Despite following a lot of bands, both old and new, I am never satisfied with my knowledge of music - and am always on the lookout for my next favourite band. As such, new discoveries are fairly regular - but perhaps the one that stands out the most recently was my discovery of Robert Jon & The Wreck. I first heard the band's name a year or so ago, due to their former keyboard player Steve Maggiora's current association with Toto, but it is only in the last month or so that I started to listen to their work. I had earmarked them to check out, but when they recently announced a UK tour for later this year that included a fairly local date I decided to take the plunge. I picked up a copy of their most recent album Shine a Light on Me Brother, which was released in 2021, and essentially loved it from the off. The band's mix of southern rock, blues, and country ticked a lot of the boxes which I tend to like. Immediately I heard bands like Blackberry Smoke and the Eagles in Robert Jon & The Wreck's sound, all wrapped up in a soulful packaged and delivered with the heartland rock strut of legends such as Bruce Springsteen and Bob Seger. I had assumed that the band were pretty new, so was quite surprised to find out that they have been around since 2011 - and have released seven studio albums alongside a couple of compilations and a live album. A few musicians have some and gone from the band over the years, with Robert Jon Burrison being the driving force. Currently backing Burrison is guitarist Henry James Schneekluth, bassist Warren Murrel, and drummer Andrew Espantman - with the keyboard position currently vacant following Maggiora's departure. Last month the band released some new music in the form of a four-track digital-only EP. One of a Kind, which came out a few weeks ago via Joe Bonamassa's Journeyman Records, seems set to be a taster of what is to come from the band - and perhaps was released to capitalise on the band seemingly getting more attention here in Europe than previously. The press release for the EP suggests that the four songs here are the first batch of a handful of new tracks which will see the light of day over the next year or so. It would appear that, instead of releasing an eighth studio album this year, the band want to adopt a 'little and often' approach with their latest batch of songs. Even the age of streaming I am not convinced that such a model works that well, especially as the album as a listening experience is still largely valued in the rock community, but it nevertheless means that there are more treats from Robert Jon & The Wreck to look forward to. Regardless of that, though, One of a Kind stands on its own as a fun slab of upbeat southern rock - and is typical of what little I know of the band's back catalogue to this point. With two of the songs produced by Don Was and the other two produced by Dave Cobb, this is a release which sees the band working with higher profile names than previously, too - especially considering that the opening number here was also co-written by Charlie Starr (Blackberry Smoke).
Despite the current vacancy, One of a Kind still features plenty of retro keyboard sounds. Whether Maggiora contributed these before he left or whether they were played by someone else is not clear, but it is good to see the band's keyboard-heavy sound retained. Pain No More kicks the EP off, and the hard rocking piece picks up where Shine a Light on Me Brother left off two years. Starr's writing influence is clear, and the song sounds like Blackberry Smoke - but with a bit more hard rock grit and plenty of slide guitar from Schneekluth. Slide guitar seems to be a big part of the band's sound, and the main riff has a great slide accent - backed by some roaring Hammond organ - which help the bluesy grooves to shine. The verses have more of a country twang, with upbeat piano melodies and Burrison's soulful vocals, whilst the chorus goes for a more expansive, organ-drenched sound - before the opening guitar riff once again re-asserts itself. A lengthy Schneekluth solo showcases his talents nicely, and the song opens the EP in a fiery, yet organic, manner. Who Can You Love slows the pace quite considerably, and the piece emphasises the country side of the band's sound. The hard rock bombast of the previous song is generally absent, with Burrison's acoustic guitar driving everything, whilst Schneekluth adds occasional bluesy accents. Gentle keyboards and a light-touch drum groove back everything, whilst Murrel's walking bassline provides a great melodic counter to Burrison's heartfelt vocals. The chorus is somewhat more expansive, but the overall vibe is retained. There is a big focus on vocal harmonies during the chorus, and the influence of bands like the Eagles is apparent here - with occasional ringing piano melodies adding some additional interest. A bluesy guitar solo allows for a brief change of pace, but the country twang never leaves. The title track then ups the pace again, and the song is a more upbeat bluesy hard rocker - with more slide guitar-accented riffing and plenty more Hammond organ. The band really shine when they let their raw, harder rock side shine, and One of a Kind is a track that allows that sound to flourish. Schneekluth is unleashed here, his slide playing dominating - with his interjections during the chorus particularly shining. Elsewhere, brash rock riffing and a driving drum performance keep the song moving at a decent pace - whilst Burrison's vocal melodies during the chorus are hooky, leading to the hard-driving song becoming a real earworm. It is the sort of song that is likely to go down well live, and will likely become a setlist staple going forward. Come at Me, the EP's closing track, is somewhat similar, but the song feels more overtly-southern rock - with a more deliberate pace and more emphasis on groove. The chorus is more brash, with some gang vocals and a joyous overall atmosphere, whilst a fiery guitar break is never too far away - which all feel at home against the prominent, strutting bassline. There are Blackberry Smoke vibes again present here, but the song just feels like a more soulful take on classic 1970s southern rock - and it closes this latest release from the band in rollocking style. Despite there only being four songs here, there is sufficient diversity throughout the EP - and each is memorable for different reasons. Robert Jon & The Wreck are going to get a lot of attention from me over the coming months, and it has been great to kickstart my love for the band with this new EP.
The EP was released on 10th March 2023 via Journeyman Records. Below is the band's promotional video for Pain No More.
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 Live2022 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.
In some ways, I cannot believe that it has taken me until the release of Haken's seventh album to properly feature the British prog band on this blog. I was actually a relatively early fan of the band, picking up their second album Visions, from 2011, the year after it came out - and I also caught them live later in 2012 in Leicester where they played the album in full as part of a short co-headline tour with Headspace. For whatever reason, though, I soon dropped off the Haken wagon. I liked Visions quite a lot at the time, but after seeing the band live I rarely revisited it. I remember also listening to 2010's Aquarius around the same time, and spinning 2013's The Mountain a couple of years later - but really my love for Haken never really left 2012. I am not sure exactly why I fell of the wagon so fast. I remember the show being extremely impressive, but I think that possibly, at the time, I found Haken too techy for me. The band have always straddled the line between progressive rock and metal - and the prog metal which they tend to indulge in is the more discordant, dry, tech-heavy side which is generally not the type prog metal I like. I prefer my prog metal to be more bombastic, symphonic, and lush - with Haken's more angular riffing and cold synths not borrowing much from the 1980s roots of the genre. I was happy to have seen the band live in a very small venue, as that 2012 Leicester show took place at The Musician, but I was also happy to move on - content that Haken were not really for me. I always respected the band, though, and was happy to see their star rise over the years. I think it is fair to say that they are one of the biggest movers and shakers in modern prog rock and metal - and it is great to see a British band being one of the genre's leading lights, given Britain's history with the development of prog in general. I am not sure what made me return to Haken, but for some reason last year I decided it was time to try again. I have not returned to any of the albums which I already owned again yet, but I picked up 2016's Affinity last year and enjoyed it. I will always prefer the warmer end of prog, but Affinity had more of a 1980s influence than their earlier stuff, and the retro synths and poppier hooks drew me in. I have not yet picked up 2018's Vector and 2020's Virus, but instead decided just to jump ahead to the band's latest. Fauna, the band's seventh studio album, was announced late last year and released earlier this month. It is the six-piece's first album in three years, and it is also the first to feature keyboardist Peter Jones. Jones was actually the band's original keyboardist, playing on their revered Enter the 5th Dimension demo from 2008 - only to leave Haken later that year. He seems to have remained close to the band over the years though, and has popped up occasionally doing bits and pieces on some of their albums, so seemed to slot back in naturally after long-time keyboardist Diego Tejeida left in 2021. Whilst I cannot compare Fauna to Haken's most recent work, it certainly feels less metal than some of the band's earlier work - with a strong focus on atmosphere throughout, as well heavy emphasis on the diverse and melodic vocals of frontman Ross Jennings.
As is to be expected, Fauna is made up of a mix of longer and shorter songs. Haken generally favour a longer-form piece, but there are some punchier songs here - with album opener Taurus being one such example. The track is also a good showcase of the band's heavier side, with that tech metal sound previously described on show from the off. Guitarists Richard Henshall and Charlie Griffiths open things with some discordant guitar stabs, which soon morph into a busy, mechanical riff - backed by some off-kilter drumming from Raymond Hearne. Nothing about Haken's music is ever truly expected, and even throughout the shorter Taurus the band take many twists and turns. A strong chorus showcases Jennings' vocal control and smoothness, letting Jones' keyboards fill the mix, whilst the verses mix atmospheric sections and techy riffing perfectly - with later renditions expanding on the song's opening riff, pushing it further melodically. A later bridge section focuses again on Jennings, his dramatic, thespian delivery during this section being vastly different from his more controlled approach used elsewhere - with this contrast established thanks to the chorus returning immediately after it. There are no big solos here, but the track is full of interesting ideas - and the album is only just getting started. Expanding from the off, then, Nightingale follows - and the longer song opens with some subtle keyboard melodies, which soon give way to a knotty guitar riff. Despite the riffing, though, the song overall is not as heavy as the opening cut. This is generally prog rock rather than prog metal, and the focus throughout is on strange rhythms and chiming melodies. Jennings' voice is used to great effect during the verses, his bouncy melodies offsetting the busy, somewhat funky, bass playing of Conner Green and the occasional whistling guitar melody. There is something whimsical and sing-song about the song's verses, which is a contrast to the chorus which does up the heaviness somewhat. A retro-sounding synth riff backs the chorus, and Jennings attacks the lyrics with more power here. The guitars are tougher, but the song overall still does not feel all that heavy - although some of this riffing is later built on during a busy instrumental section. This section revisits some of the retro synths from the chorus, as well as including some barrelling riffing and double bass drumming. It is a good reminder of the band's heavy side, but the song soon returns to the gentle, bird song-like, approach of the bulk of the piece, calming everything down, before a final chorus brings the song to a close. The Alphabet of Me is somewhat similar in tone, and again the piece opens with a keyboard melody. Here, though, Jones' synths stab out a staccato rhythm, which Jennings soon starts to sing over - whilst occasional clean guitar melodies add depth. The song soon opens out, though, but the quirky rhythms from the previous song are somewhat retained. They are much more percussive here, though, with electronic-sounding drums adding a retro touch. The verses really dance around the beat here, with flickering guitar melodies and a big bass presence backing Jennings' atypical vocal melodies - whilst the chorus ups the heaviness with some more traditional big guitar riffs, injecting a metal flair. Wordless vocal hooks and lots of harmonies help the song to stand out, too, and the track also includes some horns courtesy of Miguel Gorodi - with his playing dominating the song's jazzy, largely instrumental, outro.
Sempiternal Beings also opens slowly, but this time the guitars provide the main musical backing. Gentle clean guitar arpeggios and a stark drum groove back Jennings' emotional vocal delivery, whilst the song moves towards a more expansive and heavy sound. A big guitar riff soon kicks in, upping the energy for a few bars, before the verse settles down into another strong groove - featuring prominent guitar melodies and some spiky bass playing. There is perhaps less variation in the grooves here, but the rhythms and a focus on heavier guitars help the song to remain interesting - with the verses always creeping towards the looming chorus. The chorus is more expansive, and it explodes with a barrage of drums and heavy guitars - before Jones' synths provide a warmth and Jennings' lets rip with a powerful vocal delivery. The vocal melodies throughout this song are perhaps less strange than elsewhere on the album, but the simpler approach allows them to be memorable. The song's chorus feels pretty anthemic in the context of the band's typical sound, and this suits the overall heavier approach taken throughout. It also includes the first genuine solo of the album, with a relatively lengthy guitar solo that starts off fairly melodic before getting more chaotic as it moves along - with an appropriately off-kilter synth backing increasing its presence as the solo progresses. Clearly wanting to keep the heaviness at the fore, Beneath the White Rainbow opens with a bang - which comes as a surprise following the quiet opening of the previous few songs. Whilst the piece is typically dynamic, it certainly feels heavier overall than much of the album. The guitars are much crunchier here, and a big riff is never too far away. There is also an urgency throughout, which is perhaps best showcased during parts of the verses. Swinging, fast-paced drum beats dominate, with a high-energy bassline behind them, whilst the chorus sees more of a symphonic approach taken thanks to Jones' keyboards. Things get heavier after the chorus though, and a relatively lengthy instrumental section takes over - which features lots of metal riffing, as well as some thrashy drumming from Hearne. This section feels like true prog metal, with some gloomy, ringing piano melodies later offsetting the guitar riffs to enhance the sombre mood. Jennings' briefly joins in, with some strange, effects-heavy vocals, but, for me, the best moments of the song are the heavier instrumental sections - as they feature some of the best riffing and drumming of the album. Island in the Clouds returns to the more quirky approach taken elsewhere on the album. Green's bass playing dominates early on, his smooth playing providing the foundation for everything as Jennings' distant vocals and the laid back guitar playing add colour. There are bursts of heaviness here, but the ferocity of the previous song is not revisited. The riffing here is more mechanical, and the guitar tones are warmer - allowing Jones' synths to compliment them nicely, as well as letting Jennings continue with his floaty vocal approach. This is a song that is focused more on groove than on heaviness, and the riffing throughout is more to further the song's grooves than to up its heaviness. As such, the guitars are part of the song's overall texture - constantly promoting a more rhythmic approach.
Lovebite, the album's shortest song, then takes a bit of a different path - revisiting some of the 1980s tones that were featured on Affinity in the process. It certainly goes for a much poppier approach throughout, and lots of focus is placed on Jennings' vocal hooks - and the song's chorus is one of the album's most instantly-memorable moments. Despite this more melodic approach, there is still a lot of prog here. The guitar riffing throughout the verses, despite being memorable, is still pretty off-kilter - whilst the rhythm section switch up their approach regularly to make even the poppiest of Haken songs a musical journey. As the song moves forward, the hooks only increase, too. Wordless vocals from the band often interject between Jennings' main lyric lines, whilst a soaring guitar solo is also packed full of melody. The song's simpler structure and focus on hooks does make Lovebite stand out, but it is a fun piece that showcases a different side to Haken - and it is the sort of song which is likely to go down well live. Elephants Never Forget is almost the opposite of Lovebite, with the album's longest song following its shortest. At over 11 minutes, Elephants Never Forget is the album's epic. Haken have written many long pieces before - so it is perhaps strange that only one song here breaches the 10 minute mark. That being said, though, this album has been packed with prog - and Elephants Never Forget is no different. The song actually opens in pretty typical prog metal fashion, too, with some lengthy guitar leads and a fairly bombastic approach. Haken do not usually take such an approach, but it works well - and this bombast hangs around throughout. Jennings' also returns to the thespian vocal approach featured earlier on the album - and there are moments here that remind me of some of the more off-the-rails moments of the first few Queen albums. There is certainly a lot going on here, but there are some extremely playful moments that are very British in approach, whilst other moments return to a funk-led feel thanks to Green's prominent bass playing and some dancing synths. There are heavy moments here, too, and a big riff is never too far away - with the riffs here being very much out of Haken's general comfort zone. It is also good to hear more instrumental showboating throughout the song, too. Jones lays down a few shredding synth solos, whilst the instrumental sections feel busier overall. This is in contrast, again, to the album's closing piece Eyes of Ebony - which reins in the explosiveness of the previous song to focus more on atmosphere. Whilst the song's choruses are more expansive, and feature more riffing alongside strident vocals, much of the song is relatively minimalist. Some parts feature chiming guitar melodies and fuzzy synths, whilst elsewhere the spotlight is shone on the rhythm section - with Green's bass taking the lead for a lengthy period. The aforementioned chorus is hooky, but I do not think that much of the rest of the song could be described as such. It has a strange overall atmosphere, and at times I think it feels quite unsettling. It may be a strange way to close out the album, but I like the starkness of parts of the song as it again showcases a different side to Haken's playing and songwriting. Overall, then, this varied album contains a lot to like. I am glad that I have started to revisit Haken's catalogue, and Fauna includes a lot of dimensions on show - meaning that it gives a good overview of their many faces. I am certainly going to go back and revisit those early albums again - and it seems that the time is right for a true Haken re-evaluation.
The album was released on 3rd March 2023 via InsideOut Music. Below is the band's promotional video for Taurus.
Following last night's adventures in Birmingham which I will soon get to, I went to six gigs in March. 2023 has been very busy for gigs so far, but March takes the crown for the busiest month. Things are about to get much more normal from April onwards, but I have enjoyed getting to so many shows recently. With the live music industry still playing catch-up from the COVID-19 pandemic, touring cycles are still somewhat out of sync. So many bands have been touring over the past couple of years - and these past few months have somewhat felt like backlog clearing. Whilst there are still a handful of tickets that I have which I have had for a while due to postponements, or were postponed before I got my ticket, I have largely caught up with myself now. One that needed crossing off took place last night, though, as the American country/southern rock band Blackberry Smoke brought their latest tour to the O2 Academy in Birmingham. Blackberry Smoke's tour was postponed at least once, but I only bought my ticket to the Birmingham show after it was postponed from last year. Others had been waiting longer than me for the gig, then, but the wait still seemed like a long one - especially given what a great band Blackberry Smoke are. I first got into them in around 2014, when their third album The Whippoorwill was released here in the UK. It was the first of their albums to be released outside of America, and the UK southern rock fanbase immediately latched onto it. Southern rock has always been popular here, and it did not take Blackberry Smoke long to find themselves at home here. I saw the band for the first time in 2014 in London - and then again in 2018 in Bristol on the tour for 2018's Find a Light. Both of those shows were well attended and blessed with excellent atmospheres - so I was gutted when the band's planned 2022 shows clashed with other plans. Neither of the two ended up happening for obvious reasons, so I bought a ticket for the rescheduled show. I would have likely done so anyway, but the catalyst for doing so was partly the release of 2021's excellent You Hear Georgia. Whilst I do not think that Blackberry Smoke have released a bad album, both 2016's Like an Arrow and Find a Light certainly saw the band operating more as a country act than a southern rock one. Blackberry Smoke have always straddled the line, but those albums lacked some of the heft that I generally like about their sound. You Hear Georgia rectified that, though, and it was an album I listened to a lot throughout 2021. Another good reason to see the band live is the fact that they tend to change their setlists night after night - meaning that there is always a chance to hear a deep cut or two alongside a few newer songs and old favourites. Many others had the same thought, too, as Birmingham's O2 Academy was packed throughout the night. It is not one of my favourite venues, and it can often feel overcrowded. Whilst last night's show was not as oppressive as Trivium's recent show there, it still felt over-full - which was not helped by those pushing back and forth to the bar.
Before Blackberry Smoke's set, though, the growing crowd was treated to 40 minutes or so of riffy southern rock from Oklahoma's Read Southall Band. Fronted by Read Southall, the band played a pretty traditional brand of southern rock - but I do not think that anyone in attendance would have been upset about this, especially as the lengthy opening number included some twin-guitar riffing and a bluesy guitar solo before it got going properly. Despite the band being named after Southall, who proved to be a captivating frontman with a voice suitably rough for the genre's needs, they very much seemed like a proper 'band'. The musicians were not there to simply carry Southall's songs, with the two guitarists in particularly shining with lots of great lead guitar interplay and a few moments and busy slide. Keyboards also played a big part in the band's sound, with washes of organ often filling the gaps between the guitar licks and riffs. The set's sole ballad was also very keyboard driven, with everything being based around some sombre piano melodies - even as the song grew in stature towards the end. I had given one of the band's songs a listen prior to the show, but the song which I had listened to was clearly not very representative of their sound. I was expecting the band to be much more downbeat and country in sound than they ended up being - and it was great that they turned out to be more of a classic-sounding southern rock band. They certainly could not be described as original, but given that so many of the classic southern rock acts are no more or are operating with none of their original members it is great to see a newer band carrying the torch for that classic sound. I imagine that only a handful of the newer southern rock bands make any kind of traction here in the UK - so it was good that Blackberry Smoke decided to bring one of them out on the road. I enjoyed the Read Southall Band's set, and judging by the reaction of the crowd throughout it would seem that most of the others in attendance also did. Hopefully the tour will be a success for them - as they are certainly a band whom I will be checking out further going forward. With the likes of them and The Georgia Thunderbolts, though, southern rock seems to be in good hands - and I hope that in time we start to hear more from the current crop of southern rock bands.
Half an hour or so after the Read Southall Band's set, the lights went down and the now-expanded line-up of Blackberry Smoke took to the stage. Since I last saw the band in 2018, both Benji Shanks (guitar) and Preston Holcomb (percussion) have been been added to the line-up - expanding Blackberry Smoke to a seven-piece. Due to his on-going battle with a brain tumour, drummer Brit Turner was not playing with the band having been unable to complete a show earlier in the week. Kent Aberle filled his spot, doing an admirable job throughout the two hour set, but of course best wishes go out to Brit. Despite this change in personnel, Blackberry Smoke rocked. Brit's absence did not lessen the impact of the show, and the band seemed really fired up - dedicating the show to him and opening with the fast-paced Leave a Scar. Whilst there were slower moments and ballads throughout, overall the set felt pretty hard-hitting. The band clearly wanted to rock out in Birmingham, and Charlie Starr (vocals/guitar/percussion) was in rude form throughout - peeling off a number of bluesy solos during the evening, whilst singing powerfully. The first five songs were essentially all rockers, with Good One Comin' On seeing plenty of singing from the crowd - as did the country-picking of Let It Burn. It was perhaps You Hear Georgia that stood out the most early on, though. The addition of Shanks allowed for a lot more slide guitar to feature in the set, and this song featured his playing heavily. He added another dimension to the band's live sound, which, in truth, could not be said about Holcomb. His additions to the sound were barely audible, which was a shame - as his congas could have contributed to some of the band's groovier numbers. Hey Delilah was one song which was enhanced by his playing, though, with the hooky new number whipping up a groovy storm before the band launched into Lucky Seven and the heavier Sleeping Dogs - the latter of which featured a snippet of Tom Petty's Don't Come Around Here No More. The harder rocking set was paced nicely, though, with some slower numbers thrown in. The melodic Ain't the Same also saw plenty of singing from the crowd - as did the country twang of What Comes Naturally, which proved to be a nice change of pace after the muscular Waiting for the Thunder. The latter featured a big keyboard presence from Brandon Still - who's organ playing was generally pretty high in the mix. Following a brief rendition of the oldie Livin' Hell, the acoustic-based Ain't Got the Blues led into a couple more slower tracks in the plaintive Run Away From It All and the ever-present One Horse Town - which was again sung loudly by the crowd. The main set then came to an end with Old Scarecrow, dedicated to Brit, with Brit's brother Richard Turner (bass guitar/vocals) driving everything with a pulsing bassline. A two-song encore followed, though, and it contained two real old favourites. The single which launched the band here in the UK, Shakin' Hands With the Holy Ghost, showcased the band's tougher side - before an upbeat version of Ain't Much Left of Me, which included part of Lynyrd Skynyrd's Mississippi Kid, brought the two hour set to a rousing conclusion. The setlist was:
Leave a Scar
Good One Comin' On
Let It Burn
Live It Down
You Hear Georgia
Pretty Little Lie
Payback's a Bitch
Hey Delilah
Lucky Seven
Sleeping Dogs/Don't Come Around Here No More [Tom Petty and the Heartbreakers cover]
Ain't the Same
Ain't Gonna Wait
Everybody Knows She's Mine
Waiting for the Thunder
What Comes Naturally
Livin' Hell
Ain't Got the Blues
Run Away From It All
One Horse Town
Old Scarecrow
-
Shakin' Hands With the Holy Ghost
Ain't Much Left of Me/Mississippi Kid [Lynyrd Skynyrd cover]
Speaking of newer southern rock acts, Blackberry Smoke are almost certainly the modern kings of the genre at this point. They have been going for over 20 years, and are a big draw both at home in America and throughout Europe. Both of the previous gigs of theirs that I went to were great, but last night in Birmingham was likely the best of the bunch. The setlist focused on their heavier side, and seeing the band steam through half of their latest album, too, was a real treat. They are a band that have earnt their seat at the table, and I am sure that they will continue to go from strength to strength - and I look forward to their next album and tour.
Over the past few years, the Scottish blues rockers King King have become one of those bands whom I now seem to see on every tour. I first came across the band back in 2016 when I saw them opening for Thunder - and then saw them twice again in 2018: at Steelhouse Festival and opening for Europe. I always casually enjoyed seeing the band in those days, but it was not really until 2019 when I started to listen to King King properly - with my fandom secured with the release of fifth album Maverick in 2020. Maverick was where everything truly fell into place for me, and since then I have gained a full appreciation of the band's catalogue - and have seen them twice of my own volition. They were one of a handful of bands whom I saw in 2021 as the COVID-19 pandemic restrictions were starting to lift, and I also saw them again last year in Chepstow Castle with Cats in Space. Both of the 2021 and 2022 shows were excellent, and showcased why King King have become such a popular band in recent years. They are best described as a blues band, but King King do not play your grandad's blues - as there is plenty of hard rock in the band's sound, as well as the love of a pop hook and a soulful vocal delivery. This mix of sounds is a big part of what makes King King appeal to me - plus I think that it is fair to say that my appreciation of blues has only increased over the years. As such, then, when the band announced last year that they were going to undertake another UK tour in 2023 I knew that I had to go. Luckily, King King have managed to build up quite a following here in the South West - with Exeter now being a regular tour stop for them. Exeter was the location of the aforementioned 2021 show which I attended. That show was busy, and last night's was no different - with the room once again packed with loyal fans. As was the case in 2021, the venue for last night's show was the excellent Phoenix - a multi-purpose arts centre in the city which has been a pretty regular gig destination for me over the years. My trips to Exeter seem to have increased in recent years, too, so it is great to see that more and more bands are making the effort to head down the M5 to the South West. Pretty much every show that I have been to at the Phoenix has been great, too, as the venue always seems to create an atmosphere - with the sound there also generally being pretty good. It is always nice to see a show locally, too, so after work I headed up to Exeter for the evening - grabbing a bite to eat in the local Wetherspoons before walking up to the venue. The Phoenix was already pretty busy by the time I got there - so I filed into the main auditorium just before the evening's support started their set.
Given that there was not much gear to clear from the stage following Tilbrook's set, it was not long after he finished that King King took to the stage. As this show was part of King King's second lengthy UK tour following the release of Maverick, I was glad to see that the band had switched up the setlist quite significantly for this run of shows. Whilst a few favourites were still included, there were quite a few different songs played, too, showcasing more of Maverick and the band's other more recent album Exile & Grace. Instead of opening with a big, riffy number as is typical of the band's style, King King instead opened with the upbeat and groovy Dance Together - a song from Maverick which was not played on the last tour. The poppy track is a great representation of King King's feel-good side, with Alan Nimmo (vocals/guitars) sounding fired up from the off - whilst Jonny Dyke (keyboards/vocals) created the song's warmth behind his bank of retro instruments. In fact, this upbeat vibe continued on throughout the opening few numbers. Long Time Running, with its big riff and backing vocal-driven chorus, showcased the band's love of acts like Bad Company, whilst Heed the Warning opted for a grander approach - but one that still showcased the might of the five-piece band's sound. There were plenty of changes of pace throughout, though, and the slower By Your Side was the first example of such. Alan sung much of the song alone against Dyke's piano backing - but the band gradually bulked the arrangement out, with Alan delivering one of his many excellent guitar solos of the evening during the song's instrumental section. Lose Control then returned to a harder rocking path, with both Alan and his brother Stevie Nimmo (guitar/vocals) laying down some tough blues rock riffs throughout. For me, King King have become a more powerful live act since becoming a five-piece, with Stevie's rhythm guitar riffing and occasional leads bulking out the sound. Stevie's presence also allows Alan to focus on his singing at times, such as during the quieter moments of the lengthy ballad A Long History of Love - although, of course, Alan still let rip during the mid-section. From this point on, the set was largely made up of fan-favourites. The funky Waking Up and the poignant Whatever It Takes to Survive, dedicated to Thunder's Danny Bowes, went down well, but for me the real highlight of this latter part of the set was You Stopped the Rain - which included quite a bit of singing from the audience. A lengthy I Will Not Fall, with lots of funky piano playing and a great guitar solo from Stevie, was another memorable moment - before the main set came to a close with the blues rock juggernaut of Stranger to Love - with some of Alan's more ferocious guitar playing of the night, and more than a few nods to the bluesier side of Whitesnake. There was time for one more, though, and after a brief step off stage the band came back for a great, and elongated, version of Eric Clapton's Old Love. It featured a lot more soloing, and the spotlight was turned over to Stevie for a really lengthy, traditional blues-based solo - before Alan closed things out with one of his own, bringing the night to a guitar-heavy and powerful end. The setlist was:
Dance Together
Long Time Running
Heed the Warning
By Your Side
Lose Control
A Long History of Love
Waking Up
Whatever It Takes to Survive
You Stopped the Rain
Rush Hour
I Will Not Fall
Stranger to Love
-
Old Love [Eric Clapton cover]
Despite having seen King King twice fairly recently, it was great to see them again so soon - and it was also great to hear a few different songs in the set this time. The band have established themselves as one of the best modern British blues bands in recent years, and I can only see them pushing on further from here with their busy touring schedule and strong catalogue. I am hoping that album number six is being considered, too, as it would be great if the band could capitalise on the excellent momentum of the last few years with another strong album - but I am sure that whenever album number six comes it will be worth the wait.
There was an interesting symmetry regarding the two gigs that I attended this past weekend. I have already talked about my experiences catching W.A.S.P. in Wolverhampton, whom I had last seen in 2015, and I am about to discuss Sunday's gig in Bristol by the Irish blues rockers The Answer - whom I also last saw in 2015, in Exeter. Between 2010 and 2015 I saw The Answer four times - and their albums were on regular rotation on my iPod. The band's high energy live shows and brash blues rock sound made them a real draw for me - and I particularly remember a great 2014 show at the much-missed White Rabbit in Plymouth on part of the touring cycle for 2013's fourth album New Horizon. The 2015 show in Exeter was great, too, but it proved to be my last time seeing the band for eight years. The reason for this, though, was largely down the band themselves. The Answer toured their sixth album Solas throughout 2016 and 2017 - but when the 2017 dates came to an end, the band effectively folded on the quiet. Sadly I could not make any of the UK dates on the Solas touring cycle, which was a real shame, especially as it was almost the band's final tour. The band have not really talked much about their hiatus, but the liner notes of their newly-released seventh album Sundowners hint that the band really could have been over for a while. I do wonder if they had found themselves in something of a rut. I like Solas for its atmospheric and organic sound, but I think that it is fair to say that it lacks the band's usual brashness and love of a big groove. It felt like a band trying something new - and I am not sure that it quite worked in the way that they had perhaps hoped. I think the fans generally enjoyed the album, but I cannot imagine that it is anyone's favourite by The Answer - and perhaps the band felt somewhat creatively spent and decided to take a break. Sometimes taking a break is good for all involved, and it seems to have done The Answer a world of good. When it was announced last year that the band were back, I was really excited. I pre-ordered Sundowners as soon as I could - and when a handful of UK dates were announced I knew that I had to make the effort. A show on board the Thekla in Bristol made the most sense - so tickets were snapped up as soon as they went on sale. I have been to the Thekla a number of times over the years, and every gig there has been memorable for a number of reasons. It is one of those venues that always seems to attract a healthy crowd - and bands seem to really like playing there, which usually leads to excellent atmospheres. Following my trip down from Wolverhampton and a rest in the Travelodge whilst watching some football, I headed down to the venue for 7pm and joined the fairly modest queue. I had expected to see a few more waiting, but by the time the support band hit the stage at around 7:45pm the place was pretty much full. It was likely the busiest that I had seen the Thekla - and I am glad that I bought my new t-shirt when I did, otherwise it would have been hard to get to the merch desk.
Before The Answer's set, as mentioned there was one support act - who played for around 40 minutes to warm the crowd up. Oli Brown & The Dead Collective have been playing with The Answer on this tour, and the three-piece impressed with their atmospheric and murky take on modern blues rock. Brown is a name that I have been hearing for a long time, and I think has been known over the years as more of a traditional blues player - but with his new project The Dead Collective he seems to have taken a more harder rocking road, with touches of atmospheric prog thrown in. Joined by Wayward Sons/Black Star Riders guitarist Sam Wood and former King King drummer Wayne Proctor, Brown stormed through a strong set of dark material which showcased his grungy vocal style and high-octane guitar playing. In this current guise I was actually reminded quite a bit of Richie Kotzen, both vocally and in his guitar playing, and I get the impression that The Dead Collective brings out quite a different side of Brown's style. I am not sure if the band usually operate as a three-piece or not, though, as there was a reliance on backing tracks for the bass guitars and some synths. I did wonder if perhaps the band's bass player was unavailable, as it is always disappointing to see tapes relied on for such a key instrument, but this did not significantly affect my enjoyment of the show. It was also somewhat strange to see Wood essentially relegated to the role of a rhythm guitarist. He is a great lead player, as has been evidenced throughout his time with Wayward Sons and on Black Star Riders' recent tour, so seeing him as more of a background player was strange. He did cut loose occasionally, but largely he was there to support Brown - who led everything with his riffing and emotionally-charged vocals. There were some hooky moments during the set, but generally the songwriting relied on a dense atmosphere and the toughness of the riffing to get by. As such, The Dead Collective's songs are not the sort that I would likely listen to in my own time - but their live set impressed. Perhaps unsurprisingly, given Brown's pedigree, the guitar solos were generally the highlights of the set. It was great seeing Brown cut loose, and his playing showcased why he has been so well-regarded over the years. The large crowed seemed to enjoy the band's set, too, and after the night had come to an end they seemed to be selling quite a lot of merch - which was good to see.
Half an hour or so following The Dead Collective's set, the lights went down again and The Answer took to the stage with relatively little fanfare - and immediately launched into the old stand-alone single Keep Believin', which was released back in 2005 in advance of their debut album. The lack of any real fanfare and opening the set with a relative deep cut summed up the band's ethos. They really are a no-nonsense band, and they set about laying waste to the Thekla with a stunning performance that shined a light on some old favourites whilst also heavily promoting Sundowners. I had only had a chance to hear Sundowners once prior to the show, as it had only been released two days before, but this did not affect my enjoyment of the show. Unlike Solas, Sundowners is very much classic The Answer - even if some of the former's organic production style was retained. Sundowners rocks much harder though, as was evident early on as the band launched into lead single Blood Brother - with Paul Mahon's (guitar/vocals) staccato riff leading the charge, whilst frontman Cormac Neeson proved why is one of the best in the business with his juddering stage presence and rasping vocal power. It did not take much for the band to get the crowd on side, but Blood Brother did none-the-less - with the new track prompting the first of many sing-a-longs of the night. It was clear, too, that the band were really happy to be back. Neeson told quite a few stories during the show, whilst making a few jokes about the rugby, and revelled in introducing the songs old and new. The new cut Oh Cherry went down well, but before that the funky Tonight had brought the best out of bassist Micky Waters. Mahon was then featured with the riff-heavy Under the Sky, which is an ever-present favourite. Despite their power, the band are generally fairly restrained - but Mahon did cut close during the closing section of Under the Sky, soloing like a man possessed. The band's more soulful, bluesy side was then on show during the anthemic Nowhere Freeway, before the spotlight was once again shone on the new album. Mahon strapped on a resonator for the organic and bluesy title track, whilst the beautiful California Rust introduced some folk elements into the band's usual harder rock sound. Turning back the clock, Spectacular had everyone singing again - but the next real highlight was a barnstorming rendition of Come Follow Me. Famed as being the band's opening song during their early years, the song is another ever-present favourite - and the crowd really belted the chorus back at Neeson, and you could tell that he had missed it. The set was very much a forward-looking one, though, and it came to a close with two more new ones - with the groovy Want You to Love Me bringing things to a close. After some cheering, though, a two-song encore followed. One last new track in Livin' on the Line kicked it off, after being opened by Neeson toasting the crowd with an Irish drinking song, before the night was brought to an end in rousing style with Preachin'. The gospel/blues classic has often been a set-closer for the band - and this particular rendition was hugely powerful. Neeson took his customary walk out into the crowd during it, and the atmosphere was raised even further - ending the set on a real high. The setlist was:
Keep Believin'
Blood Brother
Tonight
Oh Cherry
Under the Sky
Nowhere Freeway
Sundowners
All Together
California Rust
Spectacular
Come Follow Me
Always Alright
Want You to Love Me
-
Livin' on the Line
Preachin'
Following the band's excellent set, as has generally been traditional the four members soon made their way over to the merch desk to meet the fans and sign autographs. I had got quite a few CDs signed by the band in the past, but decided to take my copy of Solas along for signing - which the band duly did. I would have taken Sundowners, but as I pre-ordered it from the band it was already signed. It was nice to meet the band again after quite a few years, and it was good to see that they were still as down to earth as ever. I get the impression that with this tour and Sundowners that The Answer are back in a big way - and I hope that further UK shows will follow, and I cannot wait to see them again.
Whilst I was sitting down to start writing, it struck me just how busy 2023 has been so far from a live music perspective. My calendar starts to look somewhat more sparse (read: normal) from April onward, but January, February, and March have been extremely busy - and this past weekend I was on my travels again. I have a further two concerts planned for next weekend, too, meaning that March really will have been a bumper month. Enough of that for now, though, as I need to turn my attention back to this past Saturday - when I headed up to Wolverhampton for the first time in over a year. The journey to the West Midlands city was rather a long one thanks to the train strikes which are on-going here in the UK. The coach I ended up taking from Plymouth to Birmingham took around six hours - with the walk to the railway station and the train onward to Wolverhampton probably adding around another hour or so. This was certainly frustrating, so I was happy to step off the train in Wolverhampton - whereby I immediately headed to the local Wetherspoons for a bite to eat and then checked into the Premier Inn. The reason for the unusually mammoth journey to Wolverhampton was the fact that the American metal legends W.A.S.P. were in town - and ready to play to a sold out KK's Steel Mill as part of their 40th anniversary celebrations. I have been a W.A.S.P. fan for a long time at this point, but I became a somewhat lapsed fan over the past few years. The reason for this was pure spite, really, as I travelled to Bristol to see the band on their last UK tour in 2017 - only for the show to be cancelled about an hour before the doors were due to open. No explanation or apology for the cancellation were ever offered by the band - and they pressed on with the tour as if nothing had happened. This really annoyed me, so I barely listened to W.A.S.P.'s music at all for a few years. Sadly, shows being randomly cancelled with little-to-no notice is always a risk that is taken when buying a W.A.S.P. ticket. The band are known for doing it occasionally, and the disrespect shown to the Bristol fans annoyed me. As such, I was somewhat 'over' W.A.S.P. after that, but I slowly started to listen to them again over the past couple of years - and decided to risk getting a ticket to their 40th anniversary UK tour. The original run of shows ended up being cancelled due to the pandemic, though, with the eventual replacements being postponed last year when touring internationally was still tricky. As such, the fans have had to wait quite a while for this tour - but it promised to be worth the wait, with an expanded stage show and a special anniversary setlist planned by the band. After the first cancelation, where I again had a ticket for Bristol, I opted for Wolverhampton second time around. Gigs in the West Midlands city are always well-attended, and KK's Steel Mill is a great newer venue. Like many of the UK shows on this tour, too, the Wolverhampton show was sold out - which would have left rather a lot of unhappy punters had W.A.S.P. decided to cancel again.
Thankfully, though, that was not the case. I did breathe something of a sigh of relief when I actually entered the venue, which had been moved around significantly internally since I had last visited in 2021, and took my place down near the front. Before W.A.S.P.'s set, though, the large crowd were treated to 35 or so minutes of music from Bournemouth's South of Salem - a band whom I had heard of but had never listened to. I was looking forward to giving them a go, but I was not really prepared for how much I was going to enjoy them. Much is made of the current NWOCR movement, and there are certainly a lot of good new British rock bands around, but for me very few of the current crop are as good as the wave of British rock bands that were operating 10 to 15 years ago - very few of whom still exist. I find it strange that people seem willing to give new bands in the 2020s a chance, but hardly anyone cared about all of the bands that I was championing in my teens. The reason I bring this up is that South of Salem really reminded me a lot of some of those bands that I used to follow back then. With a slightly sleazy edge akin to early Heaven's Basement and a metallic twang similar to the poppier end of Glamour of the Kill's work, South of Salem impressed me from the off. With a great, somewhat gothic, look to match their razor sharp riffing and soaring choruses, the band set apart converting a few in the crowd with their up-tempo and melodic songwriting. Their live sound mix was not exactly perfect, but it was apparent that there was a lot to love about the band despite this. Thankfully, the vocals of frontman Joey Draper were high in the mix - even if the guitars were on the muddy side. Despite the band's songs including a number of strong riffs and some fluid solos, what really shone for me were the vocal hooks. This is why I namechecked bands like Heaven's Basement and Glamour of the Kill - as the melodies that Draper used really reminded me of why I loved those bands so much. For me, too many of the current crop of British rock bands rely on samey, blues-based 1970s grooves - but South of Salem borrowed more from the heavier end of 1980s hair metal, with a big dose of more modern gothic rock thrown in. Every song which the band played had a memorable hook in it somewhere - from the set-opening anthem Let Us Prey to the closing Cold Day in Hell. A big standout cut for me was No Plague Like Home, with its gang vocal-led chorus, whilst the ballad Demons Are Forever showed that the band had more in their arsenal than may be expected. I was captivated throughout, and was disappointed when their set ended - but it is safe to say that South of Salem are a band I will be following with interest going forward.
All things considered, there are actually quite a few reasons to not see W.A.S.P. live these days. Apart from the aforementioned risk of cancellation, the band often play pretty short shows - and have a want for over-promising and under-delivering when it comes to what their shows will include. That being said, there was excitement in the air during the changeover - even if the band made the crowd wait for over 45 minutes before taking the stage. The wait was pretty boring, but when the lights went down the place went wild - and the band, led by founding member Blackie Lawless (vocals/guitar), took to the stage and launched into a four-song medley including snippets of tracks from early in their career. I enjoyed the show a lot, but I do think that the setlist was extremely predictable. I expected as much, given that W.A.S.P.'s setlists have generally been such, but given what was promised it was hard not to be disappointed. Whilst a couple of deep cuts were included, there was room for more on that front - especially as the band only played for around 80 minutes. Again, I expected this. All of the W.A.S.P. shows that I have been to have been on the short side - but this one may have been the shortest yet. Despite all of this, though, I still had a good time. The band still know how to put on a high-energy show, and Lawless remains an engaging presence - despite the fact that he clearly relies on pre-recorded vocals during some of the songs (another reason one might give for not seeing the band live). Whilst I do not think that he was 100% miming, there was certainly a lot of 'help' going on during a few of the songs - whilst others seemed more natural. A couple of moments during the early medley definitely seemed 'enhanced', although the high-energy On Your Knees felt natural to kick off the night. Despite this, though, everyone (including me) was having a good time. The Flame, which came next (and felt like a genuine deep cut), felt quite significantly enhanced - but it was still fun to belt out the song's snappy chorus. The mid-paced grooves of The Torture Never Stops and the underrated Inside the Electric Circus then rounded out the opening medley - and by this point the crowd was ready for a party.
What essentially followed was a greatest hits set, with the the shout-along L.O.V.E. Machine provoking a sing-a-long - before Wild Child rang through the venue thanks to its soaring pop metal melodies and Lawless' charisma. Three songs from The Crimson Idol followed, with the suite opening with the power ballad The Idol. The song spotlighted Lawless at first, as he crooned the intro, but it generally acted as a vehicle for Doug Blair (guitar/vocals). His closing guitar solo was extremely lengthy, but it was packed full of melody - and the song became the set's most impressive from a musical perspective. The longer The Great Misconceptions of Me followed, but the next big highlight was Chainsaw Charlie (Murders in the New Morgue). The song is pretty much ever-present in W.A.S.P.'s setlists, but always goes down well live - with the crowd once again getting behind the big chorus. The band then returned to the sleazier end of their sound for the rousing Blind in Texas - but as the song came to a close, so did the main set. At less than an hour, many were looking quite confused around me - but after what seemed like quite a while the lights went down again, and some information about W.A.S.P.'s battles with the PMRC flashed up on the screens. This heralded the band re-taking the stage, and launching into Animal (Fuck Like a Beast) - a song which they had not played for quite a few years before this tour. I have always thought that the song was quite silly really, but it was fun to see it live finally - and I know that many have been upset with Lawless for not playing it recently. It certainly received a strong reaction, which continued on throughout an excellent version of The Who's The Real Me - which featured lots of melodic bass playing from Mike Duda. It was then left to I Wanna Be Somebody to bring the night to a close, which again featured plenty of singing from the crowd - and, in a nice touch, every former member of the band was name-checked on the screens as the song was wrapping up. Despite the short set, the band still received a strong reception as they left the stage - and in truth it still very much felt like the job had been well done. The setlist was:
On Your Knees/The Flame/The Torture Never Stops/Inside the Electric Circus
L.O.V.E. Machine
Wild Child
The Idol
The Great Misconceptions of Me
Chainsaw Charlie (Murders in the New Morgue)
Blind in Texas
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Animal (Fuck Like a Beast)
The Real Me [The Who cover]
I Wanna Be Somebody
Despite all of the criticisms that could be levelled at W.A.S.P. in recent years, I still had a fun time with the band on Saturday in Wolverhampton. They are a band that it is hard not to get swept along with, and Lawless is still a great showman despite his age - as was evident when he mounted his huge skeletal microphone stand at the end of the show. I am sure that the sold out crowd had a similarly great time, but it is hard not to wish that the band had pulled out of a couple of extra deep cuts to make the 40th anniversary tour something different than largely relying on the same setlist standards. I had not seen the band since 2015, though, so it was great to see them again - and it is also nice to have a recent W.A.S.P. live experience to remember that does not involve a cancellation. I also purchased a copy of South of Salem's debut album The Sinner Takes It All, which the band duly signed, which I am very much looking forward to digesting.
