Mostly Autumn - Tavistock Review

A year without a Mostly Autumn concert at The Wharf in Tavistock would not feel complete, but last night's annual visit from the York-based progressive rock act somewhat crept up on me. Mostly Autumn have slipped into something of a routine in recent years when it comes to playing live, and generally their visits to Devon fall in the summer - with June and July generally being their preference. The first day of April definitely felt early so, despite having tickets to the show since it was announced back in January, heading up to Tavistock from Plymouth in the spring felt a bit alien. Not that this matters, as any opportunity to see Mostly Autumn is one that I am going to take. I am creeping ever closer to my 50th Mostly Autumn show - and within a couple of years I should hit this milestone. Whilst there are others who have seen the band many more times than me, I am pleased to have seen one of my all-time favourite bands so many times. We are lucky here in Devon that Tavistock has become one of their regular stops over the years, and the band have generally been rewarded for their efforts. Mostly Autumn generally attract a pretty healthy crowd at The Wharf - with last year's July show in particular feeling pretty full. Whilst I do not think that the venue was quite as busy last night, there was still a decent-sized crowd in - which will have justified the band's lengthy trip down from Yorkshire. It was the also the first time which I had seen the band since they released their latest live album Back in These Arms Live 2022 towards the end of last year. Given the amount of strong albums which the band have released since their last live album, Back in These Arms Live 2022 felt long overdue. It is possibly their best-sounding live album to date, and it really captured the band firing on all cylinders following the pandemic-enforced break. I had also heard that the show which was recorded for the live album was also filmed, so I am hoping that we will also see a new DVD release in due course. Nothing officially has been said about this, though, but we can remain ever hopeful - especially as it has been quite some time since the band's last concert film. Turning back to last night, though, it was Mostly Autumn's first show of the year. Generally the band tend to play quite a few shows around Christmas, so it had been a few months since the band last took to the stage. It was great to kick off the band's gigging year, and the good-sized crowd were certainly happy to let the occasional bit of ring rust go - as the band got back up to speed with a typically-lengthy set. Before the band took to the stage, though, I enjoyed an Indian at one one of Tavistock's restaurants. Having an Indian before a Mostly Autumn show in Tavistock has become something of a tradition in recent years, and it was a good way to get the night underway - before heading down to the venue to mingle with the growing crowd. As is generally the case with Mostly Autumn's shows, there was no support act - with the band hitting the stage at around 8:30pm and playing until just after 11pm, albeit with a 15 or so minute mid-set break.

Given that Back in These Arms Live 2022 is still fresh in people's minds, it was perhaps unsurprising that what the band played was essentially the same as what was featured on the recent live album. As such, then, the setlist was similar to last year's shows - although things were moved around somewhat to give a different flow. The show started with a bang, then, with a stirring drum barrage from Henry Rogers whilst the rest of the band took their places. This meant that In for the Bite kicked things off, despite a false start as Bryan Josh (vocals/guitar) had not turned his amp on, and the hard rocking song proved to be a strong set-opener. Josh's Ritchie Blackmore-esque guitar lead helped to build tension, before frontwoman Olivia Sparnenn-Josh took to the stage and delivered the song with her usual power. The early part of the first set kept up this more rocking approach, with the poppier Into the Stars and Nowhere to Hide (Close My Eyes) proving to be early sing-a-longs. The more dynamic Western Skies was sandwiched between the two, though, providing some respite. Angela Gordon's (flute/keyboards/whistles/recorder/vocals) lengthy flute intro set the tone nicely, whilst the song built up around the piano playing of Iain Jennings. The song builds as it moves forward, though, with the closing section being a hard-driving symphonic barrage - with Jennings' keyboards again dominating, whilst Josh's guitar solo closed it out nicely. The rest of the first set was more plaintive and atmospheric. The clock was turned back for a delicate rendition of Passengers, with a chorus that filled the whole venue, before the spotlight was turned over to Chris Johnson (vocals/guitar/keyboards) for a couple of numbers. The somewhat spiky alterative rock of Changing Lives has become a real setlist staple of late, and it went down as well as ever yesterday - before Silver Glass arguably became the highlight of the night's first half. The soaring ballad is a genuine Mostly Autumn classic at this point, and it has been great to hear it so many times again over the past few years since Johnson re-joined the band. Building from Jennings' piano melodies, with a synth lead from Gordon, the song featured an emotional vocal from Johnson - and a chorus that never fails to embed an atmosphere. Josh's guitar solo soared, too, and the song rightly received a strong reaction as it came to a close. The attention was then passed back to Sparnenn-Josh for the low-key, but beautiful, Heart, Body and Soul, retained in the set following last year's debut, before the lengthy Mother Nature brought the first set to a close. The older track has really entrenched itself back in the set again in recent years, and it is a real band showcase. The dual vocals of Josh and Sparnenn-Josh early on really set the tone - but it is arguably the closing instrumental section where the song really shines. Jennings' Pink Floyd-inspired keyboard solo is always such a high-point of the song for me, whilst Josh's closing guitar solo, with its symphonic backing, brought the first set to a powerful end.

Following the short break, the band trooped back out - with Jennings and Gordon starting the synth-heavy intro Tomorrow Dies whilst everyone else took their places. The hard rocking, cinematic piece has become another big staple recently, and it likely contains one of Sparnenn-Josh's most powerful vocal performances. Unsurprisingly, though, she nailed it - and the closing harmony guitar leads from Josh and Johnson set the tone for what was to come. The second set felt somewhat more 'prog' than the first, but it was still suitably varied. The dramatic Spirit of Mankind continued on the up-tempo vibe of the set-opener, and again really showcased Sparnenn-Josh vocally. I feel that the song will become a setlist staple going forward thanks to its hooky chorus and positive vibes - and Johnson's acoustic guitar solo morphing into Josh's fully-fledged effort is always fun to see live. A couple of earthier numbers followed, with the older The Spirit of Autumn Past - Part 2 showcasing the band's folkier side with some tight vocal harmonies and jaunty closing flute lines - before Gordon had plenty of opportunity to showcase her flute playing further during the bluesy The Last Climb. She sung the main harmonies to Josh's laid back vocals, before launching into a lengthy flute solo - showcasing all of her talent. The song has become her centrepiece in recent years, and she always receives a strong reception as her solo comes to a close. Josh then closed the piece out with a slow-burning and bluesy solo of his own - which again received a strong reaction. The pace was then lowered significantly for Johnson's delicate Gaze, which was fleshed out by some simple piano additions and Gordon's flute. The song felt like a real 'calm before the storm' moment, Johnson's acoustic guitar ringing through the venue, before the final three songs of the set saw a swell in power and atmosphere. Sparnenn-Josh was reintroduced during her soaring ballad This Endless War, which featured another big Josh guitar solo, but it was perhaps Back in These Arms which really hit the spot in particular. The song has a positive message, and it mixes both cinematic hard rock sounds with some of the band's older folk approach. Josh and Sparnenn-Josh both sang well throughout, whilst Gordon added the folky touches with her flute. It was one of the set's most powerful moments, but it was left to the gargantuan White Rainbow to close things out. The song covers essentially all of Mostly Autumn's bases, from its synth-heavy intro, though the earthy Josh-led bluesy rock section, to Sparnenn-Josh's introduction as the song morphs into another heavy, symphonic rocker. The multi-part song went down a storm, though, and it always serves to showcase the power of the seven-piece band - with the closing acoustic section acting as a bit of a reflection of what came before, closing the set out nicely. There was not much time left, but there was time for one more - and of course it was left to Heroes Never Die to close the night. The ever-present song is the band's anthem, with Josh's heartfelt vocals and lengthy closing guitar solo summing up all that is great about Mostly Autumn in one package. The setlist was:

In for the Bite [Bryan Josh solo material]

Into the Stars

Western Skies

Nowhere to Hide (Close My Eyes)

Passengers

Changing Lives

Silver Glass

Heart, Body and Soul

Mother Nature

-

Tomorrow Dies

Spirit of Mankind

The Spirit of Autumn Past - Part 2

The Last Climb

Gaze

This Endless War

Back in These Arms

White Rainbow

-

Heroes Never Die

It is always a treat to see Mostly Autumn live, and last night's show in Tavistock was no different. The good-sized crowd certainly got their money's worth as always, and the band delivered a typically high-energy and lengthy set with all the experience of their many years in the business. The band have not announced too many shows yet for the year, but I imagine that more will follow in due course. I would like to get to at least one more this year, as it is always fun travelling to see the band, too. Last night was excellent as always, though, and seeing the band live always reaffirms why they are one of my favourites.