Category 1 – Punk4rt

The Nightmare Returns to Glasgow

28th May 2022

Alice Cooper brings the nightmare back to Glasgow with The Cult and Creeper for good measure

Finally, the nightmare returned and he continued to do what he does best, perform. Alice Cooper has been a household name for a very long time and has continued to endear himself to his fans and the rest of the rock world with his DJ stints on Planet Rock. The Detroit rocker has teamed up with the 80’s rock icons The Cult. With Ian Astbury and Billy Duffy still rocking hard, the tour promised to be a special one with Creeper opening for both bands just to put the icing on the cake.

Creeper were on stage at 7pm. An early slot for any band but it didn’t put them off their stride. The horror/punk/goth rock band from the south coast were full of swagger as they were in full flow from the off. Having already opened at some of the countries largest venues, Glasgow was another stepping stone on the bands road to success. Yes, there were a number of empty seats as the band opened with the anthemic “Cyanide” but Will Gould owned the stage. The lean rocker bounced throughout the 25mins set and did his best to ignite the crowd. It was only a five song set and the band saved the best to last as they belted out a storming version of “Annabelle”.

Follow Creeper:

https://www.facebook.com/creepercult

The Cult need no introduction to any audience as the unmistakable sight of Ian Astbury, kitted out in leather and his trademark bandana is ably backed up by the iconic Billy Duffy. The pair of rockers, who have been responsible for the seminal song “She Sells Sanctuary” which has featured on many top 10 rock lists since it was first played way back in 1985. Astbury’s first incarnation of the band was Southern Death Cult before Duffy joined and they became Death Cult. The commercial success came when they became The Cult and they never looked back. Like many of their peers, their biggest hits maybe behind them, but they are still a major live draw and with strength in depth, their back catalogue can stir up some serious nostalgia even in the most ardent rock fan. The band drew upon three albums for the set in Glasgow. The first five songs of the night were from the 1989 commercially successful album, “Sonic Temple”. They opened with “Sun King” but their third song “Sweet Soul Sister” saw the crowd spring to life as Astbury made references to local areas in Glasgow as he ad-libbed. “Pissed up in Paisley”, “Ejected from East Kilbride”, shouted the energetic rocker just before he mentioned he was think about his brother, Big Brian, currently in hospital in London. The energy ramped up as the band moved onto material from “Electric” as they regressed the setlist to 1987. “Lil’ Devil” and “Wildflower”epitomised the band at their blistering best. Duffy’s guitar playing was at its most sublime during this period as he stamped his authority on the rock scene paving the way for a return to guitar driven music. Astbury endeared himself to the local audience by recounting memories of his formative years and his family connections with Glasgow. Astbury shouted “Ma people” as the set neared it’s climax, Astbury beckoned the crowd to move forward but the house security kept them at bay. The fully seated venue meant there were only a few VIP fans at the barrier.

The final salvo of hits came from “Love” the album that kickstarted it all in 1985. “Rain” and “Revolution” had the crowd fully engaged before the signature guitar intro of “She Sells Sanctuary”. This trio of songs saw Billy Duffy break out the Gretsch White Falcon. A fantastic sight to behold and he looked masterful as he held it upright during the solo’s. “Love Removal Machine” closed out the set as the 75mins flew by so quickly. The joint headline tour with Alice Cooper has seen both bands cut their set lengths to accommodate but it was enough to fulfil the hunger of the eager crowd. It was refreshing to see The Cult can still rock hard but the seated venue definitely took the edge off the evening for the crowd.

Follow The Cult:

https://www.facebook.com/officialcult

There’s nothing quite like an Alice Cooper performance. His legendary theatrics are backed up by some of the best musicians on the planet. Not only that, the band seem to do a “Ctrl,Alt,Delete” and give the same full on show everynight. Considering the average age of the band, it’s no mean feat! Of course, at 74, Alice Cooper may not tour for much longer but he still gives everything on the night and leaves nothing left behind in the dressing room apart from mascara. The Nightmare Castle was the scene for the evenings frolics and the well worn script was played out over the next 90mins. If you’ve ever been to an Alice Cooper gig, then you’ll realise it’s more of a production than a mere concert. The songs provide the soundtrack to the visuals and tailored to the persona Cooper has created for the song. Drawing from such a diverse set of songs, Cooper mixed up old and new. The soft rock songs like “Hey Stoopid” and “Poison” were offset by the crowd favourites of “Eighteen” and “No More Mr Nice Guy”. Cooper’s latest recorded offering “Detroit Stories”featured two tracks “Shut Up and Rock” and “Go Man Go” but it was the old standards that still stole the show. “Under My Wheels”, so often left to the encore had an early slot right ahead of a timely guitar solo by ‘Hurricane’ Nita Strauss but she’s far from the main attraction as the band took it in turns to shine through out the night.

Cooper described Glen Sobel as the best drummer in the world and he provides the perfect back drop for the rest of the band. With Chuck Garrick back on bass duties, he beamed throughout the show. His solid rock bass work underpinned the flare of the front three guitarists. The insane talents of Tommy Hendrikson, Ryan Roxie and Nita Strauss were on show throughout the night. The guitar solos looked effortless but sounded incredible. The traditional rock n roll solos of Roxie and Hendrikson were supplemented by the dazzling new school guitar work of the “Hurricane”. Sobel stole the limelight as he soloed during “Black Widow Jam”. There was a continuous barrage of plectrums aimed at the punters as the gifted guitarists showered their fans with the sought after mementos. The theatrics were played out during “Steven”, as Alice adorned his straight jacket and it lead into “Dead Babies”. The carnage commenced with “I Love the Dead” as the guillotine was wheeled out for the customary beheading. Of course, Cooper was resurrected and ripped through the set closer “Teenage Frankenstein” which saw the 12ft monster stumbling about the stage. The nightmare is never over until we get “Schools Out” with the a bit of “Another Brick in the Wall” thrown in. It’s a well worn format but you get what you pay for and there’s still an audience for the master of macabre.

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Gary Numan / Divine Shade – O2 Academy, Glasgow

10th May 2022

For over 43 years, Gary Numan has fascinated audiences with his robot-like persona. Part innovator, part plagiarist, Numan has been an icon of electronic music since his chart toping single “Are Friends Electric” came out in 1979. He is a very different artist from those early days, the first few singles and albums feel stripped back compared with the dramatic cinematic industrial monolithic masterpieces he performs now. Numan’s latest album “Intruder” was released last year to critical acclaim and his 20 date UK tour gives him the opportunity to play it live in front of his faithful fans before he heads to Europe and the U.S.A. later in the year. The O2 Academy in Glasgow was the 10^th date of the tour, and the packed crowd were in for a treat.

It must have been a daunting prospect for any artist to open for Gary Numan. Divine Shade however, embraced the prospect and were a great choice. The dark electronic trio from France had the courage of their convictions and endorsed by Numan himself, they certainly turned out to be the perfect warm up act. Their latest E.P. has had a track remixed by Chris Vreena, the Grammy winning producer who has played with Nine Inch Nails and Marilyn Manson. There’s a definite NIN comparison and visually, Singer/ Guitarist Ren Toner does wrestle his mic stand in a similar fashion to Trent Reznor and not unlike Gary Numan himself. The 30 min set, which saw Ren move between Guitar and keyboards, flew by as the electronic ensemble played through a tight set which included 2 tracks off their latest E.P. and a few numbers from their 2014 E.P. “From the Sky”. Highlight of the set for me was “Ashes”. Drummer, Emile Cases, looked like a cross between Assassin’s Creed and a monk as he wore his hoody up for the first three songs before he discarded it. In stark contrast, Nicolas Thonnerjeux seemed to enjoy the limelight as he constantly threw Rockstar guitar shapes throughout the set. Final song “Black Birds Return” went down well with the busy crowd as the band slipped off stage talking well deserved plaudits.

Gary Numan’s symbiotic relationship with synthesisers and his peers has resulted in the summation of his efforts being realised on this tour. Numan has had an incredible influence on many bands as the genre has grown and expanded as it grew in popularity in the 90’s. There was an industrial/metal morphosis with many bands and Numan has also drawn inspiration from those artists who found him to be a catalyst for their creativity. The heavy industrial slant that has been adopted throughout his back-catalogue has given a new lease of life to his earlier songs. The band filtered on stage in darkness and took up their regular stage positions in anticipation of Gary Numan making his entrance. It’s not long until he breezed on stage to a huge cheer.

The set kicked off with “Intruder”, the title track from the latest album. Gary is beset on both sides by similarly dystopian dressed band members Steve Harris on Guitar and Tim Slade on Bass. The stage visuals are suitably cinematic, and the dramatic darkness sets the perfect scene. With a backdrop of projected imagery, there’s plenty going on without the all-consuming music. The set has an impressive number of songs on rotation which is a treat for those fans who have been able to attend a few of the live dates. The tracks from the new album suitably blended with the older material which has been overhauled from its original guise. “Metal” was an early highlight as “The Pleasure Principle” would feature three songs including the iconic “Cars”. Another hit for Numan which re-energised him when he famously joined Nine Inch Nails on stage in 2009 to perform his hit single. Numan has used middle eastern music to influence his sound and the tracks played from his 2018 album “Savage” sounded particularly dramatic. “Ghost Nation” was HUGE! Numan’s voice hung in the ether between crashing drums and edgy synths played by Dave Brooks. Numan also provided additional keys throughout the night. The second track from “Savage” which was sung by Gary and his daughter Persia on backing vocals on the album, but alas, no sign of her tonight. “My Name is Ruin” maintained the drama before the next track from “Splinter” followed. The live drumming makes a massive difference to electronic music. Apart from the obvious visual attraction, the human intervention is essential, and Richard Beasley anchored the songs and gave the man/machine interface credibility.

The massive sounding synths in “Love Hurt Bleed” reverberated throughout the audience as the east meets west soundscape sounded like dark delirium. Numan once said he felt “dirty” when he played his older songs and “needed” a shower after it and he’ll need plenty showers after this tour as his sometimes-fractured relationship with his fans has healed. He’s struck a good balanced slotting in the older tunes to keep the hard-core happy. The main set came to a resounding close with “We Are Glass” from his “Telekon” album released 42 years ago but it sounded far from dated. The 2-song encore continued with another from that seminal album, “I Die: You Die” and there could be only one song to end where it all began. “Are Friends Electric”. The world may be broken and although Numan might not be able to repair it, he certainly keeps its inhabitants entertained. The prophetic poem given to him by his daughter Persia when she was 11 inspired him to write his latest album, let’s hope that relationship continues because there’s still an audience for it and we can only hope that artists like Gary Numan can educate and inspire future generations.

Gary Numan continues to Tour throughout May and June:

14th – UK, Northampton, Royal & Derngate

15th – UK, Norwich, UEA

16th – UK, Nottingham, Rock City

18th – UK, Manchester, Albert Hall

20th – UK, Sheffield, O2 Academy

21st – UK, Belfast, Ulster Hall

24th – Ireland, Dublin, Olympia Theatre

26th – The Netherlands, Amsterdam, Melkweg

27th – Denmark, Aarhus, Train

29th – Denmark, Copenhagen, Amager Bio

30th – Norway, Oslo, John Dee

31st – Sweden, Malmo, Kulturbolaget

JUNE 2022

2nd – Germany, Berlin, Columbiahalle

7th – France, Paris, Le Cabaret Sauvage

10th – Spain, Madrid, Sala But

11th – Spain, Barcelona, Razzmatazz Room 2

13th – Belgium, Brussels, Ancienne Belgique

TOOL: AO Arena, Manchester

2nd May 2022

“CONGRATULATIONS, YOU DID GREAT”, SAID MAYNARD JAMES KEENAN, “WITH SOME EXCEPTIONS, YOU MAY TAKE OUT YOUR STUPID CELL PHONES”. THAT WAS THE SINGER’S COMMENTS TO THE CROWD AS THEY HAD RESISTED INTERACTING WITH THEIR PHONES ALL EVENING UNTIL THE LAST SONG.

Although the AO Arena was not completely sold out, there were very few seats left. TOOL is that kind of band that attract large numbers of fans to their concerts, especially when there’s many years between tours, unless you live in the USA where they have continued to perform live. TOOL fans are loyal, they are patient and as it turned out, obedient! The band’s request to respect their wishes and keep their phones in bags or pockets was, for the most part, obeyed. Why, well apart from just enjoying the show for what it is, the band have created a visual and aural show that demands attention.

There’s nothing left to chance when you watch a TOOL show, it is planned and executed in excruciating detail. That’s not a criticism, it’s an absolute pleasure to be immersed in the band’s vision of what they want you to experience – and what an experience it is! Most gig’s have a sound desk and a lighting desk, not TOOL, they have something resembling NASA Mission Control. For what is basically a four piece band, they make a huge soundscape that’s expanded even further by the use of the immense visuals.

When you have a band of the magnitude of TOOL, who can provide a creditable support? Killing Joke had supported their US tour a couple years back and had split opinion, some suggesting that TOOL should have been supporting their iconic friends however, TOOL, love them or hate them are now a stadium band. It’s almost impossible to imagine them play anything smaller than a venue that can hold less than 5-10,000 people.

So, tour support was Brass Against. If you’ve never heard of them, they’re a band that predominantly use brass instruments but also have live drums and guitar. Their material is rock based covers and they even played a couple TOOL songs. Normally, it would be poor judgement to play songs of the headline act but as they’re so diverse, it almost seemed fitting. It is however still odd hearing Rage Against the Machine and Led Zeppelin songs played on the tuba and trumpet, but the crowd showed their appreciation.

TOOL released the long awaited album Fear Inoculum after a 13 year gap. Their previous album 10,000 days would be hard to follow but the crowd were eager to hear it played live. With the notable exception of Grammy award winning 7empest, often quoted as being the best track on the album, the rest of the tracks were indeed all played in tonight’s show. The screen that is used to project the graphics onto was draped around the front of the circular stage to create a 3D effect for the opening part of the performance. The screens at the rear of the stage complimented the front screen and immersed the band within. Fear Inoculum opened the set to a huge roar. At over 10 minutes, the lengthy polyrhythmic progressive metal masterpiece was the ideal starter to what would be a mammoth performance from the progressive metal musicians. “Manchester, MANCHESTER!” shouted Keenan as he grabbed the crowd’s attention at the start of Opiate, one of the band’s earliest songs that has been re-recorded recently and referenced as Opiate2. This song demonstrates how far the band have come sonically as in contrast to the set opener, it has a more traditional alt-rock/grunge feel to it.

The band played songs from nearly all of their 6 studio albums with the exception of Undertow. Strangely, there were no songs from this seminal album which saw the band hit the mainstream. The Pot from 10,000 days got an immediate response from the crowd as they sang back to Keenan when he opened the song. As the hypnotically rhythmic bass intro kicked in, Justin Chancellor swayed back and forth like he was on another planet, transfixed and in a world of his own as he stood planted and rocked his upper body back and forth. The bearded bassist was sublime all evening as he rarely moved from his spot, stage left, until the last song where he swapped places with Adam Jones. Maynard James Keenan moved between two platforms at the rear of the stage, either side of the drums as he typically stays out of the limelight. During lengthy instrumental parts of the songs, Kennan would skulk, posture or even just crouch and almost disappear into the darkness. He has never been the archetypal frontman which is ironic as he is definitely not your average performer! None of the band members are particularly flamboyant as Adam Jones’s nonchalant style of guitar playing actually contrasts what you hear from his devilish playing. Jones talent isn’t limited to his playing as he is also the driving force behind the band’s visuals. Having declined film scholarships in his distant past, he chose to hone his guitar skills in the company of Tom Morello of Rage Against the Machine. Jones did develop his skills as a video maker by using stop motion camera effects in the famous music video’s for Schism and Prison Sexamongst many others. The visuals throughout the show were sublime. The mix of photography and video effects were pre-determined for each song and the colour schemes brought the music alive. Danny Carey’s drumming was another sight to behold. His drum riser blended into the set but his huge kit, which combines all manner of idiosyncratic sounds, is one of the focal points of the stage. Always well lit, Danny is an integral part of the band’s sound. The drums dominated at times, but the balance was usually addressed as each instrument had its moments. PushIt was there for the hard core fans to lap up and Pneuma followed for the newfound fans. Fear Inoculumwill no doubt have been the first album for many in the audience as lockdown had forced many to seek out new music.

There was a trio of songs from Lateralus played mid-set. The first three songs of that iconic 2001 album were played in order which was highlight of the show for me. The Grudge is what TOOL are all about as each instrument showcased the dynamic range throughout the entire song as it changed from sparse empty moments to full on rage. Eon Blue Apocalypse is more an intro to The Patient which again, showed the band at their brilliant best. The main set drew to a close with Descending, another track from the new album and the chaotic Hooker with a Penis from Aenima.

After such a lengthy set, there was a much needed break for the audience to relieve themselves. Judging by the amount of official merchandise being worn, wallets were also being relieved. It’s much needed revenue for bands to recoup after the imposed lockdown and gives the chance for fans to revel in their purchases. It can’t be cheap to run a huge production like TOOL have and, in some ways, you get what you pay for.

After the 5 minute break, the band played an encore of three songs off Fear Inoculum. Danny Carey returned to the stage on his own and performed the curious Chocolate Chip Trip. Part drum solo, part electronic loop indulgence. Next, Culling Voices was a slow burner, for seven minutes the stripped back, ambient, and atmospheric song ambled along before it ended with a traditional thrash. I would much rather the afore mentioned 7empest was played as I prefer an encore to be a summation of a band’s back catalogue. It’s at this point Maynard addressed the audience and approved the use of phones to record their final song. Instantly, there were thousands of phones lit up the faces of the crowd as they desperately disengaged from the performance and re-united with their ultimately addictive arm extensions.

You can totally understand why TOOL try to enforce an policy of no phones and encourage their audience to immerse themselves in the now. Many of the crowd continued to marvel phoneless, but the inevitability always threatened as people want something tangible to hang onto other than the fading memory of the gig itself. It’s another lengthy song and all good things come to an end. Although the entire show was 20 minutes shy of three hours, it passed in a heartbeat. The audio/visual experience was almost indescribable and has to be seen first-hand.

Skunk Anansie Take Blood and Guts to Glasgow

15th April 2022

Brit Rockers Skunk Anansie played their penultimate gig of the “UK 25Live@25” Tour in O2 Academy Glasgow

The 25Live@25 Tour had been re-scheduled twice by the time it finally launched end of March at the band’s home gig in Brixton Academy. Glasgow was the penultimate date of the UK tour so Skunk Anansie were already in full flow for the packed crowd. Apart from being a great band, they are fronted by a true icon, Skin. Not just a stunning performer, but the voice of her generation. Deborah Ann Dyer (aka Skin) was awarded an O.B.E. by the Queen for her services to music and that was the icing on the cake for the forthright, inspirational singer as she recently released her autobiography “It Takes Blood and Guts”. Apart from her imposing stage persona where she commands attention on stage, Skin has a softer side that is reflected in the band’s music. They can go from full on rage, to tenderness in a heartbeat. The alure of their music appeals to the hardest rocker but still has a wider appeal. They could easily fit on any stage from Download to Glastonbury, where they will play the sold out festival later this year.

The tour has given exposure to two fantastic support bands. Gen and the Degenerates and up first Holocene. There were a good number of people in the building for the opening duo. Sian Kelly stood next to a reel to reel tape machine, the likes I’ve not seen since The Cocteau Twins tours. Matt Williams joined her on stage behind the drum kit and the pair performed a good tight seven song set.

The latest E.P. “Kiss Me In The Dark” provided the majority of the songs with the addition of a laid back cover of the Duran Duran classic “Rio”. Skin snuck out from backstage at one point to catch a song but she was wearing a hoody so doubt many folks saw her. I loved the 50’s guitar vibe in “Fossils” at the beginning and the way the song builds throughout. Sian’s voice carries weight and has real brevity in “Garden of Eyes” and “Delicate Way to Die”. Look forward to hearing more and hope there’s an album on the horizon.

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FOLLOW Holocene:

FACEBOOK

Gen and the Degenerates also had seven songs to win over a few fans before the main act. Similar to Holocene before them, the band’s discography consist of Single releases so far. Don’t let that deter you though, there’s much to come from this hard edged alt-rock outfit. Another stunningly fronted band, Gen, resplendent in a massive black and white fur coat. Slick edgy self aware lyrics and anthemic choruses make the band an instant hit. “Underwear” is a great opener and there’s no doubt this band are going to do well on the back of this tour, on pure merit. Apart from the obvious visual attraction of a band who love to rock out on stage, there’s great song writing to back it up. Their music is vibrant and punchy and the dirty grunge rock feel is complimented by Gen’s melodic voice as it actually takes the edge of the overall delivery.

I wondered if “Girl God Gun” was a self prophetic song about the singer. “I’m a Girl, I’m a God, I’m a Gun”, “An Apex predator”, it almost describes Gen to a T! Highlight of the night for me as I love a well crafted song that’s backed up by lyrics that grab you, even if they are a bit tongue in cheek. The set ended with “Burn Your Pedestals”, another great song from the recently released E.P. “Only Alive When in Motion”. Gen and the Degenerates have alot to say and their not afraid to do so.

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FOLLOW Gen and the Degenerates:

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WEBSITE

The lights dimmed and Mark Richardson took the stage with a wave and a huge cheer from the near sold out venue. Mark took his seat behind his kit as Ace strapped on his guitar. Cass breezed on stage with his trademark bass complete with red strings and the flamboyant red top hat covering his dreads. By the time Skin bound onto the stage the crowd were at the top of their voices screaming for the iconic singer to acknowledge them. “Yes It’s Fucking Political” is a reminder of where the band started and still hark back to. The band have always been grounded and never let fame or fortune affect their foundations. Born in Brixton in the early 90’s, the band broke the bland Brit-Pop dominance and brought the rock guitar back to the fore. Never wavering from their intent to educate and inspire their fan base, although they had a hiatus after a break in 2001, the new material releases have demonstrated they are back with a bang. Any regular tour set list from Skunk Anansie would have a greatest hits feel to it and the intent of the 25Live@25 was to celebrate the bands 25 years but of course, it’s now over 28 years since their inception. That first song from the second album “Stoosh” is as relevant now as it was back then, after all, we are now constantly remined “Everything’s Political”! The audience get to vent along with the band and Skin does what she does best, she leaps and bounds across the stage to the delight of the packed crowd. The hits kept coming and Skin looked amazing in a bright lime green oversized jacket with what resembled a head of black bull horns like some incarnation of a she-devil. “And Here I Stand” screamed Skin, the venomous lyrics hit home even more as she unleashed her explosive incendiary words on to the masses below. A purpose built runway ran across the stage to elevate the singer above the monitors so she was a domineering figure when she leaped up and down though-out the night. The years rolled back for me when “I Can Dream” was up next and I joined in shouting the chorus in full voice along with the rest of the nostalgic onlookers. “Weak”, another track from the ground breaking first album followed and the crowd were bouncing. Glasgow crowds do love to show their appreciation even on a Tuesday night! As Skin strapped on her guitar, she tells the story of “My Ugly Boy” and the meaning behind the song. She goes on to do this at a few opportune times during the night as she spouts about the hypocrisy of religion before “God Loves Only You” and the failings of Brexit and Immigration bemoaning the hypocrisy of the government and the scheme to house those poor casualties of war in Afghanistan, Syria and of course Ukraine. “This Means War” released in early 2020 is a real powerhouse of a song with a Rage Against the Machine hook. Skin is vehement as she belts out her belligerence. In amongst the anger and vitriol, the band gave the audience the opportunity to sing along during “Hedonism” as the entire room raised their arms in adulation. “I hope you’re feeling happy now”, I think they were judging by the volume of the voracious voices.

It wasn’t full on rage the entire set as the new single “Cant’ Take You Anywhere” demonstrated the bands leaning towards synth backed songs, which worked extremely throughout the night as Erika on keyboards and backing vocals did an amazing job. The run up to the end of the main set started with “Intellectualise My Blackness” and “Tear the Place Up”. Skin called for a circle pit and the crowd obeyed without question. She held court over them and directed proceedings from the stage as the maelstrom magnified through-out the penultimate song. “Charlie Big Potato” closed out the main set but it was only a few moments before the band returned to play a well deserved encore. Skin, now stripped back in a black tour t-shirt introduced another the new track “Piggy” from the latest single. The seminal song “Brazen” was met with the biggest cheer of the night as Ace picked the opening chords. Skin explained that the original version was recorded with a 52 piece orchestra but the stripped back live version emanated empathy in the audience. The crowd were badgered back into life with “The Skank Heads” and Skin screamed “Get Off Me” as the moshpit went mental. Skin took the time to introduce the band as they played a muted version AC/DC’s “Highway to Hell” before a few full on bars towards the end. “Little Baby Swastika” brought the chaotic crowd back to life as they bounced along to the furious first album set favourite. As the band stood on stage to take the plaudits from the punters, Foo Fighters “Best of You” was played through the PA and for the next four minutes, it was time to party with the band and pay tribute to their fallen friend. No words needed, the message was clear.

Skunk Anansie fly off to Iceland and Europe to continue their tour but will play more dates in the UK later this year.

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GHOST CAN DO NO WRONG IN GLASGOW

13th April 2022

THERE’S NO ARCHETYPAL FAN WHEN IT COMES TO GHOST, THEY HAVE A UNIVERSAL APPEAL TO ALL AGE GROUPS. THERE’S NO DOUBT THEY ARE A PHENOMENON AND WITH EACH ALBUM, THEY’VE CONTINUED TO GROW EXPONENTIALLY.

It’s all the brainchild of Tobias Forge who is the only named person adorning any Ghost lineup. His army of Nameless Ghouls that back him up so perfectly do their best to steal the show with their playful antics but all eyes are on Tobias, he commands attention.

It had been three years since the band graced the OVO Hydro in Glasgow and the fans had turned out in their droves. Many in costume and face paint, the fan base love to replicate their on stage heroes.

The new album Imperia released prior to the tour, tells of the rise of Empires, how prophetic as GHOST continue to build their own musical one!

Doors opened at 18:30 and despite the long queues there was still a good crowd in the arena when the first band took to the stage. Twin Temple, a “doo-wop” duo and their band put a twist on the 50’s style music by adding in their own satanic spin on the genre. Songs of sex, death and Satan, an eerie stage presence and rock ‘n’ roll soundtrack set them apart. Partners in crime and real life, Alexandra and Zachary James are stunning to watch on stage. The devilish duo asked the crowd to join them under the sign of the “horns” as they seek to invoke the devil for their performance. Great way of engaging any potential allegiance. There may have been no satanic orgy, but they certainly left an impression on the audience.

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In stark contrast to the visual appeals of Twin Temple, Uncle Acid and the Deadbeats maintained the dark tone with their heavy grunge/stoner rock steeped in Sabbath style guitar licks. The huge venue dwarfed the four piece and set far back on the stage so not as accessible to the crowd. This didn’t daunt the doom laden rockers as their bassist, Justin Smith rocked out the entire show. His hundreds of hair flicks were impressive and rarely matched by his band mates. The huge venue was filled with crushing chugging chords as the band played I’ll cut you down from their 2011 Blood Lust Album. The track draws similarities to Queens of the Stone Age and wouldn’t be out of place on a Dessert Sessions album. There’s some great guitar solo work on 13 Candles from the same album. The twin guitars worked well as the continuous bass runs in the background were supplemented with great free form drumming. The crowd swelled during the set and so did the levels of appreciation.

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The crowd barriers were at bursting point by the time the lights went down and the intro music signalled the imminent arrival of Ghost. The silhouette of a lone backlit ghoul could be seen projected onto the white curtain erected to hide the stage set as the twin solos started. Kaisarion reminded me of the 80’s hair metal. Not quite NWOBHMmore like Def Leppard with a hint of Rush. The curtain dropped and three ghouls move to the front of the stage, the crowd response was magnanimous as they marvelled at the appearance of their favourite band.

Judging by the amount of official merchandise being worn by the fans, there’s very few folks have turned up out of curiosity. Tobias Forge can do no wrong in the eyes of his onlookers and they revelled as Ratsfollowed. The new album would feature four of its strongest tracks and already, after only a few weeks release, the lyrics were mouthed by the fans. Tobias knows how to keep fans on side and made sure there were some set favourites in the mix. Mary on a Cross and Devil Church which featured the dualling guitars of the two prominent ghouls as they even slip in some Scottish music. Tobias had slipped off stage during the guitar solos and re-appeared sporting some bat wings to his costume returning for crowd favourite Cirice. The theatrics of the show is part and parcel of what Ghost do, nothing is left to chance and everything is choreographed down to the last detail. The massive stained glass backdrop, the huge drum riser/staircase and of course, the costumes all add up to an incredible sight but they back it up with mammoth songs. The use of the steam punk masks, and Tobias’ white painted face mask remove the feeling of human interaction, but that mis-conception is forgotten when Tobias shouts Scotland! He does love to interact with his audience. Part of it is holding court and part of it to show he is “real” and wants to share and endear himself to fans. The crowd of course lap this up and there’s a sea of raised arms throughout as the new set hits are rolled out. Hunters Moon, Spillways and the enigmatic Call Me Little Sunshine, where yet again, there’s another costume change which see’s full Papal regalia being worn.

There’s so much packed in to one show, not dissimilar to Alice Cooperbut minus horror, blood and gore. The scariest moments are restricted to the bangs of the confetti canons. Raising the dead is another trick used to amuse as Papa Nihil is rolled out in a vertical box and he springs to life sporting his saxophone during Miasma before he’s boxed back up and carted back off stage. It’s not all light weight musical masterpieces as Mummy Dust proves there’s a metal core running beneath the surface. What better way to get the fans rocking than with a timely cover of Metallica’s Enter Sandman as the band returned to play a three song encore. The show stopping Square Hammer leaves the crowd screaming for more but thoroughly exhilarated by what just transpired. Tobias is not shy at thanking everyone one involved that makes their shows possible including the venues, security etc but without the fans, there’s nothing. Based on the loyalty of the fans, Tobias will be around for some time and there’s a growing army of Ghouls and Ghulehs to feed his creativity.

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The Psychedelic Furs return to form in Glasgow

7th April 2022

The re-scheduled UK tour finally reached Glasgow as the band play their new album live to a near capacity crowd

After waiting nearly 30 years for a new studio album release, The Psychedelic Furs finally released their follow up album “Made of Rain” in 2020. Add on another 2 years to tour the new material and that must have felt like a lifetime to brothers Richard and Tim Butler, but their music has never been far from the limelight. Their music transcended genres after the self-titled critically acclaimed debut album was quickly followed by Talk Talk Talk. In fact, the band’s first four albums spawned a good number of radio friendly classics which have been extensively used not only by their peers either through influence or direct use, but the film industry which has drawn upon the bands back catalogue many times. Notably, the recent Netflix smash Stranger Things, used “Ghost in You” and of course the Hollywood Brat Pack movie named after the song “Pretty in Pink” made them a household name. Having formed during the post-punk era, the brothers broke ranks from any possibility of being pigeonholed as punk by using the word psychedelic. 2022 sees the band touring extensively through out the year and thankfully, the hunger to see live acts again will have the venues packed to celebrate the bands return to form.

It’s a family affair in Glasgow’s SWG3 as Pauline Murray is joined on stage with her long term partner and husband Robert Blamire and their Son Alex on Keyboards and Daughter Grace on Vocals. Best known for being the front woman of Penetration, where she and Robert first formed the band, the Durham duo have played live for over 45 years! The multi-room venue in Glasgow was near to capacity as Pauline and her band took to the stage. The stark, clean cut, well-lit venue also benefits from a great PA. This all bode well for the evening as both bands served up some great musicianship. The delay to the tour saw Murray release a new album after the original scheduled tour date. That album “Elemental” provided three songs for the set and Murray looked genuinely happy she was able to share them with the eager audience. Opening with “Sympathy”, Murray paced the stage and demonstrated her voice has stood the test of time as her distinctive voice was unwavering though out the night. The catchy chorus of “Shoot You Down” caught a few folks out in the crowd as they sang along before Murray explained that the new album had been released during the Covid lockdown as she introduced “Secrets”. Some delightful guitar and keyboard work were augmented by the joint vocals of Pauline and Grace. The down to earth Durham lass informed the crowd that it’s only the second time the band in its current guise had played these songs. She picked up her Acoustic for “Shadow in My Mind” another track from “Elemental” and it led into the final song “Weeds” from the afore mentioned album.

The subtlety in the delivery of music was grounded by Murrays melancholic delivery. The atmospheric “Drummer Boy” had a stark feel to it as the tom driven tribal drums came to the fore. “Thundertunes” was a particular highlight for me with the catchy riff and “Warning, Warning” resonating inside my head. Saving the best to last, the fitting “Judgement Day” was dedicated to Pauline’s iconic friend Jordan Mooney. A melancholic ending yet uplifting, the crowd gave a resounding cheer as the band took their leave.

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There was already a feel good factor in the venue as The Psychedelic Furs took the stage. The atmospheric lighting set the scene as the relatively low key set opener “Highwire Days” reminded everyone of the halcyon days of the band when they were at the height of their popularity. The enigmatic Richard Butler breezed his way through the first song and sounded exactly as he did all those years ago when the band broke into the charts with their particular brand of post-punk art rock. His distinctive voice set the band apart. “Dumb Waiters” closely followed the opener and Mars Williams seminal sax solos would come to the fore throughout the set, stealing the limelight from the rest of the band as his dynamic dexterity was dumbfounding at times. The set lit up when “Mr Jones” blasted out of the PA. Butler proved he had lost none of his playful charismatic swagger as he subtly commanded attention throughout the night. Proving the band are no one trick pony, each of the musicians took their turn in stealing the spotlight. The sublime guitar work from Richard Good and the welcome return of Roger Morris to the band during “Wrong Train” was matched by the delightful keyboard work of Amanda Kramer on “Ghost in You”.

The newer material blended well into the set as the awkwardly engaging “Boy Who Invented Rock N Roll” preceded the infectious “No-One” both from the new album. The latter song wouldn’t have sounded out of place on a Cure album. More fantastic lead work from Richard Good. It was always going to feature at one point during the set so mid-set was as good as any. “Pretty in Pink” may not be as welcomed as it once was but the over played classic still warrants acclaim even if its to live vicariously through Mars Williams as he continued to mesmerise with his talent. The crowd certainly showed their appreciation as they gave the hit song a resounding cheer. The hit’s kept coming with “Love My Way” and “President Gas” which showed the decadent side to Richard Butler as his provocative arm stretched salute would lead into a cut throat movement then a slow disapproving shake of the head. A cynical reminder of what’s going on in Europe right now. Richard’s brother Tim never rested throughout the set as he continuously moved around the stage often staring down the audience and at times playfully pointing and beckoning to the crowd. The band seemed to move up a gear with their 80’s classic hit “Heaven”. The somewhat nostalgic crowd bounced into life as they sprang into action. The tempo was dropped slightly as “Heartbreak Beat” closed out the main set but there had to be an encore after such a great performance.

The Psychedelic Furs could never disappoint the long standing fans without playing two of their earliest iconic songs. The band returned to play “Sister Europe” and “India”. The former kicked off with that unmistakable drum beat faithfully reproduced by Zack Alford and the subtle guitar and sax. The crowd were in singalong mode and Butlers uncanny resemblance to Bowie at times brought back the memories of listening to the classic song as a teenager in my bedroom. The opening track of that first album ended the night. The sweeping guitar intro made way to the thumping bass before the band were back in full flow. More mesmerising melody from Mars as his sweet sounding sax courted the crowd. It will be a bust 2022 as the band complete the UK tour before they head for the U.S.A.

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Killing Joke “Honour the Fire” in Glasgow’s Barrowland Ballroom.

6th April 2022

The band and the crowd were on fire as the 80’s icons returned to a near sell-out crowd in Glasgow on their full UK tour

The enigma that is Killing Joke is still a tour de force. Their fiery brand of hard-hitting heavily drums influenced, bass-driven post-punk, is set apart by the brilliance of their iconic guitarist Geordie Walker. And then there’s Jaz Coleman, enigmatic, dark yet extremely engaging. If ever there was a band that is more than the sum of its parts, then that is Killing Joke. Each member of the band are master of their craft in their own right, and the four horsemen of their apocalypse bring so much to a live experience. More than just a gig, every time the band play, they summon a primaeval basic instinct inside their “gathering”. The intensity of the music is like a shock-wave that reverberates to the core of the crowd. The rollercoaster of rock ‘n’ roll has seen the band dip in fortune and favour, but they have never fallen from grace where their faithful fans are concerned. Through the years, the band have stuck to their fiery brand of intense earth-shattering music that continues to inspire and influence. Apart from continuing to produce new material, Jaz, Youth and Paul all have their own “side-projects” and each is as deserving as any of the band’s contributions. The 2022 tour “Honour the Fire”, sees the band air new material with the release of “Lord of Chaos” but of course, there was always going to be a few fan favourites thrown in and some lesser played back-catalogue for the hardcore.

The coveted support slot saw The Imbeciles cross the Atlantic to join Killing Joke and in particular Youth who had produced the band’s latest offering “Imbecilica”. The venue remained predominantly in darkness as the band entered the stage, guitar intro being played as they walked on then launched into their opening number “Name of the Rose”. The lighting warmed slightly, as did the crowd, and they were a definite contrast to their post-punk peers. The band had 30 mins to show case themselves to a potentially partisan crowd as Glasgow can be an unforgiving place but there was nothing to worry the Anglo-American rockers. The mix of overdriven crunchy guitars and punchy bass lines under pinned by some solid rock drumming made their material palatable for the onlookers. I overheard a “Cars meets Kravitz” comment in the crowd as the band ripped through their first few numbers.

There’s two iconic references right there but The Imbeciles have more to offer as listening to there album (post gig) I could hear more varied influences. I often check out a bands new material before seeing them live but I heard them live first. Upon reflection, it might have been better to hear the nuances of the studio material first. Without any doubt the band had done their preparation for the tour as they were a tight unit but left enough raw delivery to satisfy lovers of live music. “It’s not about you” had a completely different dynamic from the first tune as it had a cleaner cut indie sound. The heavy bass line pushed the song to the edge of something harder and the triple guitars blended well as they chopped and changed throughout the song.

I did hear a “Kravitz” feel in “Van Man” as the spoken word narrative led into a singalong chorus with some slick guitar solo work. The opening track to the latest album was the highlight of the set for me. “Tiny Blue People” is a great song to get you into the vibe of the band. “You’re Gonna Wanna” continued to showcase the band’s diversity as the stop-start breaks blow into some full-on banging bars of full-on alt-indie rock. The last song of the set “I’m not the one” brought John Kent’s vocals to the fore as the harmonies contrasted with the edgy cutting guitars to balance the song. The twin simultaneous solos worked well, and it was a great way to end a solid set. Apart from the band being in darkness for most of their set, their futures bright!

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The Barrowland Ballroom was packed by the time the intro music started. Jocelyn Pooks “Masked Ball” is such an atmospheric ethereal piece, it built drama with its haunting gothic chant. As the band took to the stage, a huge cheer from the crowd broke the atmosphere momentarily as the intro music continued to build the expectation. Paul Ferguson started playing his high hats, the show was underway and the unmistakable start to “Love Like Blood” had the crowd bouncing along straight away. The stage was drowned in blood-red lighting to set a macabre scene. Jaz Colemans theatrics were ever-present as his thousand-yard stare and intense presence set the tone. As the song ended, he snapped out of his possessed demeanour and shouted at the crowd, “Good evening…. Give us the energy” and the symbiotic relationship of band and crowd was acknowledged. Jaz continued by saying, “You know what’s gonna happen later this year…. Yeah” and “Wardance” was the response to his statement. Two songs in and the energy in the room was off the scale. The drums and bass tested the PA to its maximum and Geordies guitar had never sounded so menacing. The older tunes continued with “Fall of Because”, the epitome of those first two iconic albums. The drum work by Paul Ferguson was sublime as he somehow looked so placid, yet the rest of his body was in overdrive as he worked the kit to the max. In stark contrast, Youth’s minimal bassline still added plenty of punch to the song. Geordies guitar almost drowned out the drums and bass at times as it sounded like there was ten of him playing as the heavy cutting chords provided so much dimension to the overall sound. There was no rest between songs as Jaz screamed “I am the Virus” and the crowd continued to feed the frantic frontman with energy. Jaz pointed at Roi Robertson and the synth intro to “Requiem” kept the set on track to be a memorable one. The band had a few hesitant moments, but Jaz orchestrated the entire evening. Geordie stepped in at one point at the start of “Death and Resurrection Show” as he missed the queue, but they were back on track within seconds. Personal highlight for me was “Money is not our god” and there was a massive cheer for “Turn to Red” when Jaz introduced the song by saying, “When we were 18”. It served as a reminder of how long ago it was released.

There were a few unexpected gems played and the trio of songs from the 2003 “Killing Joke” album that relaunched the band went down a storm. “Total Invasion” and “Loose Cannon” were played after “Death and Resurrection” and resonated with the audience. The main set finished with the crowd-pleaser, “Pssyche”. Youth kicked off the singing and Jaz and Paul also had their verses to sing. Jaz egged the crowd on, and they reacted enthusiastically. As Geordie struck the last few chords, he handed his trusty ’59, ES295 Gibson, to Dave his tech and the band waved their goodbyes. Of course, the gig wasn’t over as there’s always “one more song” but the gregarious Glasgow crowd were treated to three more. Going by the setlists of the rest of the tour, where only one song had been played as an encore, they had been rewarded for their energy.

The band have favoured an eclectic mix on this tour and the encore kicked off with “The Pandy’s are Coming”. More predictably, the b side to the popular “Requiem” was up next. A huge cheer went up as “Change” maintained the intensity before the final song was unleashed. No surprises as “Pandemonium” closed out a magnanimous performance from Killing Joke. The crowd gave their resounding approval with a deafening cheer that outlasted the band’s presence as they left the stage. The band continue to light fires within their following and as long as they continue to honour them, there’s no sign of an end to Killing Joke.

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New Model Army Crush the Capital

19th March 2022

It may have been re-scheduled, but New Model Army’s Tour sold out Edinburgh

New Model Army’s 40^th Anniversary Tour had been re-scheduled, and some dates were cancelled but they have soldiered on much to the relief of their hard core following. The band still inspire their fans to travel far and wide and “the family” religiously follow them up and down the country wherever they play. Scotland was fortunate to have the band play for over 2 hours in Glasgow late November and they arrived in Edinburgh to find the venue was sold out. It was also an early show, so the crowd wasted no time packing themselves into the hot dark sweat box that is La Belle Angel.

There was a varied selection of support bands on the tour and Edinburgh’s alt/post punks Twisted Nerve were a great fit. Craig Paterson is the archetypal front man. He looms large and with his shaved head and dark glasses, looked almost devoid of emotion as he wrestled with his mic stand. The band started off life as a punk band in the late 70’s and as they morphed into a goth/post punk band by the time the headlining peers were forming. Hard hitting drums, edgy bass and some eclectic guitar work gave Craig Paterson the perfect platform to perform. Like their counterparts for the evening, Twisted Nerve had seen a few changes in line up through the years, but they have cemented their line up and they sounded immaculate. Pure 80’s indulgence as the band played material from their early back catalogue which has been recently re-released. Mid-set highlight for me was “Séance” and the band ended on a high playing “When I’m Alone”and their epic “5 Minutes of Fame”. There’s a growing interest in Dark Post-Punk music and Twisted Nerve really fit the bill. They’ve honed their craft and are a fantastic addition to any festival celebrating the genre.

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With the same line up as Glasgow (Minus special guest Ed Alleyne Johnson) New Model Army breezed onto the stage in Edinburgh in near darkness. The cosmetic smoke added to the atmosphere as Justin Sullivan strapped on his well-worn acoustic. He had his back to the audience and waited for Drummer Michael Dean to kick off the set. There was a momentary pause then the heavy toms indicated the start of “End of Days”. The 2019album “From Here” would feature heavily through-out the night. Sullivan shouts “OK?”, as he checks the crowd are with him before multi-instrumentalist Dean White, who’s now moved onto keyboards starts the second song. There was a big cheer as the recognisable chords of “The Charge” were heard. White and Sullivan both adorned with Gibson SG’s were in full flow as Ceri Monger drove the song with his signature bass sound. As Sullivan final words “The Brave Thousand” hung in the air and signified the end of the song, White’s edgy guitar intro to “Lust for Power” cut the ether. Another belting standard for “the family” to mosh to in heavy numbers. There’s time for the band to take a breather and Justin took the chance to chat with the crowd and warn them of the impending random selection of songs. With such a massive back catalogue to choose from, there’s always going to be something for everyone. Current Affairs is always on the mind of the create powerhouse and he referenced the P&O Ferries debacle which is still raw in the hearts and minds of so many unfortunate workers and their families, “1984” is dedicated to them and must have surprised even the most ardent fan as the early B side got a rare live outing. The tight twin guitar work was an indication that White, and Sullivan were in tune with each other and bode well for the entire gig. The transitions between songs were sublime at times and Sullivan’s rhythmic changes in chords were pronounced as he merged “1984” into “Never Arriving”.

The solid bass and drums were almost hypnotic and there were some inspired backing vocals from the monitor engineer that were sublimely mixed. As the night went on, the variety of songs kept the crowd guessing and there were a few puzzled looks as the band bounced between B sides and classic tunes. The mid set highlight featured “Born Feral”, the subject of which has produced many similar New Model Army songs and it morphed into “Before I Get Old “and “Vanity”. Another slick transition which saw Dean White control the feedback from his Fender so tunefully. Ceri Monger nearly stole the show when he strapped on Justin’s SG and played the intro of “No Sense” before he sloped onto the triple floor toms as he supplemented the main drums and hammered the skins. It was a jaw dropping and inspirational, so energetic but he made it look effortless. Ceri hung his head over the drums and seemed lost in the moment. The heat in the venue was almost unbearable at times and you could see Monger was flicking his hair back even more than normal, definitely through necessity than vanity [sic]. The main set ended with the topical “Angry Planet”, but it wasn’t long before the band return for a much-deserved encore. The crowd had been buoyant all evening and they were reward with three more sublime songs. As Justin spoke of the bravery he had witnessed in the people of the Ukraine and those in Russia who had voiced their disapproval of their leader, the band played “Courage”. The popular penultimate song “Ballad of Bodmin Pill” always goes down well and the pure raw delivery of “Betcha” was a sight to behold as the band lost themselves at times during the song. At just over an hour, the set might have been half that of the recent special anniversary gig in Glasgow, but it matched the intensity and provided the crowd with a comprehensive show of their back catalogue. The 10-date tour will bring some closure for a lot of fans who had been looking to celebrate the bands 40^th Anniversary and it has cemented the current line-up. The intensity and ferocity of the band was matched at times by the crowd but the heat in the room probably took its toll on some as it was hard to tell if the bands breath-taking performance was down to the band themselves or the lack of oxygen in the building as Justin joked about it before he finally left the stage. New Model Army still have the courage of their convictions and an audience that matches their aspirations. The desire, drive and delivery set the band apart from so many of their peers and bands half their age. The credibility and integrity is unwavering, there’s many more gigs planned, and Justin will take his acoustic out for a solo tour later this year.

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Stiff Little Fingers back at Barrowland Ballroom with a bang!

17th March 2022

After having to re-schedule twice, SLF finally celebrate St. Patrick’s day back in Glasgow

St. Patricks day in Glasgow had been a regular event for nearly 30 years until the covid lockdown meant the celebrations were put on hold. The Barrowland Ballroom had been the venue for some legendary performances by Stiff Little Fingers as they had chosen to play there every year on 17^th March. The easing of restrictions meant the band could finally get their re-scheduled tour back on track and had invited some fellow legendary punk rock musicians to join them. Sex Pistols drummer, Paul Cook, one of the most famous drummers in the world would be joined on stage with his fellow “Professionals” and T.V. Smith of The Adverts would open the evening with his trusty acoustic. The ballroom would once again bounce to the boys from Belfast.

Tim Smith is no stranger to a large stage, but he had never graced the famous Barrowland Ballroom, ever. He had never even been in the building in his 45 years of touring which is rather surprising considering his prolific career. Tim reminded the crowd exactly where he started off his live career as he ripped into “No Time to be 21” one of the The Adverts popular singles. He wasted no time kicking off his set and after the popular opener, he played three songs from an album he recorded during lockdown. The album, “Lockdown Holiday” is aptly named. Tim played another three back catalogue songs before closing with two other seminal Adverts songs. “Gary Gilmore’s Eyes” and “One Chord Wonders” were well received by the crowd as they grew in numbers during Tim’s set. Talking with Tim after, he had struggled with covid early on but triumphed over adversity by recording and releasing his latest album. Tim told me it would be a busy year for him and he’s making up for lost time by playing a good number of festivals up and down the country including support slots for The Damned and a full tour with Ruts DC. As well as his solo gigs, he’ll be playing a few live Adverts sets with his band TV Smith and the Bored Teenagers. He may not be 21 anymore but there’s still plenty life left in Tim.

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Follow TV Smith:

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The Professionals have also kept themselves busy during the last 2 years and released their latest album “SNAFU” just 6 months ago. It’s not that long ago since the band played another famous Glasgow venue, King Tuts Wah Wah Hut but in stark contrast, the band could spread themselves across the stage and play to ten times more people. The past 5 years had seen a few changes to the line-up but Tom Spencer and of course, Paul Cook have been the main stays. The line-up for this tour saw the welcome return of Chris Catalyst on lead guitar and Toshi JC Ogawa on bass. Chris has also been busy writing and releasing new material and toured recently as a three piece. Playing a support slot meant the band had to curtail their usually set list so they limited themselves to a few older numbers and some tracks from their last two albums. The opening track “Easily Lead” from their latest offering “SNAFU” kicked off their set, but it was the older songs that brought the biggest reaction from the busy crowd. “Silly Thing”, which of course was a Sex Pistols single, had the audience interest peak mid-set amongst the set regulars of “Going Going Gone” and “Payola”. The biggest cheer of the night went to the set closing “Stepping Stone”, another Pistols song, albeit a cover song and B side. The band left their mark on Glasgow and judging by the busy merch desk, won over a lot of new fans. Talking with Liam Feekery (Tour Manager) the band had been able to raise over £1600 towards a Ukraine fund so far and intended to send a van with some much need relief.

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Follow The Professionals:

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https://theprofessionalsband.com/

https://www.instagram.com/theprofessionalsband/

Sound Engineers are well known for subjecting their musical preferences on audiences between bands to keep the crowd amused and the 10-minute lead up to SLF coming on stage certainly had the crowd smiling. You’d expect some old school punk, a bit of reggae or even some obscure electronic music being pumped through the PA but no, it was a mash up of TV Theme tunes ranging from Hawaii 5.0 to Only Fools and Horses, with a bit of Ain’t Half Hot Mum, Minder and Steptoe and Son, it certainly kept the crowd grinning as the memories of the old tv favourites came flooding back. It set the scene for some nostalgia and the traditional intro song from their 1981 album “Go for It” signalled the imminent appearance of the band. The opening line of “Suspect Device” was shouted out by Jake Burns and the trip down memory lane was complete as the hit single from 1978 kicked off their set. The hits kept coming with “At the Edge” and “Fly the Flag” as SLF got off to a flying start. Great way to get an already eager crowd on your side! No signs from the band that the lockdown had affected their performance as they were on fire. After the onslaught of the first three songs, Jake took the time to acknowledge the crowd and explain the band wanted to play songs from their back catalogue as they continued with the album titled song “Hope Street”. Of course, it’s not all about the older songs as they played a varied set which included a new tune. “The Last Protest Song” had Jake explaining that he likes to seek out material done by younger bands and listen to what they have to offer, but when that includes songs of drinking and debauchery, he’d rather sing about something more substantial! The new song follows the traditional format set by SLF with some great tuneful picked chords and a sing a long chorus. “Roots, Radicals, Rockers, Reggae” is always a great mid set high and reminded everyone what the band are about. Just a shame the lyrics of that song couldn’t be heard across the planet! Jake led into the next song with a story about a night he met Phil Lynott and it inspired him to write the song “When We Were Young”. The inspiration to write material comes from real life and the next song was again very timely as the tour had kicked off on International Women’s Day and Jake informed the crowd that he wrote “Safe as Houses” about how pre-conceived societies rules have an effect of people. Of course, any SLF gig is always going to be about the set favourites and the band didn’t disappoint but there’s was still space for a reminder that the past 2 years have taken its toll on a lot of folks and “My Dark Places” certainly hit home with its subject matter. What better way to re-engage with the crowd than have them singalong to “Barbed Wire Love”. The enthusiastic crowd certainly gave their all as they all joined in. Another influence on Jake when it came to writing songs was Joe Strummer. Jake’s way of letting the world know Joe Strummer’s inspiration still lives on but he’ll never play “Strummerville” again. Somewhat poignant yet uplifting. The band wasted no time with the run up to the end of the set with a blistering rendition of “Wasted Life” followed an epic “Gotta Getaway” which always has the crowd bouncing. There was never any doubt of an encore, and the band saved the best til last. After a miserable St. Patrick’s night last year, the band unleashed the pent-up frustrations as they built up the intro on “Tin Soldiers”. The volume and intensity seemed to rise at the end of the song which led right into the signature guitar intro of “Alternative Ulster”. There is probably nothing like being in the Barrowland Ballroom when Stiff Little Fingers play their iconic hit and the crowd lost themselves in those frantic last few minutes. The chords hung in the air as the crowd went wild screaming for more but that’s it for another year. If there’s a better way to end this lockdown, you’d be hard pushed to beat it.

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Follow Stiff Little Fingers:

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Rare Breed / The Last Resort – Beat Generator, Dundee

16th February 2022

Beat Generator, in Dundee, is a well-known venue for old school punk bands. It has seen many Punk, Oi and Street punk bands throughout the years with Sham 69 and The Cockney Rejects being two of the finest exponents. It was the first time The Last Resort had been to Dundee and the crowd, who had turned out in good numbers to see them, certainly looked like they identified with the band as there was no lack of flight jackets and doc martens. The obligatory “skinhead” of course was evident but it’s often the hairstyle of necessity rather than choice as we age! Undoubtedly, the presence of Lars Frederiksen was another consideration as the legendary American guitarist is a current member of the band and on his own would be a draw for fans of his many bands.

Rare Breed were a great fit as a support band. Local to Dundee, Rare Breed have been building their profile steadily and released their E.P. “Britains Fucked” right at the beginning of lockdown. The set list was based around songs from the E.P. and was well received by the crowd who chose to stand at the back of the venue. Singer Graeme McGillivray loomed large on the stage as he wrestled with his mic stand for most of the set growling and gesturing through the songs. It’s hard to create an atmosphere in a venue when the crowd are reluctant to move any closer but Rare Breed powered through their set opening with “Independence” which is also the opener of their recent release. Guitarist Steve Clark, no stranger to the venue having played many times with his other band The Eddies, held the band together as he swapped between edgy guitar riffs to slick running solos throughout. Bass and Drums were solid as Derek Parlane Ward and Mark Robertson kept the songs planted with their no nonsense playing. Robertson’s drumming was heavy at times and effectively hit home. Rare Breed’s music certainly follows the Oi/Street Punk working class formula so what you see is what you get. The music does have a punk feel to it and I would say having gigged recently, you can hear an improvement on what’s been recorded. The E.P. is raw, what you’d expect from any punk band, but they’ve tightened their delivery and the more gigs they get, the better. The content is basic, singing of fighting, drinking and getting into bother “wi the polis”. The 30+ minutes flew by, and they did what they came to do but without the fights or bother! More to come from these local lads as they have a few high-profile support slots in the calendar.

Possibly the coolest guy in the room, Lars breezed on and took his camouflaged ESP guitar from Neb, his guitar tech, and the band launched into a short instrumental before singer Roi Pearce joined his band mates on stage and shouted “How ya doin’ Dundee… fackin great to be ‘ere”. The set opened with “This is My England”, music has no borders, and the crowd didn’t care as there was a surge of elation on the barrier and they screamed the lyrics back at Roi as he sung about alcoholics, single mum’s and wannabe gangsters on the run. I’m sure that’s applicable to any country these days so a cheeky change of lyric could’ve gone down well. “Cockleshell Heroes” followed swiftly without missing a beat and we got the chance to see Lars in full flow as he effortlessly soloed through the song and showed us why he’s a major draw to see live. The Last Resort were already on fire and they were only two songs in! As the crowd chanted “OiOiOi” back at Roi, they were in their element. “Rebels With a Cause” summed up the band’s intention for this 14-date tour with Dundee being the 3^rd in Scotland. It didn’t take long for the band to slot in the new tunes from their latest album, “Skinhead Anthems IV”. “No Man’s Land” was quickly followed by “Devil You Know” as the lyrics were mouthed perfectly by thechaotic crowd. An early set highlight, its chorus was immediately engaging and had arms raised in the air. Lars launched into another killer solo to end the song. There would be a lot more of the album to come but the band made sure the hard-core was catered for as they ripped through some of their older tunes. JJ Pearce meaty/edgy bass was perfectly complimented by Mick’s hard-hitting drums as they opened “Resort Boot Boys” to loud cheers from the crowd and they sang along with Roi, “We are the original boot boys”.The chanting continuedwith“String Em Up” as Roi sang about making the world a better place. Lars took the opportunity to inform the crowd that he intended trying a deep-fried white pudding much to their amusement. The crowd shouted “Haggis” but he told them he’d tried that, but he’d stick to scotch pie’s and white pudding! Another new track from the latest album, “Psychopath” kicked off with Lars before Roi’s lyrics grab you. There was real venom in the lyrics and it made me wonder who the song was about, not someone you’d like to meet! After another few of the older songs, “Boots on the Ground” remind you who the band are as they sing of their way of life and the code they live by. It’s a solid anthemic song and Lars solo work again was a highlight. It was getting near the end of the set and the anthems kept coming with “You’ll Never Get a Job” and “Sta-Press”. The main set ended with “King of The Jungle”. Roi took the opportunity to explain how his football team, Millwall, had an affiliation with Dundee as it was formed by dockers primarily from Dundee over 130 years ago. It’s how they came to wear dark blue, and the crowd gave a cheer as the band ripped through one of their oldest tunes. As it was a school night, JJ explained the band would play on instead of going off for an encore. The opening track from the new album “Freedom pt2” dropped the pace but maintained the menace before the band ended with “Violence in our minds”. To quote the bands Facebook page, “No Mess, No Fuss, Just Pure Impact! A Way of Life!” couldn’t have said it better myself. A solid hour of attitude and music played and sung with passion.