and to learn a bit more about what brought them together.

https://www.showofhands.co.uk/

Show of Hands

Photo Credit: Simon Putman

 

Live review: King King at St Mary in the Castle, Hastings 3/5/18

This review was originally published by The Stinger here 

Four-piece King King have been building quite a formidable reputation since forming a decade ago. ‘The best blues rock band in the world’ no less, according to Blues Rock Review.

It’s a big sound and a very classy sound that fills the cavernous St Mary In The Castle tonight, and one that just oozes the confident charm and riff-laden swagger from classic rock’s heyday when band’s like Bad Company dominated the album charts and filled the stadiums. Integral to the whole sound, and one of the things that really makes the gig special for me, is the interplay between guitarist Alan Nimmo and keyboard player Jonny Dyke. Dyke, the new boy in the band who replaced departing keyboard player Bob Fridzema last year, delivers deliciously soulful Hammond that perfectly compliments Nimmo’s guitar wizardry and bluesy vocals.

At the heart of all great blues rock, however, are great songs and King King certainly don’t disappoint in that department either. Songs like ‘You Stopped The Rain’ and ‘Rush Hour’ show some quality song-writing. And lyrically it’s not just standard stadium blues rock fare of feeling alright or looking for love. Material from the new album ‘Exile & Grace’, in particular, concentrates on some altogether more profound subject matter. “There’s an underlying theme on this latest album,” explained Nimmo, when launching the album late last year. “Some of the main songs are about the state of the world, y’know, this beautiful blue planet that’s turning into a battlefield.” ‘Broken’ one of the songs tonight from the new album is very much on that theme of a troubled world. In spite of the uncompromising lyrics though it’s delivered with the same class and seemingly effortless appeal that defines all the great songs of this genre.

While Nimmo has had issues with his voice in recent years and had to undergo treatment on his vocal chords, there’s no sign of that hampering the performance tonight and the whole band give an absolute master-class in classic blues rock.

Setlist:

She Don’t Gimme No Lovin’
Waking Up
You Stopped The Rain
Broken
Long History
Lose Control
Rush Hour
Long Time Running
All Your Life
Stranger To Love
Let Love In

https://www.kingking.co.uk/

20180503_212807