Tag Archives: live review

live gig review

Iain Matthews in Etchingham 18/11/16

Folk music, Live reviews, Rock music, , , , , ,

This review was also published in The Stinger here

“Just on the off-chance there’s a spare place do you fancy seeing Iain Matthews do a private gig in someone’s front room in Etchingham tonight.”

“Of course I’m interested! Let me know.”

“Yes, there’s a place for you. The guy who’s organising it says he knows you from years back.”

So went a series of texts between myself and a friend. And why I found myself in the house of an old acquaintance I hadn’t seen for around twenty years to witness a performance by former Fairport Convention/Matthews Southern Comfort/Plainsong singer, Ian Matthews.

It’s a really intimate affair: just twenty-odd people crowded into a room, Matthews and his guitar. But his material and manner is just perfect for a gathering like this. A few songs in he confesses he very rarely performs solo, normally performing either in a band or as a duo. This really surprises me because not only is he a superb singer-songwriter-performer he’s also got that knack of instant engagement and rapport with an audience, however small. He’s got some fascinating stories to share, reflecting on both his long career and the songs he performs.

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Material-wise, we get some great material from throughout his career, both covers and originals. Highlights include Matthews’ own ‘Ballad of Gruene Hall’; a beautifully laid-back cover of Van Morrison’s ‘Brown Eyed Girl’; a song from Gene Clark’s magnificent solo album No Other; and some lovely Richard Farina covers from the newly-revived Plainsong’s 2015 album Re-inventing Richard.

That golden voice that sang along with Sandy Denny on the original version of ‘Meet on the Ledge’ will probably always be the thing I associate most with Matthews, however. And at the end of the set it can be heard singing out that song, once more, as a final encore for this small but enthusiastic gathering. A perfect end to the evening.

At one point in his set Matthews talks about his giving up completely as performer, assuming his career had run it’s course by the early 80s. But then he recalls a few years later an emotional Robert Plant grabbing him backstage at Fairport’s Cropredy festival and lecturing him about the importance of getting back out there on the road. “You owe it to your fans,” urges Plant. “What fans?” asks Matthews. “Get out there and you’ll find they are out there,” Plant responds. Indeed they are. Keep on playing Iain…

http://www.iainmatthews.nl/news.html

2016-11-18-23-27-27

Ian Hunter at Shepherd’s Bush Empire 11/11/16

Live reviews, Rock music, , , , , , ,

77 and still putting out great albums, I’ve been eagerly anticipating each new Ian Hunter release for around three decades now. Fingers Crossed, Ian’s latest album with his superb Rant Band came out in September and it’s great to be seeing Hunter performing songs from that album live so soon afterwards.

A raunchy, rocky ‘That’s When The Trouble Starts’, opens the set, also the opening track on the new album. Over the next couple of hours we get several of the other new ones, too, including the lovely new piano ballad ‘Fingers Crossed’ and ‘Ghosts’ which is Hunter’s reflection on a visit to Sun Studio. Having, visited there myself earlier this year I completely relate to the evocative magic conjured up by the lyrics “All the wonders of the word assembled here to jam..”

‘Dandy’ is Hunter’s tribute to David Bowie, the man who was so alarmed to hear that Mott The Hoople was on the verge of splitting up after being a constant live draw but failing to shift many records, he offered to give them a hit, gifted them ‘All The Young Dudes’ and the rest is history. An affectionate, melancholic, Bowie-esque singalong it name-checks various Bowie songs: “Dandy – you’re the prettiest star. There ain’t no life on Mars. But we always thought there might be…”

Other songs from his more recent career also make there way into the set. ‘When I’m President’, his caustic take on US politics seemed particularly apt tonight as we all still try to comprehend the future in the light of this week’s presidential election results.

In his solo career Hunter has never been one simply to rest on past glories and has always sought to introduce new material into his set. But at the same time, however, it wouldn’t be an Ian Hunter concert without a selection of vintage classics interspersed with the newer material. From the Ian Hunter solo back catalogue ‘Once Bitten Twice Shy’, ‘Cleveland Rocks’ and ‘All American Alien Boy’ each made an appearance, while from the Mott The Hoople archive we got storming versions of ‘Honaloochie Boogie’, ‘All The Way From Memphis’ and ‘All The Young Dudes’.

The Rant Band are on great form, as ever. Ian Hunter continues to be both a great rock and roll performer, as ever, and a thought-provoking singer-songwriter, as ever. Let’s hope there’s a good few more tours in him yet.

http://ianhunter.com/main/

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Related reviews:
Ian Hunter at Minehead 2016
Ian Hunter at Shepherds Bush Empire 2014

Eliza Carthy at St Mary in the Castle, Hastings 4/11/16

Folk music, Hastings music scene, Live reviews, , , , , , ,

My review was originally published on The Stinger independent music website here

We see it in other musical genres, but with this one perhaps even more so, and second and third generation offspring of the 50s/60s folk revival have been making a significant impact on the contemporary folk scene.

This is unsurprising in a way, given that folk in its original sense was always about songs being passed down through generations.And there aren’t many singers with more impeccable credentials than Eliza Carthy, daughter of folk mainstay, Martin Carthy, and Norma Waterson, of the renowned Waterson singers.First up tonight, however, and keeping it within that illustrious family, is none other than Eliza’s cousin, Marry Waterson, performing with guitarist, David A Jaycock, with whom she’s just released an album.A warm, earthy and passionate singer she’s a good choice for support act, singing a mixture of songs from the duo’s album and from her family’s incredible back catalogue.

Although there are some similarities in the voices of both Eliza and Marry, the contrast between the opening act and the main act couldn’t be greater.

Where the first is stripped back, intimate and reflective the second is big, bold and theatrical. Eliza Carthy and the other eleven members of her latest venture, The Wayward Band, make an instant and lasting impact the minute they hit the stage.

It’s been called a folk supergroup and includes musicians from the likes of Bellowhead, Mawkin, Edward II and Peatbog Fairies.

It’s a very full sound (fiddles, cello, bass, guitar, keyboards, accordion, drums, percussion, brass section) and it’s possible that other folk singers could get a bit drowned out by such backing.

Not Eliza Carthy, though, who has both the strength of voice and the charismatic stage presence to never risk being overwhelmed.

Furthermore, they’ve put together a great selection of songs, too.

There will be a full album out in February but tonight those who wanted to hear more of The Wayward Band had to settle for buying the band’s EP.

Definite highlights from tonight’s set included a gloriously rumbustious ‘Good Morning Mr Walker’ and Carthy’s thoughtful reflection on the refugee crisis: ‘You Know Me’.

Introducing the song she said she felt moved to speak up for the long-standing and ancient tradition of offering hospitality to strangers.

Throughout the night the band were rewarded with a great reception from the crowd.

“Is this the new Bellowhead?” asks the poster advertising tonight’s gig. There are obvious similarities.

But there are obvious differences, too. Although there’s brass it’s not as dominant in the overall sound mix as it is in Bellowhead and in The Wayward Band there’s also an emphasis on Carthy’s own material as well as interpretations of traditional songs.

However, for those on the look-out for a big band that fills the stage and a big sound that fills the auditorium and an act that keeps folk music well and truly in the 21st century, Eliza Carthy and The  Wayward Band is definitely one to look out for.

Marry Waterson website: http://marrywaterson.com/

Eliza Carthy website http://www.eliza-carthy.com/
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Saxon / Fastway / Girlschool at Shepherd’s Bush Empire 5/11/16

Live reviews, new wave of British heavy metal, Rock music, , , , , , , , , ,

So it’s another trip to London and another trip to the Shepherd’s Bush Empire for New Wave Of British Heavy Metal veterans Saxon, who are currently headlining a tour that also includes includes Fastway and Girlschool.

Girlschool are first up and deliver a great opening set. Even those unfamiliar with pretty much anything the band have put out since the 80s would find lots to like here. I always thought Girlschool’s brand of heavy metal worked best for them when they channelled their inner glam-pop sensibilities (something they always acknowledged was a key influence) and delivered songs that were loud, hard and heavy but laden with unmissable hooks, catchy choruses and memorable riffs. And for much of the set that’s exactly what we get: old favourites like Demolition Boys, Hit and Run, Emergency and (Gun cover) the fantastic Race With The Devil. Fitting very much into that template, too, is new song Come The Revolution, from their latest album: 2015’s Guilty as Sin.

Even thirty-odd years after Girlschool formed all-female rock bands are few and far between but well done the women of Girlschool for keeping the flag flying all these years and for doing it so brilliantly in 2016. A definite thumbs up from me.

Girlschool setlist
Demolition Boys
Hit and Run
Come the Revolution
Take It Like a Band
Future Flash
Watch Your Step
Race with the Devil
Emergency

News

When Fastway was launched in 1983 a heavy rock supergroup was in the offing, featuring former members of Motörhead, UFO, and Humble Pie. Pete Way of UFO left before they even made their first album and, incredible a guitarist though ‘Fast’ Eddie Clarke undoubtedly is, the band never really stayed on my musical radar. But at least that allowed me to approach their set tonight with a completely open mind. And my verdict: probably among the most talented performers of all three bands this evening. Eddie Clarke is an awesome guitarist, in particular, and Toby Jepsom (lead singer since 2007) has a great voice and a charismatic stage presence. And all the musicians had a good musical vibe and worked well on stage together. But… and this is a big but … compared to the other two bands this evening with their fistfuls of songs that are always imprinted on your brain and you can sing in the shower, this lot simply don’t reach that bar. In spite of some superb musicianship and a great stage presence having a great set of songs is, for me, a crucial component in distinguishing a good rock band from a truly exceptional one. However, Eddie Clarke’s greatest moment of the night is yet to come.

Fastway setlist:
Misunderstood
All Fired Up
Another Day
Deliver Me
Telephone
Heft!
Feel Me, Touch Me (Do Anything You Want)
Easy Livin’

http://www.fastwayofficial.com/site/

By the time Saxon come on at around 9pm every last square inch of floorspace in the Shepherds Bush Empire is completely rammed. I like being part of a sell-out audience in a packed venue but this bordered on being too close for comfort. Perhaps it’s a welcome sign that Saxon need to start booking bigger venues for their next tour.

Now Saxon have had their ups and downs over the years. After the initial wave of early 80s success, they never managed to attain the dizzy stadium-filling heights of their contemporaries like Iron Maiden (though personally I think Saxon are by far the superior band). Saxon risked being derided as heavy metal has-beens and written off as a bit of a joke. A much publicised documentary in 2007 saw them at constant loggerheads with Harvey Goldsmith as he took up the challenge to help restore the band’s popularity. But whether the band took on board any of Goldsmith’s advice or not it inevitably lead them to reflect on their music and their career. There’s been a significant change around in fortunes since and their bloody-minded determination to carry on serving their old fans as well as looking to gain a next generation of new ones has seen them through.

The album currently being toured Battering Ram stands up well against any of their early classics and it’s great to hear the album’s title track open the set. The album has been played and played on my stereo and so songs like The Devil’s Footprint and Queen of Hearts have become familiar old friends to me now and sit well in the set alongside earlier material. The last third of the set, however, is a non-stop run-through of those early Saxon classics: And The Bands Played On, Dallas 1PM, Wheels of Steel . It’s briefly broken for one of those ‘need-to-be-there’ moments when Eddie Clarke returns to the stage for a cover of his old band’s Ace of Spades as Saxon’s very special tribute to Lemmy Kilmister. Then it’s on with more timeless classics: 747 (Strangers in the Night), Denim and Leather and Princess of the Night.

Saxon in 2016 deliver the old material as good as they ever did, produce truly stunning new material and perform with a confidence and authority as befits one of British rock’s truly great bands. Just book a bigger venue next time, Biff!

Saxon setlist:
Battering Ram
Let Me Feel Your Power
Sacrifice
Solid Ball of Rock
Never Surrender
Crusader
Stand Up and Be Counted
The Devil’s Footprint
Strong Arm of the Law
Killing Ground
The Eagle Has Landed
Queen of Hearts
And the Bands Played On
Dallas 1 PM
Wheels of Steel
Ace of Spades (with Eddie Clarke)
747 (Strangers in the Night)
Denim and Leather
Princess of the Night

http://www.saxon747.com/

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Related review:
Saxon – album review: Battering Ram

The Divine Comedy at De La Warr Pavilion, Bexhill 25/10/16

Hastings music scene, Live reviews, Rock music, , , , , ,

My review was originally published on The Stinger independent music website here

Perhaps one of the most unlikely outfits to come to prominence during the 90s Britpop era, Neil Hannon’s orchestral pop ensemble The Divine Comedy still retains a devoted following, is still selling records (the Foreverland album released in September hit number 7 in the UK charts) and is still filling venues.

The De La Warr Pavilion tonight is completely sold out and is absolutely ram packed by the time Hannon and his band take the stage.

Songs from throughout The Divine Comedy’s eleven-album career are greeted with a wave of affectionate familiarity as soon as each one starts up, not just the hit singles.

We are most certainly in the presence of a hall full of true fans. For the more casual observer like myself, I took the precaution of going along with a hardcore super-fan lest I needed anything explaining about the world of Neil Hannon and The Divine Comedy.

I needn’t have worried. The evening was effortlessly and infectiously enjoyable.

Besides the ever-present Neil Hannon, The Divine Comedy has had a changing cast of supporting musicians over the years but he has certainly assembled a very talented bunch as they swoop through a vast variety of sounds and styles throughout the course of the evening.

There may be a wry tongue-firmly-in-cheek mode about many of the lyrics but the music is always delivered with absolute sincerity, authenticity and passion. Theatricality and musicality thus combine.

A few songs in and Hannon has donned a bowler hat and brolly for his scathing account of the global financial crash ‘The Complete Banker’ and later on he’s striding around the stage in full Napoleon outfit: ‘Napoleon Complex’ is the opening track on the new album by way of explanation.

One highlight is an unexpected but perfectly fitting cover of the late Cilla Black’s hit ‘Alfie’ before the band go on to perform Hannon’s own ‘Becoming More Like Alfie’

Hannon certainly has a gift for crafting lyrics. As a witty but bitter-sweet observation of everyday life ‘At The Indie Disco’ would even give some of Ray Davies’ finest tunes a good run for their money.

The small strip at the front of the stage starts filling up as a trickle of people leave their seats to dance along to it. “It’s fine by me,” says Hannon, “come on up.”

Soon the De La Warr Pavilion becomes its very own indie disco as more and more people squeeze to the front to dance away to this gloriously catchy tune, audience and performance melding into one.

From the back of the hall it couldn’t have looked any better if you had spent a week choreographing it.

It’s not long before everyone is out of their seats.

The whole place is on its feet for National Express, the bands biggest hit which has probably done more for brand awareness of the UK’s largest coach operator these past twenty years than any amount of paid-for advertising, even if the jolly hostess with the trolley does still struggle to get by to charge those sky high fees…

An utterly charming and naturally witty performer and a talented singer and song-writer with an ability to cross genres and elicit a whole range of emotions, in a different era Hannon would probably have been labelled an all-round entertainer.

For sheer talent and showmanship The Divine Comedy is clearly deserving of the loyal following it continues to attract.

http://thedivinecomedy.com/

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Ryley Walker at St Mary in the Castle, Hastings 5/8/16

Folk music, Hastings music scene, Live reviews, , , , , ,

My review originally appeared in the Hastings Independent 18/8/16

Although originally billed as a collaboration with legendary folk-rock double bass supremo, Danny Thompson, Thompson has had to pull out of this short tour due to illness. However, this did not prevent the young guitarist and singer-songwriter, Ryley Walker, from delivering a spellbinding performance at St Mary in the Castle. As the promotional blurb for the gig put it, someone who “plays guitar like Bert Jansch and sings like Tim Buckley” should not struggle to draw a supportive audience; and so it proved. 27 year-old Walker, from Illinois, is an exceptional acoustic guitarist, very much influenced by 60s/70s artists like the aforementioned Jansch and Buckley as well as the likes of Davey Graham and John Martyn.

The audience (absolutely typical for a folk/acoustic style gig of this type) is composed overwhelmingly of sixty-something baby-boomers and twenty-something millennials. Those of us in our forties and early fifties, like myself, are mainly notable by our absence. We are truly the lost generation as far as music like this goes. This is our collective loss I suppose; but it’s encouraging that the generation below us are picking up the baton, both as audiences and as performers, as the supremely talented Mr Walker exemplifies. A powerful songwriter and a talented musician with a distinctive voice, he’s not afraid to work across genres and thus brings a range of musical influences into his performance, from indie folk, to jazz to blues through to rock and psychedelia.

It is arguable that the acoustics in this cavernous, iconic former church, and perhaps the atmosphere itself, tend to make it work better for folk acts than for rock bands. This gig is far from a gentle, relaxed strum-along though. It’s an incendiary performance with his two band-mates providing throbbing electric bass and wonderfully atmospheric, powerful drumming that throbbed, crashed and reverberated throughout the venue all night. They complement the guitarist perfectly and it makes for a more intense interpretation of his songs in comparison to his two excellent and well-received solo albums, but that’s all part of the excitement of live performance. There is light and shade and definite changes of tempo during the course of the evening, however. The Davey Graham/Bert Jansch guitar influence particularly shines through on the gentler, more laid-back tunes, where Walker is able to simultaneously coax hypnotic rhythms and beautiful intricate melodies out of his instrument.

“Wow. That was very intense, bordering on psychedelic,” concluded the two women sitting next to me when I asked them what they thought at the end of the night. I wouldn’t disagree at all. Two albums into his career, Ryley Walker is showing exceptional promise.

[Note: since this review Ryley’s third album has now been released. More details on his website below]

http://ryleywalker.com/

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The Equatorial Group at Music on the Bandstand, Bexhill-on-sea 6/8/16

Hastings music scene, Live reviews, Rock music, , , , ,

Independent record stores that have managed to survive firstly the big chains, then the rise of Amazon then the downloading craze have tended to be the ones that made themselves far more than just a place to buy records and CDs. The Music’s Not Dead store in Bexhill-on-sea is a classic example. Its thirst for promoting music seemingly limitless and unconditional. Not only do they host regular live performances in store, they also hook up with the De La Warr Pavilion over the road to put on numerous events including this outdoor mini free festival on the terrace of the pavilion by the seafront. The first band on today The Equatorial Group particularly caught my eye.

“Sounding like Crazy Horse colliding with Fleetwood Mac on a dusty road” as their Facebook profile has it. Gentle acoustic guitar, some nice pedal steel, harmony vocals and some great laid-back lead guitar solos, their blend of slow, countrified Americana was just perfect for a hot August afternoon with a few beers by the sea. They’ve got some good original songs, too. And as you could pick up both of their self-produced EPs (2014’s Glebe and 2015’s Elvis) on CD for a fiver it seemed silly not to buy them and explore this band a little further. I’m impressed.

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The Eastbourne-based band have been around since 2011 and are now happily on my radar for the future. Anyone into this type of music is well advised to keep an eye out for them. And well done to both Music’s Not Dead and De La Warr Pavilion for giving a platform to acts of this calibre.

https://www.facebook.com/theequatorialgroup/?fref=ts

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Dom Pipkin at Kino-Teatre, St Leonards 8/7/16

Hastings music scene, Live reviews, Rock music, , , , , , ,

My review originally appeared in the Hastings Independent 22/7/16

With its shopfront facade and trendy gallery-cum-foyer you could be forgiven for thinking there’s something nice but not particularly unique about St Leonards Kino Teatre; but step inside the main auditorium and you are immediately transported into a beautiful dome-ceilinged 1913 cinema that’s been given a pleasing shabby-chic makeover. Just for tonight, however, it’s transformed into a legendary New Orleans piano bar with Dom Pipkin (“piano from London, soul from New Orleans” as his website has it) giving a captivating solo performance of high-octane rhythm and blues piano.

After support from Chasing Shadows, a vocal-guitar duo with an engaging acoustic set of Americana-tinged covers and originals, Pipkin takes the stage and begins a whirlwind tour of New Orleans classics; name-checking the likes of Professor Longhair, Jellyroll Morton, Fats Domino and Dr John.

Playing blues and jazz from the age of 12 Dom Pipkin has now established himself as one of Europe’s top interpreters of New Orleans piano and has built up an impressive musical CV. Past collaborations include projects with Ray Davies, Palamo Faith and Talking Heads’ David Byrne. As well as solo shows, he also performs regularly with his own band Dom and the Ikos, but tonight it’s just Dom and his piano. He combines powerfully dexterous piano playing with a nicely empathetic vocal delivery that suits a range of styles and assists in making the songs his own, whether it’s pounding rhythm and blues, elaborate jazz or soulful gospel.

On top of the obvious well-known classics like Blueberry Hill, Ain’t That A Shame and Iko Iko together with some less well-known historical gems from the New Orleans jazz and blues scene, we also get some real surprises, too. Chas and Dave’s Ain’t No Pleasing You is transported from the east-end boozers and re-imagined as a stomping New Orleans boogie woogie. Cottonfields, which let’s be honest most of us only know via the Beach Boys, is taken right back to its glorious Lead Belly blues heritage. Pipkin is also happy to share his knowledge of the songs and their origins and I certainly came out knowing a lot more about the history of the New Orleans scene and its colourful characters than when I went in.

A talented, energetic performer with an obvious deep love of his subject matter and respect for its history, Dom Pipkin and his piano make for a hugely entertaining evening.

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Diggeth at The Carlisle, Hastings 15/7/16

Hastings music scene, Live reviews, Rock music, , , , , ,

The Carlisle pub in Hastings is the town’s premier rock venue, hosting a range of up and coming bands, more established (yet not major league) acts as well as various tributes to some of the big name bands (usually all free). After a trawl around Hastings old town with an old friend, we made it into the Carlisle just as the night’s headline band, Diggeth took to the stage. If you’re not familiar with a band already it’s sometimes a bit of a hit and miss affair: you are never going to like everything after all. But this band immediately grabbed my attention.

Diggeth are a Dutch three-piece who’ve been around for about a decade now. Loud, crunching bass, powerful drumming, some great guitar riffs and those austere slightly Germanic-sounding, slightly American-sounding vocals that Dutch rock singers can pull off so well. But, very importantly, they had some really, really good songs, too. It’s all original material but pays enough dues to heavy metal and hard rock heritage to give some of the songs the immediate air of sounding like would-be classic rock staples. In fact it’s a sure sign of musicians making an impact on their audience if a band that you’ve never heard of before, play you songs that you’ve never heard of before and get you enthusiastically humming and moving along to them while at the same time still sounding fresh and original.

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In terms of influences the band cite AC/DC to Metallica to Michael Schenker to Slayer, as well as many more. I was certainly impressed enough by Diggeth to fork out a fiver for their CD – Kings of the Underworld, released in 2014. No souvenir purchase that’s soon forgotten about this: I’ve played it at least half a dozen times in the three or four days since I bought it. Songs like the title track ‘Kings of the Underworld’ and ‘See You in Hell’ have already become memorable classics to my ears and this is a band I’m certainly pleased to have stumbled across.

https://www.facebook.com/Diggethmusic/#

The Blockheads at St Mary in the Castle, Hastings 19/6/16

Hastings music scene, Live reviews, Rock music, , , , , ,

Ian Dury’s days as frontman may have been tragically cut short by cancer back in 2000, but the band he helped form lives on. Still featuring original members, Chas Jankel, Norman Watt-Roy, Micky Gallagher and John Turnbull, vocals these days are handled by Dury’s former driver-cum-minder, Derek “The Draw” Hussey. Hussey’s striking appearance (long white hair, pin-striped jacket, silk scarves and small round specs with the peace sign emblazoned on each lens..) initially suggests a stage presence more charismatic than it really is. But his sardonic, laid-back delivery kind of works. The totally unique and utterly irreplaceable Ian Dury was always going to be one very hard act to follow but musically the band are as hot as ever. That trademark blend of rock ‘n’ roll, new wave, funk and music hall is there as much as ever.

We get the big hits of course: What A Waste, Billericay Dickie, Sex & Drugs & Rock & Roll, Reasons To Be Cheerful and, of course, Hit Me With Your Rhythm Stick. But we also get songs like Express Yourself from their most recent album: “Same Horse, Different Jockey” from 2013. Musically and lyrically these channel a similar vibe to the Ian Drury days, even if they are never going to be as memorable.

With many bands it’s the lead guitarist who is leaping around on stage and drenched from head to toe in sweat by the end of the evening. With The Blockheads, however, it’s bass supremo, Norman Watt-Roy, who has this honour. This is testimony to what a superbly energetic bass player he is but also to how integral his playing is to the band’s overall sound. Also noteworthy are the keyboard skills of Mick Gallagher and Chas Jankel, especially when the two play together. This is a band that may have been tragically robbed of its original lead singer but musically they have not lost a thing.

A word, too, on the venue. Hastings is blessed with a fantastic selection of live venues. However, for those who regularly pass by this one, perched high in front of West Hill on the seafront, but have yet to venture inside, St Mary in the Castle is well worth a visit. The nineteenth century church was deconsecrated in the 1950s, saved and eventually restored as an arts venue in the 1990s and now has a good varied programme of live music and other events. It makes for a quite spectacular setting for gigs.

http://www.theblockheads.com/

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