Tag Archives: setlist

setlist from live concert

Dweezil Zappa at De La Warr Pavilion, Bexhill 13/10/17

This review was originally published by The Stinger here

‘Dweezil Zappa plays whatever the f@%k he likes’

As soon as I saw those words on a seafront poster advertising the show at Bexhill’s De La Warr Pavilion this was on my list of gigs to see this month. There have been ongoing and fairly ferocious spats between the Zappa siblings about how they take forward their late father’s legacy. And with admirable chutzpah from Dweezil this is being billed as ‘The Cease & Desist Tour’ following the lawyer’s letter he received.

Performing to a packed-out De La Warr, the performance is a vivid reminder of what a fantastic range of musical styles and influences Frank Zappa incorporated into his output, as well as what a fantastically accomplished writer and musician he was. From perfectly polished orchestral pop pastiches, to improvised jazz rock work-outs, to exquisite blues rock guitar solos the versatility of Dweezil and his band is truly impressive.

Of particular note, alongside Dweezil Zappa’s beautifully dexterous guitar playing and obvious love for his father’s music, are guitarist/lead vocalist Adam Minkoff, who has joined the Zappa band for this European tour, and female lead vocalist Cian Coey, who delivers some truly stunning vocals.

Set-wise, it being the fiftieth anniversary of the release of ‘Freak Out’, the debut from the Mothers of Invention, songs like ‘You’re Wondering Why I’m Here’ make an appearance, alongside later material like ‘Cruising For Burgers’ and ‘Studebaker Hoch’ as well as surprises like a wonderfully smooth rendition of the James Bond theme. There is no support tonight. Save for a short interval it’s just three exhilarating hours of Zappa. Climaxing with an inspired rendition of the Beatles’ ‘I Am The Walrus’, the audience are up on their feet for a rapturous standing ovation. Band and audience alike seem very pleased with their evening spent in Bexhill.

Succumbing to cancer in 1993, Frank Zappa was an early reminder of the mortality of that generation of musicians from rock’s late 60s/early 70s golden age. Such deaths are now reported with alarming regularity, of course. But whether it’s Zappa, Bowie or any number of rock ‘n’ roll’s true creatives, legitimate questions do arise about how we continue to celebrate their respective legacies. While few of us would opt to be stuck in an endless repeat cycle of non-stop tribute acts (or, God forbid, hologram shows) we do clearly want to find ways of continuing to enjoy such music in a live setting. In this respect, Dweezil has put together something that is creative, ambitious, affectionate and totally appropriate.

Dweezil Zappa does indeed play whatever the f@%k he likes. But he plays it so well. And he does his father proud.

Set-list:

Latex Solar Beef
It Can’t Happen Here
You’re Probably Wondering Why I’m Here
Bow Tie Daddy
Harry, You’re a Beast
The Orange County Lumber Truck
Motherly Love
Any Way the Wind Blows
Mom & Dad
Tell Me You Love Me
Cruising For Burgers
James Bond Theme
Studebaker Hoch
Rollo
Advance Romance
I’m the Slime

– Interval –

Zomby Woof
Would You Go All the Way?
Wind Up Workin’ in a Gas Station
Dirty Love
Daddy, Daddy, Daddy
What Kind of Girl Do You Think We Are?
Bwana Dik
Lumpy Gravy
Village Of The Sun
Echidna’s Arf (Of You)
Let’s Move to Cleveland
Inca Roads
Duke of Prunes
Doreen
Dinah-Moe Humm
I Am the Walrus

https://www.dweezilzappa.com/

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Photo credit: Simon Putman

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W.A.S.P. at White Rock Theatre, Hastings 12/10/17

This review is also published on Get Ready To Rock here

Loud, brash, obnoxious, Blackie Lawless’s LA metal outfit W.A.S.P. burst on to the scene in the early 80s and were never far from controversy. Over time, however, the band evolved and their output started showing signs of growing maturity. To be honest it’s not going to be too difficult for your music to start getting more mature if your first record is called ‘Animal (Fuck Like A Beast) is it?

The W.AS.P. of the early90s had moved on to recording a full-blown concept album. ‘The Crimson Idol’ tells the story of a boy Jonathan and explores themes of estrangement, drugs, fame, money and suicide. It has become something of a cult heavy metal album and, twenty-five years since it was originally released, Lawless and his band are touring it in full.

Apart from the ever-present Blackie Lawless, W.A.S.P. has undergone numerous line-up changes over the years and no-one else on stage tonight originally performed on ‘The Crimson Idol’ album. Nevertheless, the band are in fine form and there is some powerful playing from new drummer, Aquiles Priester, and from lead guitarist, Doug Blair. Lawless’s distinctive vocals are as strong and as recognisable as ever.

Songs like ‘The Invisible Boy’ , ‘Chainsaw Charlie (Murders in the New Morgue) and ‘I Am One’ are superb tracks and stand up well on stage. Unlike when some acts choose to revisit an album in full and take the opportunity to reminisce on the history behind every track, there is little in the way of on-stage chat tonight, but Lawless is a charismatic stage presence nonetheless. Visuals from the accompanying film for the album play on three large screens at the back of the stage, adding to the atmosphere. It’s a great album and a great performance tonight.

However, throughout the show part of me was excitedly anticipating the encore and, hopefully, a run-through of some of the great songs from the earlier, dumber, stupider, trashier era of W.A.S.P. It wasn’t a long encore – three songs – as the band didn’t get on stage until 9pm, having only just arrived in the UK following the Scandinavian leg of their tour. But we did get gloriously over the top versions of ‘L.O.V.E Machine’ and ‘Wild Child’ which made a fitting end to the proceedings. Was I disappointed that we didn’t have a bit more of this? A little – but that has only made me more determined to catch Blackie and the boys again when they are next over…

Set-list:

The Titanic Overture
The Invisible Boy
Arena of Pleasure
Chainsaw Charlie (Murders in the New Morgue)
The Gypsy Meets the Boy
Doctor Rockter
I Am One
The Idol
Hold on to My Heart
The Great Misconceptions of Me
The Real Me
L.O.V.E. Machine
Wild Child

https://www.waspnation.com/waspnation.htm

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Slam Cartel at The Carlisle, Hastings 25/3/17

This review has also been published on the Get Ready to Rock website here

“It’s quite overwhelming having all these people singing these songs back at us,” lead singer, Gary Moffat, tells the audience at the Carlisle at one point during tonight’s gig. Clearly, the Kent-based hard rock outfit, Slam Cartel, have something of a following in Hastings and they have made regular appearances at the Carlisle in recent years. However, regardless of how many times gigs you perform, it’s not every lesser-known band producing wholly original material that is rewarded with impromptu crowd sing-alongs throughout the night. It just goes to emphasise the sheer quality of this band’s song-writing. Or, as one of their enthusiastic supporters told me afterwards, “What I like about these lads is that they really know how to write a good chorus.”

With a hard n heavy yet infectiously melodic approach, a charismatic and energetic front-man in Gary Moffat and, as mentioned, a superb set of songs, Slam Cartel are thoroughly deserving of the response they got tonight.

Combining the irresistible hook-lines of 80s metal with the down-at-heel honesty of grunge and the attachment to melody that every great classic rock band has always aspired to, Slam Cartel have created a distinctive sound and a musical identity for themselves that they carry off with self-confidence.

Songs from the band’s début album Handful Of Dreams (released prior to Moffat joining the band) dominate the set-list. Given it contains great catchy rock songs like Powerstorm, Wishing Eye and Once In A Lifetime, it would make no sense at all for the band to turn their back on these, particularly as Moffat has absolutely made them his own in terms of delivery. Songs from two more recently-recorded singles, however, also make it into the set including the superb Vanishing Worlds.

With the reception they got in the Carlisle, once again, I’m sure it won’t be too long before Hastings is treated to another energetic night with Slam Cartel. In the meantime, there’s also a new album to look forward to, currently being recorded and due out later this year.

Radio-friendly, melodic hard rock that is fresh and contemporary, yet at the same time gets you singing along like you’ve known the stuff for years, it’s immediately apparent why gig-goers in Hastings have taken this band to heart. Let’s hope the rest of the rock world soon follows suite.

Setlist:

Powerstorm
Mismatched Ties
Worldstarlove
Free Again
Vanishing Worlds
Goldenstream
Strike No. 1
Wildflower
Hold Me
Hypnotised
Wishing Eye
Handful of Dreams
Storm Seasoned
Sundown
Breathe
Once In A Lifetime

http://www.slamcartel.com/

17521957_10155191598023573_877491994_oPhoto credit: Sue Stevens

Dave Mason’s Traffic Jam at Union Chapel, London 3/3/17

I must confess that my introduction to the music of seminal psychedelic-tinged band Traffic was via the cover of Hole In My Shoe by Neil out of The Young Ones (Nigel Planer) in 1984. The end of the sixties was then only 15 years previously but, culturally, it seemed like a million years away. While everyone in my year at sixth form found Hole In My Shoe utterly hilarious, it did tempt me into finding out more about the original and taping a copy of a ‘Best of Traffic’ compilation LP that I borrowed from Preston Record Library.  On the album I found not only the original, still very quirky, Hole In My Shoe but a load of other treasures: Dear Mr Fantasy, Medicated Goo, 40,000 Headmen and more.

Traffic split in 1975 and Dave Mason had already left several years before. However, having enjoyed seeing Traffic’s Steve Winwood in 2013 I jumped at the chance to see Mason when his Traffic Jam tour-dates were announced – his first UK tour since the seventies he tells us tonight.

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It’s the aforementioned Mr Winwood who is most closely associated with Traffic’s legacy in Britain these days, so it’s really welcome to see Dave Mason publicly celebrating the part he played in this iconic band. The first part of the set focuses on the Traffic era, including 40,000 Headmen, Medicated Goo, Dear Mr Fantasy and Feelin’ Alright. After a short break the second half of the show focuses on both Mason’s post-Traffic career but also his influences that inspired him to get into the music in the first place, with a pounding, soaring tribute to Hank Marvin in the shape of a cover of The Shadows’ Apache. Another tribute was to Jimi Hendrix, with a stunning version of All Along The Watchtower (the Dylan song that Hendrix made his own and which Mason played acoustic guitar on.)

Mason’s voice is in fine form and he gives us some outstanding lead guitar throughout the set but special praise should also go to his keyboard player, Tony Patler, who provides some perfectly evocative Hammond tonight, as well as some really rich, bluesy vocals. My only minor complaint was about the impact of the building’s acoustics. Union Chapel can be a wonderfully iconic venue but, sitting near the back, I did find the echo of the drums a bit clattery and overwhelming in this cavernous Victorian chapel at times. However, having purchased his current ‘Traffic Jam’ album, recorded live at the New York City Winery (which Mason later signed for me) I am pleased to report a much superior sound mix and can really enjoy the contributions of all four musicians.

And what of Hole In My Shoe, Mason’s quirky sitar-based hit that led me to discovering Traffic in the first place? He hasn’t played it in years and hasn’t touched a sitar in years either, mainly because he would struggle to get down on the floor to play it these days he tells us…

Sitar or no sitar, it was a great performance tonight and it’s good to see Dave Mason rightfully staking his claim in the Traffic legacy in his home country once again.

Setlist:

40,000 Headmen (Traffic)
Pearly Queen (Traffic)
Medicated Goo (Traffic)
The Low Spark of High Heeled Boys (Traffic)
Rock and Roll Stew (Traffic)
Dear Mr. Fantasy (Traffic)
Feelin’ Alright (Traffic)

< INTERVAL >

World in Changes (from ‘Alone Together’)
We Just Disagree (from ‘Let It Flow’)
Look at You Look at Me (from ‘Alone Together’)
Apache (Shadows cover)
Good 2 U (from ’26 Letters 12 Notes’)
Shouldn’t Have Took More Than You Gave (from ‘Alone Together’)
All Along the Watchtower (Jimi Hendrix/Bob Dylan cover)
Only You Know and I Know (from ‘Alone Together’)

http://www.davemasonmusic.com/home

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Black Sabbath at the O2 31/1/17

How do you end the most iconic heavy metal band of all time?

At one point, a couple of decades after their 70s heyday, it looked liked it might be with a constantly changing cast of replacement musicians, declining album sales, less than enthusiastic ticket sales and something of a whimper rather than a bang. But, following an initial reunion in the late 90s, a mega-successful album with ‘13’ and a hugely successful world tour which reunited three of the original four members in 2013/4, fans hoped that there would at least be one more opportunity to say a final farewell, even in spite of a hugely worrying lymphoma diagnosis for Tony Iommi.

So here we have it: The End – Black Sabbath’s final farewell tour which reaches it’s ultimate conclusion with a couple of dates at London’s O2 and two final concerts in the band’s home city of Birmingham. And it’s every bit as magnificent, spellbinding and heavy as Black Sabbath should be. From the familiar doom-laden chords of the opening ‘Black Sabbath’ to the unforgettable riff of ‘Paranoid’ for the encore, every single minute of this concert was special. Geezer Butler delivers those unmistakable bass-lines, Tony Iommi delivers that unmistakable crunching guitar and Ozzy Osbourne delivers those unmistakable wailing vocals – the essential and unchangeable ingredients that make Black Sabbath what it is. Yes, it’s a shame that Bill Ward is not here to participate in this final tour but drummer, Tony Clufetos, does an absolutely outstanding job with immense energy. I doubt, really, whether anyone could have done it better.

Ozzy, as always, is a fascinating character. Between songs he shuffles around the stage like the mumbling, slightly bewildered figure TV viewers came to love so much. But the second a song starts he is instantly transformed into the wailing, demonic rock god that fans of the ultimate heavy metal band have always known.

My first ever live experience of Black Sabbath was with Bev Bevan out of ELO on drums and Ian Gillan out of Deep Purple on vocals, encoring with Smoke On The Water (?!) How fitting that what is likely to be my last has Tony, Geezer and Ozzy performing Sabbath exactly the way it should be performed. It was an absolutely magnificent performance, stunning setlist and suitably evocative special effects. The atmosphere at the O2, which can be a bit lacking at times however good a band is, was absolutely electric from start to finish.

Whatever happens now this band has made it’s mark on rock music a billion times over and their contribution will not be forgotten. Thank you Black Sabbath.

Setlist:
Black Sabbath
Fairies Wear Boots
Under the Sun/Every Day Comes and Goes
After Forever
Into the Void
Snowblind
War Pigs
Behind the Wall of Sleep
N.I.B.
Hand of Doom
Rat Salad
Iron Man
Dirty Women
Children of the Grave
Paranoid

http://www.blacksabbath.com/

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Previous review:

Black Sabbath at Hyde Park

Ocean Colour Scene at Hammersmith Apollo 12/12/16

I’ve long admired Ocean Colour Scene but never actually seen the full band live before. I have seen lead singer, Simon Fowler, do a nice, intimate, laid-back acoustic set once. But tonight he is, rightly, in full-on rock star mode so it’s up to Paul Weller to do the nice, intimate, laid-back acoustic set in a lovely and unexpected surprise as support act. One of the joys about gig-going in London is that you do often get nice little surprises like this. (See my post on the Dave Davies gig in Islington this time last year when Ray decided to join his brother for an encore, for example.)

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It’s 20 years this year since Ocean Colour Scene’s Moseley Shoals album came out and to mark the anniversary the band are doing a short tour performing it in full. I’d love to be able to say I first became aware of them when they were an obscure band starting out but like, I suspect, many, many people Ocean Colour Scene only came on to my attention when the brilliantly memorable ‘Riverboat Song’ (the opening track on this album) was used by Chris Evans each week in his TFI Friday Show.

Mosley Shoals (a West Midlands-inspired pun on the famous Muscle Shoals studios in the States) is definitely one of the strongest albums emerging out of the mid-90s Britpop era. Before they get cracking with Moseley Shoals, however, they reel off a version of The Beatles’ Day Tripper’ that gets the audience nicely warmed up. Then, beginning with ‘The Riverboat Song’ it’s off for a glorious ride, track by track through Mosley Shoals.

A few years ago the whole ‘band-performs-album-in-full’ routine was in danger of getting massively over-done. But for truly iconic albums like this it’s definitely something worth seeing. Moseley Shoals is one of those albums that contains so many memorable songs that it’s more like a “best of” compilation of band classic than just another regular studio album. Unforgettable songs like the aforementioned ‘The Riverboat Song’, ‘The Day We Caught The Train’ and ‘The Circle’ have the entire venue on their feet and that continues throughout the whole performance (even though, for some reason, the Apollo decided to set up the venue as an all-seater tonight, rather than pull the moveable seating out which they often do for many big bands).

Fowler’s voice is as strong as ever and Steve Cradock really gives it some welly on lead guitar, with some nice solos. With three of the four of the original line-up still with the band, it gives the performance some genuine authenticity. Paul Weller returns to the stage again for ‘The Circle’ – one of the tracks on which he performed on the original album.

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The crowd sing along with each track and once the band are done with the album they continue with a well-chosen selection of band classics, including an emotional communal sing-along to ‘Profit In Peace’.

As the previous generation of rock icons fill the obituary pages on an almost daily basis it’s now up to the Britpop generation to start assuming some of their imperial majesty in celebrating our rock history. Ocean Colour Scene have certainly risen to that challenge tonight.

Setlist:
Day Tripper
The Riverboat Song
The Day We Caught the Train
The Circle
Lining Your Pockets
Fleeting Mind
40 Past Midnight
One for the Road
It’s My Shadow
Policemen & Pirates
The Downstream
You’ve Got It Bad
Get Away
Foxy’s Folk Faced
This Day Should Last Forever
Better Day
Profit in Peace
So Low
Get Blown Away
Travellers Tune
Robin Hood
Hundred Mile High City

http://oceancolourscene.com/homepage/

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Frank Turner and The Sleeping Souls at De La Warr Pavilion, Bexhill 10/12/16

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

Having been warmed up very nicely by the support acts, Felix Hagan & The Family and Esmee Patterson, the place is absolutely throbbing when Frank Turner comes on stage.

“I believe first impressions count,” declares Turner a couple of songs in. And bang – he certainly achieves that. Opening with ‘I Knew Prufrock Before He Got Famous’ from his 2008 album ‘Love Ire and Song’ he combines anger, affection, passion, celebration and wry humour – and that’s all in the space of a single song. In terms of delivery and audience response it’s more like an encore than an opening song but that level of energy is maintained song after song after song.
1035x1035-mi0003888505-313x313Six albums into his solo career, it has only been the two most recent that have made it into the top five and his singles have hardly ever troubled the charts. Yet he’s built up an absolutely devoted fan-base. Deservedly so, from tonight’s performance.

Turner and his excellent band pack in many highlights from his solo career in a two-hour set, including a good smattering of songs from his latest album ‘Positive Songs For Negative People’, in addition to an old Million Dead song ‘Smiling at Strangers on Trains’ as part of his encore.

From a well-connected, well-to-do family, Turner’s libertarian brand of politics has attracted strident criticism in some quarters, and he’s been notably hammered as a right-winger in the Guardian. I can’t pretend I’ve analysed Turner’s philosophical beliefs in great detail but of his between-song interventions tonight three could be described as vaguely ‘political’ in one way or another.

The first was a plea urging support for the charity War Child, an undeniably worthy humanitarian cause. The second was a passionate speech in support of the Safe Gigs for Women campaign, highlighting the unacceptable nature of the harassment and abuse that far too many women are forced to endure while trying to enjoy a live gig. And the third was pretty much a theme that ran through his chat throughout the course of the evening; namely the very collectivist ideal of urging the audience to look out for one another and to take some of that spirit away with them into the outside world.

Indeed, the only performer I’ve seen place a similar degree of emphasis on that whole ‘audience-as-community-thing’ was the avowedly-socialist, veteran folk singer, John Tams. What Tams never did was follow that through with stage-diving into the audience and being transported from one side of the hall to the other by a rapturous sea of fans, but you get the point…

A passionate advocate for live music, Turner tells us that tonight is his 1,995th solo gig. Judging by tonight’s performance one suspects there will be many thousands more, and he’s promised to come back to Bexhill soon.

The greatest voice on the contemporary music scene? Probably not. One of the most charismatic and compelling performers of his generation? Almost certainly.

More info on War Child can be found at: warchild.org.uk  

More info on Safe Gigs for Women: sgfw.org.uk

Setlist:
I Knew Prufrock Before He Got Famous
The Next Storm
I Still Believe
Losing Days
Try This at Home
Long Live the Queen
Glorious You
Polaroid Picture
Silent Key
Plain Sailing Weather
Wessex Boy
Mittens
Cleopatra in Brooklyn
The Way I Tend to Be
The Opening Act of Spring
The Road
If Ever I Stray
Out of Breath
Photosynthesis
Smiling at Strangers on Trains
Recovery
Get Better
Four Simple Words

dlwp-frank-turner-and-the-sleeping-souls-840x561Photo credit: official tour publicity

http://frank-turner.com/home/

John Cooper Clarke & Hugh Cornwell, Kentish Town Forum 29/11/16

“The most surreal gig I’ve ever been to”

Most gigs I go to I either have a reasonable idea what to expect or know exactly what to expect. But ex-Strangler, Hugh Cornwell and Manc punk poet, John Cooper Clarke, on stage together with the latter singing – actually singing – I had absolutely no idea what to expect. Initially, when I saw the tour advertised and booked tickets I had simply assumed that it was a double headliner tour with both of them doing a set each. But no, they are both on stage together with John Cooper Clarke singing…

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To big cheers Cornwell and Cooper Clarke walk on stage with their band and immediately launch into ‘It’s Only Make Believe’. Now had I tried to guess what tonight had in store for us John Cooper Clarke aping Conway Twitty’s Presley-esque crooning would not have been anywhere on my list. But there’s plenty more: Jerry Leiber and Phil’s Spector’s ‘Spanish Harlem’, Macather Park ‘someone left the cake out in the rain..’, John Leighton’s ‘Johnny Remember Me, ‘Love Potion No. 9.’ It’s a veritable celebration of late 50s/early 60s pop culture and it is, my gig companion for the evening whispers to me, “the most surreal gig I’ve ever been to.”

Sound-wise the band really gets into the vibe of the era, particularly when it came to the gloriously eccentric ‘Johnny Remember Me’ which channels the other-worldly weirdness of Joe Meek’s original production to the full. John Cooper Clarke has a magnetic stage presence, some hilarious between song banter, combining absent-mindedness, self-deprecation and biting sarcasm in equal measure, and a just-about-passable singing voice. As they leave the stage to huge applause I think to myself it’s not a spectacle I’d want to go and see very often but I’m really glad I’ve witnessed it at least once.

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We’ve got the great Hugh Cornwell here though, and so I’m hoping, really, really hoping he’s going to come back on and rattle through a few Stranglers classics while he’s here, too.

Cornwell and band are soon back on stage, Cornwell telling us that this was only the third time that Cooper Clarke had sung in public in his entire life. “Now it’s up to me to try and lift it back up…”

He launches into ‘Black Hair, Black Eyes, Black Suit’ from his 1999 solo album, followed by a brilliant ‘Nice and Sleazy’ with the bass pumping loud and sleazy just like it should. We all get the chance to sing along to ‘Walk On By’ as well. And then Cooper Clarke is back on stage back in normal punk poet mode to give us ‘I Wanna Be Yours’ and ‘36 Hours’ with great backing from Hugh and the boys. Cooper Clarke stays on stage to take lead vocals on a raucous ‘No More Heroes’. At this point two guys at the front start pushing and knocking everyone over. Yes, this may have been great when you were slight, skinny, adrenalin-pumped 16 year olds, but now you are beer-bellied blokes in your mid 50s you just come across as selfish, obnoxious arse-holes. The women around them rightly give both of them a huge bollocking. Never mind, it’s still a great song and a great end to the set before we get them all back on stage for a final encore of ‘Get a Grip on Yourself.’

Surreal. Just surreal.

http://www.hughcornwell.com/
http://johncooperclarke.com/

Setlist:
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AC/DC at The Olympic Stadium, London 4/6/16

After successfully purchasing two tickets for this AC/DC gig the minute they went on sale last December I was gutted to later learn that a number of dates were being pulled because of Brian Johnson’s hearing problems, but also mystified to read in the announcement that they hoped to resume the tour “likely with a guest vocalist.” Just how was that going to work out?

A huge amount of controversy ensued about the way Brian Johnson had been treated, about whether the band was right to carry on and if (in the light of also losing founder, Malcolm Young, and drummer, Phil Rudd) the dignified thing was to call it a day once and for all and put the AC/DC name to rest. The subsequent rumours and then confirmation that it was to be Axl Rose replacing Johnson for the remainder of this tour merely stoked the controversy even further.

And now, as I’m standing in the Olympic Stadium watching the Axl Rose-fronted AC/DC, I’m reminded of something that my dad said to me at the time of Bon Scott’s death when I was just 13: “They might find another singer but no-one is ever going to sound as dirty as Bon Scott.” That’s not to berate Brian Johnson, who was a hugely powerful vocalist who delivered some brilliant rock anthems and who embodied the spirit of AC/DC for well over three decades. But he had a different style of vocal delivery to his predecessor and as I’m listening to Axl Rose belting out the likes of Hell Ain’t A Bad Place To Be, Dirty Deeds Done Dirt Cheap and High Voltage I can’t help feeling he’s absolutely nailing those old Bon Scott tunes and bringing back some of that elusive “dirtiness” that my dad was always looking for. Perhaps, especially given I’d seen a brilliant AC/DC set at Wembley Stadium last year with Brian Johnson still at the helm, I’d probably have liked a few more Scott era classics in the set-list but that’s a minor quibble. Rose handles both the Scott and Johnson material with aplomb.

Musically, the band are as together as ever: blinding solos from Angus Young, crunching rhythm from Stevie Young (Malcolm’s successor), ever reliable bass-lines from Cliff Williams and powerhouse drumming from Chris Slade. The effects are all present and correct, too: the over the top lighting show, the crazy video shorts, the clanging bell, the firing cannons…

I’m genuinely pleased that I approached this gig in a spirit of optimism and open-mindedness. Axl Rose would certainly never have been my immediate thought for a replacement frontman for AC/DC. But he and the rest of the band gave us a night to remember. A credible band with a credible lead singer delivering a truly astonishing show. Long live AC/DC.

Setlist:
Rock or Bust
Shoot to Thrill
Hell Ain’t a Bad Place to Be
Back in Black
Got Some Rock & Roll Thunder
Dirty Deeds Done Dirt Cheap
Rock ‘n’ Roll Damnation
Thunderstruck
High Voltage
Rock ‘n’ Roll Train
Hells Bells
Given the Dog a Bone
If You Want Blood (You’ve Got It)
Sin City
You Shook Me All Night Long
Shot Down in Flames
Have a Drink on Me
T.N.T.
Whole Lotta Rosie
Let There Be Rock
Highway to Hell
Riff Raff
For Those About to Rock (We Salute You)

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http://www.acdc.com/

Previous review: AC/DC at Wembley

Brian Wilson at The London Palladium 20/5/16

The Beach Boys’ Pet Sounds remains one of the most iconic records of all time and demonstrated just how far the rock’n’roll sounds of the early 60s beat era groups could evolve in such a short space of time. It celebrates it’s 50th anniversary since its release this month so what better way to celebrate my own 50th birthday than going to to see Brian Wilson perform Pet Sounds in full.

The first half of the show sees Wilson, his touring band and special guests run through a whole slew of Beach Boys classics: Heroes and Villains, California Girls, I Get Around, Surfer Girl, Wild Honey and many more. The sound is lush and full. Original Beach Boy, Al Jardine, demonstrates what amazing shape his voice is still in more than half a century after first appearing on Beach Boys records. Former Beach Boys touring guitarist, Blondie Chaplin, also provides some nifty lead guitar work.

The charismatic stage presence of some performers dominates every moment of their live show, regardless of who happens to be sharing the stage with them. For the introspective and softly spoken, Brian Wilson, however, you certainly don’t get that. Although billed as a solo tour it’s very much a band performance and he’s clearly happy to let a number of his colleagues share the limelight. But as he sits at his grand piano you do get a real sense of Wilson’s presence being the creative glue that holds the whole thing together.

After a short break the second set resumes with the band performing the whole of the Pet Sounds album in full. Pet Sounds contains some of the most memorable songs of the slower, more reflective side of the Beach Boys (as opposed to the “girls and cars” side): Wouldn’t It Be Nice, Sloop John B, I Just Wasn’t Made For These Times, Caroline No… The album is rightly celebrated for its lush soundscapes and its hugely ambitious range of instrumentation and musical textures. And I’m struck tonight by just how much love and attention has gone into replicating those sounds of fifty years ago here on stage tonight: the horns, the percussion, the glockenspiel.

For the encore Brian and the band return to the stage for a magnificent Good Vibrations, followed by an energetic and hugely enjoyable run-through of party hits like Help Me Rhonda, Barbara Ann and Surfin’ USA.

For that most American of musicians from that most American of bands, Britain has always had a soft spot Brian Wilson. Indeed, when Pet Sounds first came out it was much better received over here than in the States. And for all his natural awkwardness on stage it’s clear that Wilson does have a special love for performing to London audiences and that mutual love is on display, once again, tonight.

Setlist:

Our Prayer
Heroes and Villains
California Girls
Dance, Dance, Dance
I Get Around
Shut Down
Little Deuce Coupe
Little Honda
In My Room
Surfer Girl
Don’t Worry Baby
Wake the World
Add Some Music to Your Day
Do It Again
One Kind of Love
Wild Honey
Funky Pretty
Sail On, Sailor
Wouldn’t It Be Nice
You Still Believe in Me
That’s Not Me
Don’t Talk (Put Your Head on My Shoulder
I’m Waiting for the Day
Let’s Go Away for Awhile
Sloop John B
God Only Knows
I Know There’s an Answer
Here Today
I Just Wasn’t Made for These Times
Pet Sounds
Caroline, No
Good Vibrations
All Summer Long
Help Me, Rhonda
Barbara Ann
Surfin’ U.S.A.
Fun, Fun, Fun
Love and Mercy

http://www.brianwilson.com/

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