Tag Archives: setlist

setlist from live concert

Snakecharmer at O2 Academy Islington 13/11/15

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

Bluesy heavy rock fronted by ex-Deep Purple vocalist, David Coverdale, Whitesnake in the late70s/early 80s were utterly brilliant. One of the first rock albums I ever bought as a teenager was Ready an’ Willing. Whitesnake evolved into something quite different but the early vintage of Whitesnake was always the one I was most interested in. Ex-Whitesnake members, guitarist Micky Moody and bassist Neil Murray, are keeping the flame alive with Snakecharmer, playing a mix of Whitesnake classics and newer material in that similar melodic, bluesy heavy rock similar vein.

The Whitesnake veterans have teamed up with ex-Wishbone Ash guitarist, Laurie Wisefield; the son of Rick Wakeman and keyboard supremo in his own right, Adam Wakeman; and Thunder drummer, Harry James. They are joined by vocalist Chris Ousey who handles the David Coverdale material perfectly, yet resisting the temptation of becoming a Coverdale trinute act.

I’ve seen another former Whitesnake member, Bernie Marsden, perform solo on several occassions and it’s nothing less than an absolute joy. But while Marsden’s shows these days duly celebrate the Whitesnake legacy there is a real emphasis on the slower blues that is his love and passion. A Snakecharmer gig, however, is more in the spirit of the heavy rocking nature of early Whitesnake, with the added bonus of a top-class lead vocalist and, of course, Micky Moody’s irreplacebale slide guitar playing. And anyone who thinks that an extended drums and slide guitar solo spot is a tad self-indulgent and over the top needs to het along to a Snakecharmer gig to see just how good this can be.

There’s some great new material. But, more than anything it’s those old Whitesnake numbers we are at this gig for. And how glorious it is singing along to Ready an’ Willing, Here I Go Again and Fool For Your Loving. I was 15 again, deftly manouevering myself to the very front row at Donington with my mate Gareth. The simple, life-affirming, communal joy of live rock music.

So how devastating it was getting home after the gig and finding out about the terrible events in Paris: other rock fans, like me, just wanting to enjoy the simple pleasures of a night out at a live gig. But tragically, unlike those of us at the Islington Academy tonight, many of them never coming home. I was reminded immediately of the emotive words of another of David Coverdale’s erstwhile colleagues, Glenn Hughes. Only a couple of weeks earlier on the final night of his UK tour Hughes spoke emotively and passionately about the beauty of music and its ability to break down barriers and bring people together, even when there is so much hate in the world. Terrorism will not stop that.

Setlist:
Guilty as Charged
A Little Rock & Roll
Ready an’ Willing
Accident Prone
Falling Leaves
Ain’t Gonna Cry No More
Nothing to Lose
Crying in the Rain
Moody’s Blues (slide guitar & drums solo spot)
Slow an’ Easy
My Angel
Here I Go Again
Fool for Your Loving

http://www.snakecharmer.org/

2015-11-13 20.30.59

Mawkin at Cecil Sharp House 11/11/15

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

Cecil Sharp House’s 2015 programme of concerts continues to excel with a cracking performance from Mawkin. Formed in 2002 as a three-piece, Mawkn evolved into a five-piece band offering a rousing brand of folk-rock.

The set is heavily dominated by material from their great new album The Ties That Bind, released in July. And they deliver us a nice mix of traditional English tunes and songs, some original compositions as well as the odd little nuggets from America and Sweden. Unlike some folk acts who feel compelled to unearth out ever more obscure traditional songs, Mawkin don’t shy away from performing some really well known traditional material, songs like Birds Upon a Tree, which they got everyone singing along to, and Searching for Lambs, both of which appear on their new album.

Vocals are shared between guitarist David Delarre, who takes the bulk of the singing duties, and his brother (and the band’s hugely talented fiddle-player) James. The latter I wouldn’t have minded hearing a little bit more of. He has a really engaging vocal delivery – a sort of 90s indie meets English folk. The musicianship is superb, particularly the interplay on stage between fiddler, James Delarre, and melodeon player, Nick Cooke. At one point, the rest of the band leave the stage while these two let rip on a couple of instrumentals.

While many of the rockier contemporary folk acts have gone for the box-style cajun percussion rather than drums these days, Lee Richardson unashamedly plumps for the full drum kit. And not only does he use it to make some of the faster folk numbers really rock, he also creates some spookily atmospheric soundscapes with it. At times he reminded me of Martin Lamble’s playing on Fairport’s “A Sailors Life” – the track that started off the whole drums-on-English-folk-songs thing back in the late 60s.

Mawkin have been making music for well over a decade now and while there probably weren’t more than thirty people here tonight, the noise the audience made in showing their appreciation was testimony to just how well this band was received. Deservedly so.

Setlist:
I Can Hew Boys
Skymningspolskan / Betsy Likens
My Love Farewell
Wreckers
Envikens Waltz
Duo
Searching For Lambs
Andro / Lang Stayed Away
Birds Upon a Tree
Jolly Well Drunk
Song On The Times
The Frenchy Set
Shanghai Brown
Merry Mawkin / Peacock Follow The Hen
Young May Moon

http://www.mawkin.co.uk/

2015-10-01 18.55.14

Glenn Hughes at The Electric Ballroom 1/11/15

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

In my professional life I once played a small part in the successful campaign to help save Camden Town’s Electric Ballroom from demolition. So ten years on, at a time when so many venues have closed, it feels good to be standing in this legendary place waiting for the even more legendary Glenn Hughes to take the stage. Tonight’s gig in Camden is the final night of a solo world tour that features Doug Aldrich on guitar and Pontus Engborg on drums.

I’ve been a fan of Deep Purple virtually as long as I’ve been a fan of rock music. And although I’ve always loved the Gillan-fronted Mark 2 era albums I also love the output of Mark 3 era Deep Purple, too. And what made those albums particularly distinctive, had much to do with the influence of a certain Mr Glenn Hughes who brought his pitch-perfect harmony vocals and inventive funked-up bass playing to the party.

But whereas, post-Deep Purple, the other Mark 2/Mark 3 members all found gainful employment in three of the biggest heavy rock bands of the time, namely Rainbow, Whitesnake and Gillan, Glenn Hughes seemed to be left to one side a little. Of course, he continued gigging and recording in various projects. But, arguably, it wasn’t until the arrival of Black Country Communion, a 21st century take on the old early-70s “super-group” concept, did he really have a project to match the significance of his Purple days. Like every supergroup before it, Black Country Communion eventually fell apart but was superceded by yet another supergroup, California Breed, one that also ended up going the same way. So Hughes is back touring as a solo artist and tells the audience tonight that’s absolutely the way he intends to keep it from now on.

Few artists look as joyous to be on stage as Glenn Hughes or as appreciative of the audience. He genuinely looked like he was enjoying every single minute. After starting with a suitably heavy version of Stormbringer, the set tonight took us through songs from various stages of his long career. Deep Purple, of course, but also Trapeze, Hughes-Thrall and, more recently, Black Country Communion – as well as highlights from his solo career.

Mistreated was a definite highlight of the evening for me and I suspect , judging by the reaction from the crowd, for much of the audience, too. And much as I’m exited at the thought of seeing the modern-day line-up of Deep Purple next month, I doubt we will see anything as majestic, soul-filled or dazzlingly, spine-tinglingly, emotionally brilliant as what we witnessed with Mistreated tonight. The latter-day Deep Purple have practically disowned the Mark 3 material and it doesn’t appear in any of the band’s setlists. So let’s be thankful Glenn Hughes is helping to keep this music alive. And so magnificently he does it, too. Arguably, his voice is holding up better than either of the two front-men most associated with Deep Purple, Ian Gillan and David Coverdale. And he certainly hits all the high notes so beautifully.

One final observation. I don’t think it was just my imagination but the crowd did seem slightly more ethnically diverse than at many similar rock gigs I’ve seen recently. Hughes’ funk-influenced bass-playing and soulful vocals always marked him out as someone who could reach out beyond the archetypal white male rock fan. And given how much he talks of the healing power of music I suspect that this would please Mr Hughes greatly.

“Thanks for coming out and supporting this guy,” said guitarist, Doug Aldrich towards the end. “One of rock’s treasures.” Indeed he is.

Setlist:
Stormbringer
Orion
Way Back to the Bone
Touch My Life
First Step of Love
Sail Away
Good To Be Bad
Mistreated
Can’t Stop the Flood
One Last Soul
Soul Mover
Black Country
Burn

http://www.glennhughes.com/homenews.html

2015-11-01 22.33.59

Bernie Tormé at The Borderline 31/10/15

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

It’s 1981 and the band Gillan, fronted by former Deep Purple vocalist Ian Gillan, created a ripple of excitement amongst the teenage rock fans at my school when they burst into the charts with a cover of New Orleans. One of the things that seemed to make this far more than just a heavied-up version of an old rock ‘n’ roll number was the guitarist, Bernie Tormé. He looked like a punk, acted like a hippy, sounded like Hendrix and seemed different from anyone around in rock and metal at the time.

Tormé was soon gone from Gillan and, after a very brief sojourn with Ozzy Osbourne, he formed his own band and started hitting the smaller venues circuit. That’s where I first caught him live. And in similar types of venues now, he’s still out there gigging as well as recording. Hot on the success of his crowd-funded Flowers & Dirt double album last year, he’s used the crowd-funding formula once again and has a brand new album to promote, Blackheart.

First, though, he opens with a storming version of Wild West, the standout track from one of his early solo albums, Electric Gypsies. He has a really strong band in Chris Heilmann (bass) and Ian Harris (drums percussion) and the power trio format suits Torme’s style of music perfectly. Well, of course, why wouldn’t it? The fuzzy feedback-laden guitar is combined with well-written, accessible tunes and vocals that give an honesty and meaning to the lyrics. From the same era, the excellent Turn Out The Lights also gets an outing. It’s not just about nostalgia, though, and songs from both last year’s Flowers and Dirt album and this year’s Blackheart both feature prominently. It’s not all blistering hard rock, either. As on the recent albums there’s some lighter, bluesier, folkier moments, including Flow from the new album and the excellent Spirit Road from Flowers and Dirt..

Soon, however, we are nearing the end with an explosive set of Gillan songs, including the one that got me hooked on Tormé’s guitar-playing in the first place, New Orleans. At the very end of the set, friend of the band and the man who first helped Torme get the crowd-funding venture off the ground, Peter Cook, joined the band for an encore after pledging to “buy” a guitar solo as part of the crowd-funding appeal. In a big arena gig with big corporate sponsors this could sound like the tackiest thing in the world. In a small intimate venue of this size, however, it’s genuinely fun and there is no doubting Cook’s evident passion both for Tormé’s music itself and for helping him secure a viable recording career in this challenging era for the music industry. Indeed, compared to the old record company model, the crowd-funding approach has allowed Tormé to connect very directly with fans and even re-connect to those, like me, who had fallen by the wayside and previously lost touch with Tormé’s career.

A mention, also, for the Bordeline. While numerous other live venues in the West End have closed their doors, this 300-capacity venue has held its open now for over 20 years, always with a stirling line-up of acts throughout the year and the perfect setting for Bernie Tormé tonight.

Setlist:
Wild West
Bullet in the Brain
Blood Run Cold
Turn Out the Lights
Pain Song
Flow
Star
Dirt
Spirit Road
Stoneship
Rocky Road
Can’t Beat
Trouble
New Orleans
No Easy Way
Party’s Over

http://www.bernietorme.co.uk/

2015-10-31 20.49.40

Previous review: Bernie Tormé at The Borderline 2014

Richard Thompson at Royal Festival Hall 20/9/15

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

With countrified acoustic folk from his daughter, Kami, and son-in-law, James Walborne, forming the excellent support act The Rails (“nepotism gets you everywhere” quips Richard Thompson as the two take the stage once more to accompany Thompson for his first song), That’s Enough, a track from the Thompson clan’s recent “family album” kicks off tonight’s Richard Thompson performance. It shows that even several decades into his career, he is still writing really memorable songs. However, the acoustically driven start soon gives way to a full throttle electric performance. Thompson is joined by drummer, Michael Jerome, and Davey Faragher on bass, both excellent and hugely energetic musicians.

Much as I enjoyed his solo acoustic tour last year, Thompson is one of those guitarists who is equally brilliant and equally entertaining whether he’s playing acoustic or electric. The power trio format works well for Thompson’s material (they even do a brilliant version of the Jimi Hendrix Experience’s Hey Joe as an encore to prove just how much of a power trio they really are) and we get a nice mix of songs, old and new. The great thing about Thompson is that, in spite of his technical brilliance on the guitar, it’s never just about virtuoso wizardry. His undoubted skill as a songwriter means he’s always able to deliver memorable tunes and meaningful lyrics as well as incredible guitar playing.

The band leave the stage at one point, leaving Thompson on his own to do a lovely Meet on the Ledge. A song that Thompson wrote when he was just 17, I’ve seen it performed many times by Fairport Convention as their traditional set-closer. But it’s a nice change seeing it performed as an understated heartfelt ballad rather than the anthemic communal sing-along that it’s normally associated with these days. After a similar acoustic performance of 1952 Vincent Black Lightning it’s back to more from the electric trio: old classics like Wall of Death and new material like Guitar Heroes.

It says a lot for Thompson’s versatility as a performer that regardless of whether it’s a folky laid-back acoustic set or a rocking all-out electric set, I’ve never come away from a Richard Thompson gig feeling anything less than fully satisfied.

Setlist:
That’s Enough (with The Rails)
All Buttoned Up
Sally B
Broken Doll
For Shame of Doing Wrong
Hard on Me
Meet on the Ledge
1952 Vincent Black Lightning
Beatnik Walking
Al Bowlly’s in Heaven
Guitar Heroes
Did She Jump or Was She Pushed?
I’ll Never Give It Up
Wall of Death
If Love Whispers Your Name
Hey Joe
Tear Stained Letter
She Never Could Resist a Winding Road
Fork in the Road
Take a Heart

http://www.richardthompson-music.com/

2015-09-22 18.41.16

Previous review: Richard Thompson at Folk by the Oak

Live review: Jerry Lee Lewis at The London Palladium 6/9/15

Live reviews, Rock music, , , ,

When his first British tour, and seemingly his entire career, ended in scandal and chaos over revelations about his 13- year-old bride back in 1958, few would have predicted that not only would Jerry Lee Lewis be one of the last 50s American rock n roll stars alive and still performing, but that he’d be marking his 80th birthday with a sell-out performance at the London Palladium. But, against the odds, it is Jerry Lee Lewis that can claim to be last man standing.

Following a cheesy introduction from former radio DJ, Mike Read, and a warm standing ovation from the Palladium audience, Lewis slowly makes his way to the centre-stage grand piano looking every one of his 80 years. But as soon as he starts to play that piano his fingers are as nimble and his playing as electrifying as when he made his US TV debut almost sixty years ago, a clip of which we are shown in a short film before Lewis comes on.

He’s not going to jump up and down and play the piano with his feet tonight, but he still plays as if his life depends it on it. As well as rock n rollers like Chuck Berry’s Sweet Little Sixteen and, of course, Whole Lotta Skakin’ Goin’ on and Great Balls of Fire, we get some of the beautifully expressive slower numbers from his country phase, like She Even Woke Me Up To Say Goodbye and Over the Rainbow.

One of the temptations for big name performers of advancing years is to fill the stage with so many extra musicians and backing vocalists that the stage can end up looking as crowded as the auditorium. Lewis avoids this with the same simple the lead guitar/rhythm guitar/bass/drums set-up backing him that he’s had for most of his career. And it’s testimony to his presence as a vocalist/ pianist and of the superb musicianship of his backing band that this is precisely all that’s needed.

It’s a triumph of a performance. And while it was never going to be possible to see most of his contemporaries, I can at least say I got to see Jerry Lee Lewis live in London. One of the last of the original rock’n’roll greats.

Setlist:
Drinkin’ Wine Spo-Dee-O-Dee
Down the Line
She Even Woke Me Up to Say Goodbye
Before the Night Is Over
No Headstone on My Grave
See See Rider
Sweet Little Sixteen
You Win Again
Why You Been Gone So Long
Whole Lotta Shakin’ Goin’ On
Over the Rainbow
Mexicali Rose
Great Balls of Fire

Home

2015-09-06 18.37.11

ahab at Cropredy 14/8/15

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

On my first visit to Fairport’s Cropredy festival in 2010 one of the upcoming bands that, for me, proved to be one of the highlights of that weekend was ahab. And it appears that many others that weekend felt the same way about this newly-formed alt-country band back then, too.

ahab went on to travel the world, make several albums, work with Stone Roses producer John Leckie, jiggle their line-up around a bit; and then, to the disappointment of many fans, promptly called it a day (at least temporarily as members each began to work on other musical projects). However, ahab acknowledge that Cropredy 2010 provided them with their big break. So five years later they are back, in their original line-up, to say thank you to the festival crowd that helped them on their way.

It’s a great performance. A classic slice Americana. Lovely harmonies. Upbeat melodies. Beautiful musicianship. And some great songs they’ve written, too, like Lightnin’ Bug and She’s Wearing Red as well as a brilliant cover of Wagon Wheel. Who’d have thought that they originated from Hackney not Tennessee?

The band were clearly very emotional to be back at the place where it all took off for them and seem genuinely moved by the warm  response they get from the Cropredy crowd. After a million thankyous to the crowd they then ask us the one question they perhaps shouldn’t have asked: “Do we look any older since we were last here?” “Yes!” we all shout back. “I love them,” whispered my friend, “but it looks like they’ve done a fair bit of partying over the last five years.”

A great sound, a great festival band and some great songs. It really would be a great shame if this really is the last we hear of ahab. Given the response the band get from the crowd and given how much they clearly enjoyed doing this gig, I doubt it will be. Let’s hope that’s the case.

Setlist:
Lightnin’ Bug
Lucy
Wish You
Run Me Down
Mischievous Side
Call a Waiter
Wearing Red
Uptight
I’ve Been Raining
Fathers Eyes
Rosalie
Million Reasons
Joanna
Rosebud

2015-08-13 16.10.31

AC/DC at Wembley Stadium 4/7/15

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

“Rock is dead” pronounced Kiss’s Gene Simmons, never a man to hold back on his opinions. But that would seem a highly difficult concept to explain to anyone seeing 80,000 people flooding into Wembley Stadium for AC/DC on this hot July evening.

Of course, Simmons was talking about the rock bands of the future, but more of that later.

Five years since their last world tour ended and five years since they last played in Britain, the band’s recent well-publicised problems (founder Malcolm Young tragically forced into retirement by dementia and drummer, Phil Rudd, removed from the band following court appearances on a range of charges including murder threats) have done nothing to dim the level of interest and excitement in this latest tour.

And what a memorable night this has turned out to be. For a gig this size the sound is utterly brilliant, helped I am sure by the huge wall of Marshall Amps neatly stacked up across the back of the otherwise Spartan stage. Stevie Young, replacing Malcolm, delivers the grinding trademark guitar sound made famous by his absent uncle; while Chris Slade, back with the band after an absence of two decades, is a hugely powerful drummer ensuring he and bassist, Cliff Williams, provide an unrelenting rhythm throughout the evening. Vocalist, Brian Johnson, is in excellent form for a man of his age and Angus Young’s lead guitar is as spellbinding as ever.

It’s the songs, though, that really make AC/DC the band that it is.  They begin the show with the title track of their 2014 album, Rock or Bust, and return to the album for two other songs later on. But apart from those,  together with Thunderstruck from their 1990 album, Razor’s Edge, and Rock ‘n’ Roll Train from 2008’s Black Ice (their first 100% bona-fide classic song since For Those About To Rock in my view) ; the setlist is not dramatically different from when I saw them for the first time, 34 years ago, aged 15. But that is precisely what I and everyone else present want. A gloriously good-natured capacity crowd at Wembley Stadium sing along to classic after classic: Back in Black, Dirty Deeds Done Dirt Cheap; High Voltage, You Shook Me all Night Long; TNT, Whole Lotta Rosie…

The two hours whizz by and a following a spectacular version of Let There Be Rock and a lengthy guitar solo that’s still as manic as anything I ever saw from Angus Young thirty-odd  years ago, the crowds are calling for an encore and the band return to the stage for an unmissable Highway to Hell and a spectacular For Those About to Rock, complete with canon gun fire and pyrotechnics.

While rock music has undergone many different permutations, adaptations and reinventions since rock ‘n’ roll first came on the scene, apart from the increase in power and volume, AC/DC’s songs and riffs have not really deviated from that basic musical template that was set for rock ‘n’ roll back in the mid-fifties.  This must have played a major part in the band’s success and longevity, playing songs that are accessible, instantly recognisable and that can be sung along to in a way that most heavy rock or metal bands could only dream of.

And when AC/DC finally stop playing, these 80,000 people here tonight (representing a very healthy mix of male and female fans and a hugely varied range of age groups from teens upwards) are they all going to give up on live rock music altogether? I very much doubt it. Rock is very much alive and AC/DC, themselves, are playing a big part in ensuring it will long outlive them.

Setlist:

Rock or Bust
Shoot to Thrill
Hell Ain’t a Bad Place to Be
Back in Black
Play Ball
Dirty Deeds Done Dirt Cheap
Thunderstruck
High Voltage
Rock ‘n’ Roll Train
Hells Bells
Baptism by Fire
You Shook Me All Night Long
Sin City
Shot Down in Flames
Have a Drink on Me
T.N.T.
Whole Lotta Rosie
Let There Be Rock
Highway to Hell
For Those About to Rock (We Salute You)

http://www.acdc.com/

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Blur at Hyde Park 20/6/15

Live reviews, Rock music, , , , , ,

To say that much of the music of the 80s left me cold is something of an understatement. Even though it was the era I came of age in, exploring music and bands of earlier decades held much more appeal. But when Blur and Britpop appeared my appetite for new music and new bands was dramatically awakened, like hitting a second bout of teenager-dom. I’d just started Uni in my late 20s as a mature student and Parklife was rarely off the juke box in the Goldsmiths college bar in 94.

And two decades later Blur are going strong and headlining Hyde Park once again, something they have done more than any other band according to the official blurb for this summer’s series of gigs in the Royal Park. And having seen them here in 2009 for their fantastically received reunion it’s good to be seeing them again. Unlike 2009, however, Blur have a new album to promote and they open with Go Out from this year’s The Magic Whip. Imagery from the album cover (featuring a big Mr Whippy) dominated the graphics on the big screen and they even have an ice-cream van on stage with Damon Albarn handing out cornets to hungry punters at the front. They play five songs from the new album tonight. It’s a strong album with strong tunes but the sound and feel is unmistakably Blur and they fit in well to the overall set. That not to say, however, there’s not a huge selection of classic Blur that everyone can sing along to, including There’s No Other Way, Beetlebum, Tender, Song 2, This is a Low and, of course, Parklife, with Phil Daniels coming on stage to reprise his famous spoken commentary (and hand out a few ice-creams, too, of course…)

The crowd is hugely good natured and it’s very much a communal celebration in Hyde Park. These songs have stood the test of time and are rightly held in great affection, as are the band who play them. Blur helped give a much-needed shake-up to a dreary and uninspiring UK music scene twenty-odd years ago and the love for the band tonight is testimony as to why they have been so important. Now let’s hear it for a Supergrass reunion…

Setlist:

Go Out
There’s No Other Way
Lonesome Street
Badhead
Coffee & TV
Out of Time
Beetlebum
Thought I Was a Spaceman
Trimm Trabb
He Thought of Cars
End of a Century
I Broadcast
Trouble in the Message Centre
Tender
Parklife (with Phil Daniels)
Ong Ong
Song 2
To the End
This Is a Low
Stereotypes
Girls & Boys
For Tomorrow
The Universal

http://www.blur.co.uk/

10351528_10153422590761449_8524852322004721168_n

Fotheringay at Under the Bridge, London 19/6/15

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

Sandy Denny was the finest British female singer-songwriter that ever lived. Fotheringay was the short-lived band she formed in 1970 on leaving Fairport Convention.  It lasted less than a year, but forty-five years on the surviving members have reformed for a short tour and are playing their first London gig since 1970. Band reunions can elicit mixed reactions and some questions went through my mind on this one. However talented the remaining musicians are, would this be a worthwhile exercise with the band’s two main front-people, Sandy Denny and her husband Trevor Lucas, long since deceased? As soon as the band come on stage, though, and open with Nothing More, the opening number on the original Fotheringay album, all doubts are set aside.

Joining original Fotheringay members, Jerry Donahue, Gerry Conway and Pat Donaldson, are Sally Barker and Katheryn Roberts doing the Sandy parts and PJ Wright stepping into Lucas’s shoes. I’ve long been impressed with Katheryn Roberts but Sally Barker I was rather rude about when I saw her guesting on a jarring version of Denny’s Who Knows Where the Time Goes with Fairport last summer. But both were hugely impressive tonight. While avoiding doing a “Now Matthew I’m going to be…” impersonation they nevertheless deliver the songs faithfully, passionately and beautifully. I’ll take my criticism of Barker back – she was utterly wonderful tonight in bringing alive these four decade-old songs. Singer/guitarist PJ Wright could not have been a more appropriate choice for singing those songs that Lucas had originally written and performed also, his rich voice perfectly capturing the spirit of the original Fotheringay recordings. Jerry Donahue’s beautifully expressive guitar work is always wonderful to hear, and I’ve seen him with numerous combinations of musicians in the past, but this was very special.

Fotheringay’s short but remarkable life meant their back catalogue was never extensive. But they play all the songs any follower of the band would expect and special highlights for me included John the Gun, Knights of the Road, Late November and a sing-along Peace in the End, the closer before the final old—school rock ‘n’ roll encore.

Apart from the occasional guests, Denny’s most famous ex-band, Fairport Convention, always eschewed the temptation to recruit another female vocalist on the grounds that Denny is irreplaceable. That she is irreplaceable goes without saying. But what the Fotheringay reunion demonstrates is that Denny’s songs undeniably sound many, many times better delivered with a female vocal, as they were originally conceived.

Well done Fotheringay, old and new, for putting this reunion together and for pulling it off so magnificently.

Setlist:

Nothing More
The Sea
Ned Kelly
Winter Winds
John the Gun
Gypsy Davy
Knights of the Road
Banks of the Nile
Bold Jack Donahue
The Way I Feel
Solo
I Don’t Believe You
It’ll Take a Long Time
Too Much of Nothing
Late November
Peace in the End
Memphis Tennessee

http://www.fotheringay.com/

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