Have a Drink on me. (As AC/DC said, but Angus still owed me that pint. Tight Scottish b.........). So instead of a photo of Angus playing some mad solo to Whole Lotta Rosie, Here is a photo of my mum enjoying a pint of guinness! For Those About to Drink, We Salute You!
Hey, check out these live reviews from 2006. Some great gigs here, Enjoy. As ever any feedback do not hiesitate to contact me!
Iron Maiden
Dublin, The Point
20/12/06
Balcony, Stage right. Too far from the mosh pit!!
Iron Maiden were sharp and precise tonight, as they performed a note perfect set heavily weighted on this years best selling album: A Matter of Life And Death. Indeed it was played in its entirety, which unfortunately hindered rather than complimented an otherwise faultless show. For a band who regularly take risks this was not one of their better decisions - some of these songs may find their place in future sets but even younger members of the loyal crowd grew tired of current album tracks and erupted in unison when Fear Of The Dark gave rise to the finale of the show. Four classic tracks from the 80’s followed as an encore (including Iron Maiden and 2 Minutes to Midnight). Admiration for the band for sticking to their guns but another disappointing aspect of this tour is the lack of imagination even with regard to the classic tracks which have been the same for most of the dates. Let’s have a few new exciting inclusions (Flight Of Icarus or Flash Of The Blade) – but even with out this the misjudged track listing would have benefited from a few more solid classics interspersed.
© James Masterson
- Different World
- These Colours Don’t Run
- Brighter than a Thousand Suns
- The Pilgrim
- The Longest Day
- Out of the Shadows
- The Reincarnation of Benjamin Breeg
- For The Greater Good of God
- Lord of Light
- The Legacy
- Fear of the Dark
- Iron Maiden
Encore - Two Minutes to Midnight
- The Evil that Men Do
- Hallowed be thy Name
The Human League
Dublin, Vicar Street
12/12/2006
View: Balcony, Centre back. Great view of Oakley’s towering stature and hard work rate!
For a band who tour UK & ROI twice a year and had already performed 12 shows in last 2 weeks, the first few tracks of this evenings gig felt decidedly flat – they were hits (Love Action & Love is the Reason), but still Oakley seemed to be trying too hard whilst the girls( ) and the band were very unsure of themselves and the sound. But this seemed to evaporate with Mirror Man, there then proceeded a set peppered with popular chart classics from the last 25 years. The Christmas Party atmosphere was in full swing before the obvious climax – but had proved before then that despite many assumptions they were not a one trick pony. The audience were ecstatic with the entire set and quickly demanded an encore – the unlikely ‘Tall’ followed by Oakley in full swing across every inch of the stage for Electric Dreams.
© James Masterson
- Love Action
- Love is the reason (?)
- Mirror Man
- ?
- Marian ?
- Heart like a wheel
- ?
- For a Second (Second)
- Lebanon (++)
- One Man (in my heart)
- Only Human
- ?
- ?
- Fascination
- Tell me when
- Don’t You Want Me
- Encore : Tall (Empire State Building Man) ??
- Electric Dreams
GrandMaster Flash
Tripod, Dublin 24/11/06
View: Balcony, Centre front.
Taking obvious pride in being the opening performer at Dublin’s newest venue – GrandMaster Flash, (DJ par excellence) gave the receptive crowd a generous 2 hour set of classic tracks from seventies Soul through to modern day pop. From Everyday People (Arrested Development version, rather than Sly), to the SugarHill classic Rapper’s Delight, whilst the vintage Michael Jackson medley was well chosen (including Billie Jean / Wanna Be Starting Something). The crowd, excited to be in the presence of a historic DJ, certainly were not backward in Jumping Around at GrandMaster and his MC’s command. The throng moved in unison to the classic dance anthem Groove is in the Heart, but were able to appreciated the more mosh orientated Smells like teen spirit without damaging their styled hair! Bowies Let’s Dance also proved a popular singalong.
The highlight of the set was the powerful original (unPC version) of Black Eyed Peas ‘Let’s Get Retarted’ alongside some animated encouragement from DJ Demo MC for much of the set, really rose the crowd. Storming DJ set from New York Icon. No bitterness, just fun had by him and the audience.
Storming set from the New York DJ that included:
Snap – I got The Power
However Irish American House of Pain Jump Around really got the crowd moving. D:elight/De LA Soul ??? Groove is in the heart classic dance anthem enjoyed by all .
Bowie – Let’s Dance
Smells Like Teen Spirit
Prince When Doves Cry
© James Masterson
Nils Lofgren
Dublin, Vicar Street.
6/11/06
View: Balcony, Left of Centre.
Having played alongside a who’s who of every genre from Country (Willie Nelson) to Jazz (Branford Marsalis & Cab Calloway) as well as his famous rock roots (The Boss & Ringo All-Stars) – Lofgren is not short of name dropping opportunities but instead lets his selection of music do the talking. This is an acoustic duo tour, but is not economic; he gave us a full 2 ½ hour set: And what a set. His rasping nasal vocal supremely suited Keith Don’t Go but failed to fully ignite on Because The Night.
The acoustic nature of the tour gives him an excuse to play reworked versions of tracks from the Grin period and many others that he does not normally play live, including one of his works with Lou Reed, the powerful, and slightly menacing, I Found Her. However there were also interpretations of his own electric standards- Girl in Motion and No Mercy. Clear crowd pleasers also performed well.
Covers included a beautiful version of Bruce Springsteen’s If I Should Fall Behind as well as a local favourite the slightly insipid Irish Angel (Bruce McCabe). Despite this he never lost the attentive crowd, even when the solos rang on: One of the few artists who can carry this off and not induce yawns from the audience. A great evening topped off with the outing of the Electric guitar for the climax of the set.
© James Masterson
1) In Your Hands
2) Blue Skies
3) Frankie Hang on
4) Girl in Motion
5) IfIShouldFallBehind ( Springsteen)
6) You're Not There
7) Wonderland
8) Black Books
9) ? Sheriff of the town / can’t let it bring me down ? (Grin period)
10) I came to Dance
11) Keith Don’t go
12) Irish Angel (Bruce McAbe)
13) I Found Her (Music NL words LReed)
14) ?
15) ? Goin’ Back ?
16) ? The Sun Hasn’t sent on this boy yet
17) Like Rain ?
18) Mud In Your Eye
19) Because The Night
ENCORE
20) ?
21) No Mercy
22) ? Shine Silently ? ?
Charley Pride
Dublin, National Concert Hall
5/11/06
Charley Pride has spent nearly half a century at the top of a stereotypically unprogressive genre, yet his deep comforting voice adds a rich aspect to an otherwise largely formulaic style of music. Tonight is a celebration of white country roots as on the way he pays tribute to his peers with medleys that included Ring Of Fire (Johnny Cash) and Good Hearted Woman (Waylon Jennings). With some of his bigger hits consigned to a medley (The Snakes Crawl at Night/Just Between Me And You/Does My Ring Hurt Your Finger), it was surprising that Pride’s insipid interpretation of Me & Bobby McGhee was given full allocation. Such crimes though were more than made up for with great versions of Crystal Chandeliers and Streets of Baltimore, which prove that in his twilight years he still has the voice to hold his own, even if he no longer has the memory for lyrics or the set list!!
Pride took the opportunity to showcase his energetic and professional son, Dion, who shares many of his father’s mannerisms, but with a more Rock and Roll slant. Their duet of Tennessee Girl seemed to enliven Charley whilst a few tracks later he proved he still has a lively edge as he gyrated, Elvis Style, to a few bars of Jailhouse Rock.
A top evening of entertainment and a chance to see an icon who, although he knows his audience, on a good night is still able to win over anyone.
© James Masterson
1) Every Heart should have one
2) Is anybody going to San Antoine?
3) ?
4) Crystal Chandeliers
5) Me & Bobby McGhee
6) He'll Have To Go (Jim Reeves)
7) Streets Of Baltimore
8) ?
9) Medley:
The Snakes Crawl At Night
Just Between You And Me
Does My Ring Hurt Your Finger
I'm So Afraid Of Losing You Again
All I Have to Offer You is Me
I Know One
I'm Just Me
10) Green Green Grass of home
11) High on the mountain of love
12) Someone loves you Honey
13) Tennessee girl (w/Dion)
14) After all these years
Above & Below probably 14) Burgers And Fries & 15). I Need Somebody Bad
15) I don’t know why I love you
16) ?
17) Medley – Marty Robbins. Conway Twitty(just to know?). Waylon Jennings(Good hearted woman) & Johnny Cash(Ring of Fire)?
18) Gospel Medley:
I'll Fly Away
Church In The Wildwood
I Saw The Light
Will The Circle Be Unbroken
I'll Fly Away
19) Comfort of her wings
20) Jailhouse Rock (Few bars)
21) Kiss An Angel Good Mornin'
22) Kaw-Liga (Hank Williams)
Encore
23) Danny Bo
AL Stewart Vicar Street
4th November 2006
Al Stewart’s stage performance – with Flautist strategically placed in the crowd as well as sudden, timely, entrance of Saxophonist – is a far cry from his demur and usually solitary guitar accompaniment. But the musical quality remains undimished. The basic set list remains – Time passages and Katherine of Oregon alongside Soho (Needless to Say). With audience requests he could have played all night, but one surprising omission was Nostradamus; but Joe The Georgian and Paint By Numbers more than made up for this. There was a surprising and welcome interlude as former Wings and session player extraordinaire, Laurence Juber, gave us his haunting acoustic guitar version of the aptly titled Little Wing (Hendrix).
From the soft beauty of ‘On The Border’ to the harsh bareness of ‘Life In Dark Water’ Stewart’s timid style is constant and the interweaving of all 3 guitars (AS / LJ / Dave Nachmanoff) is absorbing.
Every Al Stewart concert is an intimate and enjoyable evening of erudite folk, interweaving chararacters he has met or has read about through his self-consciously intelligent, yet inviting, songs.
© James Masterson
1) ?
2) In Brooklyn
3) Antarctica
4) On The Border
5) Life in Dark Water
6) Night Train To Munich
7) ?
8) Time passages
INTERVAL
9) ?
10) The Palace of Versailles
11) Paint By Numbers
12) Little Wings (Laurence Juber)
13) Katherine of Oregon
14) Soho (Needless to Say)
15) Grapevine (snippet!)
16) Year Of the Cat
(encore)
17) Carol
18) Joe the Georgian
No – Nostradamus !!
Arrested Development
Dublin, The Pod. 28/10/06
Harking back to a time before the corporate trash of the 50 Cent generation, AD treated a small Dublin crowd to their blend of articulate and positive Hip-Hop. Committed and unapologetic, the band gave us an evening of classic tracks mainly from their 1993 Grammy Winning album ‘3 Years, 5 Months & 2 Days in the life of ‘: From the radio friendly, conscience knocker, Mr Wendall to the rhythmic Tennessee. Drawing energy from the appreciative crowd (which included Metal heads as well as Hip hop fanatics) they reveled in the glory of tracks they still love to perform. The band made time to include strong new tunes from their more recent self released LP’s – including current single Inner City. Speech’s charismatic hybrid of Spike Jones Cool and Martin Luther King’s considered mental dexterity shone through as clearly as it had done over a decade ago. Black Power balanced with People Power was stamped all over this evening – from Speech’s salutes to their cover selections – a great version of Sly and the Family Stone’s Thank You (Falettinme Be Mice Elf Agin), which unfortunately seemed lost on parts of the crowd, to Bob Marley’s Redemption Song which united everyone.
Arrested Development’s impact may have diminished but the band’s energy for social reform through music is still very much alive: They may be Everyday People but they are certainly a lot more talented and enthusiastic than most.
© James Masterson
Inner city
Give a dMan a Fish" (Headliner/Speech)
"Dawn of the Dreads" (Speech)
Fishin' 4 Religion" (Speech)
Thank You (sly & Family Stone)
“Ease MY Mind”
"Tennessee" (Speech)
Redemption Song (Marley) Live stalwart
"Mr. Wendal" (Speech)
"People Everyday" (Speech)
"Mama's Always on Stage" (Speech)
Lambchop
Dublin, Vicar Street 26/10/06
View: Balcony, centre.
Some members of Lambchop (itself quite fluid) formed Hands Off Cuba, who played a curious support slot (20 minutes of indulgent ambient sounds and soundscapes) before the rest of the band joined them on stage to warm (and relieved!) applause.
Five illuminated balloons (some floating, some hanging) show video footage throughout: Although bordering on pretentious this actually helps to draw visual focus away from a band who are not very animated on stage, as well as detracting attention from the very shy lead singer who has become an iconic hat wearing anti-hero and heart of the band.
Kurt Wagner’s over emphatic enunciation is distinctive, but makes for difficult, though ultimately rewarding, listening. His often incomprehensible drawl invites the listener to hang his every intonation.
The best track off the new LP opened the set – the electrifying PaperBack Bible. Indeed that album formed the backbone to tonight’s haunting evening of song. Often their lyrics are simplistic in the extreme, but not hackneyed (unlike their onstage jokes tonight). Beers Before Barbican is witty and upbeat. Even the banal lyrics of My Blue Wave can sound exciting given the bands tremendous ability. Nashville Parents (from Nixon) proved to be a popular track, as did Theone. But the intricacy and lingering beauty of New Cobweb Summer sent a shiver down the audience’s collective spine. Nevertheless, the undisputed highlight of the evening was a track that should become Lambchop’s alma mater – The Decline of Country and Western Civilization - their sly concession to their provincial roots; a heritage they have masterfully outgrown.
© James Masterson
PaperBack Bible
?
?
Nashville Parents
New Cobweb summer
Beers Before The Barbican
My Blue Wave
?
The Daily Growl
Crackers
?
Decline and Fall of Country and Western Civilisation The Best of things / You are the one
Theone
Tom Jones
Dublin, The Point,
24/10/06
View: Balcony, Right Side
The introduction video announces that ‘The Voice’ has been located, to the rapturous delight of a diverse audience. Tom Jones’s vocal talents are certainly impressive, but it’s his ability to combine the kitsch with the genuine that proves he is the ultimate entertainer. He challenges his audience, by no means greatly but far more than many artists’ simple greatest hits repertoires of today. Tonight we had tracks brought into the public domain by artists as diverse as Jerry Lee Lewis and Howlin’ Wolf to The Body Rockers and Hoobastank! The packed Point revelled in the Welsh man’s talent and humour, with gangs of women bringing ‘Bridget Jones’ style knickers to throw at this Sexbomb! The highlights for the crowd included Green Green Grass of Home, Delilah and the encore Kiss. My personal favourites showcased how great Jones’ voice really is with his cover of The Reason and Grandma’s Hands. Tom Jones is obviously fully aware of the fine line he skirts between working legend and sleazy old man, and this tightrope act was pulled off with his tongue held firmly in his cheek for I like the way (You Move) and She’s a Lady.
Everyone came to this concert expecting to be entertained and no one left disappointed.
© James Masterson
New York Dolls,
Dublin, The Village 20/10/06
View: Left, off-Centre, Balcony, Standing next to one Stephen Morrissey!!!
Brian Delaney’s punishingly tight beat keeps an impressive reign on the powerful energy of the ageing front men of the new look New York Dolls. Sylvain’s driving chords, on such classics as Puss N’ Boots and Pills, proves a perfect foil for David’s melodrama and over the top strutting, on Piece of My Heart or the opener Looking For a Kiss. From early on it is obvious tonight’s show is going to be a healthy balance of Camp charisma and Proto-Punk. Promoting their new album; the tracks were well received – especially the barrage of primitive rhythm that is Dance Like a Monkey. With only a pair of the original legends remaining they were unafraid to bash through songs written by newer members (We’re All In Love & Gotta Get Away From Tommy ) and importantly they held their own alongside recognised classics. The vast majority of this crowd were barely a twinkle in their fathers’ eye when the bulk of tonight’s tracks were originally released – but that didn’t stop them from bouncing around with unabated enthusiasm for Lonely Planet Boy and, of course, Jet Boy. Sami Yaffa’s (Hanoi Rocks) lead guitar was exceptional but Sylvain’s dedication to Johnny Thunders (Can’t Put your arms around a memory) received the second biggest cheers of the night, behind the track reserved for the final encore – Personality Crisis. The New York Dolls have not lost any of their flair, talent or energy, and tonight the crowd left elated at seeing legends strut their stuff with renewed joy and vigour.
© James Masterson
Looking 4 a kiss
Puss n Boot
We’re All in love
Piece of my heart
Private World (To AKK)
Fishnets & Cigarettes
Punishing World
Maimed Happiness
Pills
Can’t Put your arms around a memory
Lonely Planet Boy
Gimme Love & Turn out the lights
Dance Like a Monkey
Trash
Encore
Jet Boy
2nd Encore
Personality Crisis
Gotta Get Away From Tommy
The Stranglers
Dublin, The Village
19/10/06
View: Balcony, Off Centre.
There really is something about a Stranglers gig – the energy, the commitment, the professionalism, JJ Burnell’s dancing, or more likely the quality of each and every track –that makes it a truly exceptional experience. Paul Roberts may have lasted as long as Hugh Cornwell on vocal/guitar, but his replacement (or then fifth member) Baz Warne will always be judged against the original – and from the crowds reaction he has not come up wanting: Sharing vocals evenly with JJ Burnell, who is at ease with his new partner, they put on a performance that captured the spirit of the band – Intelligent, Intense Punk in all its glory. Many were hailing this as the best line up and, perhaps more importantly, best (Dublin) performance since the eighties.
The opening tracks needed no introduction; Five Minutes, Get a Grip and Nice ‘N’ Sleazy. In fact we were well through the set when Burnell finally spoke the first words of the night from the stage and these were in Japanese!
Norfolk Coast may have been a return to form, but Suite XVI and its cast have kept them at the top of their game with great live tracks such as I Hate You and Relentless. With 32 top 40 hits in the same number of years – there may be more to come which will certainly not disappoint their fan base and, crucially, the new (fair weather/Golden Brown) fans that they are winning all the time.
© James Masterson
5 minutes (JJ Vocal)
Get a Grip (Guitar vocal)
Salutation ? (Guitar vocal)
Nice N leazy (Guitar vocal)
Death & Night ? / I'm Broken (JJ Vocal)
Peaches (Guitar vocal)
Always the Sun (Guitar vocal)
Golden Brown (Guitar vocal)
Interval …. – 1st words band spoke were in Japanese
I hate you Now (off new LP) ? (JJ Vocal)
Have I lost Control ? (Guitar vocal)
Walk on By (Guitar vocal)
Interval ………/ interlude chat
Relentless (Off new LP) (Guitar vocal)
The thirteenth track …….. ? ???
Burning it up
All Day & all of the night (Guitar vocal)
Gone away
Duchess (Guitar vocal)
Tell me ….. ??
Encore
Nuclear Device (Guitar vocal)
I ain’t gonna cry ???
Encore II
No more heroes (JJ Top off - No need!!)
Public Enemy
Dublin Vicar Street,
12/10/06
View: Standing. Centre Back.
Any exceptional Messiah J & The Expert warmed us up superbly. But what then followed was a gig of two halves: One half Public Enemy, one half Flavour Flava’s ego trip. In their heyday PE played sold out stadiums and were lauded as the kings of hip hop but nowadays are not even selling out relatively small (500+) venues, perhaps as a result of the overgenerous emphasis given to the Flav’s limited talents. However, nothing can undermine their ability or enthusiasm to give the white middle class crowd the full works. From one of the bands favourite tracks – MKLVFKWR to the classic Bring The Noise they, and their Dancers / Security, put on an energetic and well appreciated performance for the best part of an hour. Then inexplicably the set lost momentum with solo efforts from every member ‘climaxing’ in the Hype Man’s vocal skits. These led to him ranting about how his reality TV show enabled him to somehow keep it real. To top off the most pointless interlude he gave us 3 below par solo efforts from his first and, he assures us (thank God!!) only, solo album. Unga Bunga Bunga and Guess who’s Bak were nothing short of terrible: Overall 20 minutes of pointless self publicity that it seemed amazing (given his vocal opposition in the past) Chuck D allowed. It took a momentous effort with Can’t Truss It to get the crowd back for the climax of Don’t Believe the Hype and Fight The Power. But by that time some of the disappointed crowd had left. Shame – great band but the court jester really did ruin for everyone.
© James Masterson
The Cult Live
The Ambassador, Dublin 29/9/06
“This is the new Cult , we are just here to relax, no bullshit” announces Ian Astbury part way through tonight’s raucous set. From the opening power chords of Lil Devil we are treated to a hand picked barrage of unadulterated classic rock tunes from the Cult’s back catalogue. The majority of tracks stem from the classic trilogy Electric, Love and Sonic Temple, with the most up-to-date track of the evening being the strongest from their most recent album, Rise from 2001's From Beyond Good and Evil. Sharp and pitch perfect from the outset, Billy Duffy still seemed unhappy with the sound of his guitar, but that did not diminish the set. Launching straight from the opener into Sweet Soul Sister it looked dangerously as though they were going to run out of classics before the half way mark! Electric Ocean and Spirit Walker followed before Revolution really raised the crowd another notch. The band played off the audiences’ energy and enthusiasm - Duffy's Windmill arm was always in action, whilst Astbury's Indian rain dances and Tambourine accompaniments meant he worked the stage and the crowd well.
Even the slight delays as Duffy sorted out guitar problems were held together with Ian Astbury's praise of Dublin. These were neatly followed by his introduction to FireWoman as 'Pure Psychadelic Acid Rock coming right at ya'. With the rest of the band off stage the Acoustic interlude of Star and Edie (Ciao Baby) had the crowd singing along. The new Cult are less formulaic and image conscious and more music orientated – thankfully having matured (or evolved) from 90's attempts to look a little too 'current'. Their willingness to rework old 'weaker' songs such as the improved version of Wonderland showed this. Such maturity led logically to the climax of the evening - Wildflower followed by Love's Removal Machine. The band left the stage, but the formulaic nature still held for the compulsory encore. Unfortunately due (so Ian claimed) to venue constraints the set was 1 or 2 tracks shorter than in the UK - coming in at 1h 45mins. So with time ticking the only encore we were treated to, and as Astbury acknowledged the only thing they could play, was She Sells Sanctuary which naturally closed the set on a high note.
© James Masterson
The Cult Live
The Ambassador, Dublin 29/9/06
Having not released an album for 5 years (Since Beyond Good and Evil) this reunion could easily be met with sceptisism - another ageing band reformed to release substandard material in contrast to their classic back catalogue. This was certainly the case for their 90's tours, where they tried too hard to maintain a cutting edge modern approach. However that was not the case tonight – which was an unashamed Rawk fest. As Astbury announces part way through the set "this is the new Cult , we are just here to relax, no bullshit", presumably in reference to previous incarnations!
From the opening power chords of Lil Devil through to the final mêlée of (what else) She Sells Sanctuary The Cult delved their archives for an unadulterated Greatest Hits package. Sweet Soul Sister followed Lil Devil, and third Electric Ocean. Overall we had tracks from Love and Electric with a few stronger songs off other albums (including a solid reworking of Wonderland from Dreamtime).
Always a solid crowed pleaser it was Edie (Ciao Baby) which formed part of the Duffy/Astbury Acoustic interlude (Along with Star).
Boundlesss energy and genuine fun was had by all, including the band - who even found time to condemn the over zealous security staff. Indeed it was a vitriolic Iead singer whose tongue fell on the unfortunate Mojo magazine, claiming to be overlooked classic rock - a fair comment based upon this set! As if to support this three exceptional tracks followed to close the night – Wildflower, Love’s Removal Machine and She Sells Sanctuary. The only grievance from anyone appeared to be that unfortunately due to venue curfew (or so Ian states) the set list was slightly shorter than UK gigs the week before.
Time will tell if any new studio albums are released and compare favourably to their classic hits.
© James Masterson
The Black Keys. 25th September 2006
Dublin, Temple Bar Music Centre
Drawing a 500 + crowd to the Temple Bar Music Centre, the Black Keys did not disappoint their audience. They lit up the stage with impressive musicianship and powerful tunes. It is hard to believe that so many layers of sound can be created by only a guitarist /vocalist (Dan Auerbach) and drummer (Patrick Carney). Admittedly, they are not breaking any boundaries with their take on 70's rock (the lead singer even looked like he stepped right out of Lynyrd Skynyrd), but they do what they do well. From the instantly recognisable opening notes of Your Touch to the hypnotic guitar on Just Got To Be, they entertained without greatly challenging.
Perhaps as a result of being a supporting band for so many big names, Auerbach's interplay with the audience merely consisted of thanking us for making it out tonight. He let his powerful vocals do the talking for him, but a communication break-down occurred during the slow songs (such as You're The One), as the crowd's impatience with long-winded guitar solos was evident as their attentions wandered. Yet you cannot fault the band's musicianship and enthusiasm as they rocked their way through Hendrix derived tunes. Simple but andrenaline fueled rockers such as Set You Free and The Breaks proved enough to spur this crowd on.
The Black Keys ultimately ensured their audience left happy, even if the set, at just over an hour long, seemed short but to the point.
© James Masterson
Bloodhound Gang
Temple Bar Music Centre, Dublin
8/9/06
Boundless energy balanced with humour (from intelligent to downright purile!): The Bloodhound Gang have a taste for the controversial. Their colourful stage show - offering golden showers alongside a hark back to the punk gobbing days of the late 70's - is not new in its controversy. From the teenage anthem Lift Your Head up High (And Blow Your Brains Out) to the bawdy classic Chasey Laine this 'Gang' are a college band with a lot of luck but also a lot of neck. The final night of 18 months on the road saw a well healed set - the popular Along comes Mary to the Simpson tribute Ralph Wiggum - this band know how to entertain and work an enthusiastic audience.
Amazingly most of this late teen / 20 something crowd were not just there to hear The Bad Touch, the encore, but knew the words to every album track and sang along with eager adrenaline. This was one of their own punk revolution bands and they loved it. Giving us their version of The Roof is On Fire (Rock Master Scott and the Dynamic Three) alongside their own humourous numbers - I Wish I Was Queer (So I Could Get Chicks) and Foxtrot Uniform Charlie Kilo.
The sweaty crowd lapped up this well worked set, which saw Evil Jared Hasselhoff heckling them and stripping down to next to nothing, whilst Jimmy Pop professionally delivered the tunes and stoically suffered his guitarist's bodily emitions. This crowd left happy.
© James Masterson
Richard Thompson
27/7/2006
Live at Vicar Street
View:Balcony, Front centre.
Seeing Richard Thompson is always a revelation. His LP’s seldom capture, or at least do justice to, his performative skills. Never an Eddie Van Halen show off, more the solid journeyman working away. From the 6 string guitar you would swear you can hear 7 notes at a time; playing a devilish solo over a well constructed chord. If Robert Johnson went to the crossroads, Richard Thompson certainly went to a similar junction in England.
From the first chords of When The Spell Is Broken to local favourite From Galway To Graceland, Thompson mesmerised the crowd. Balanced with a healthy mix of humour (Don’t Sit on My Jimmy Shands) to beardy chin stroking Fairport Favourites (Genesis Hall) he enthralled this packed audience.
Drawing on songs with Tim Finn (Persuasion) to songs covered and made more famous by others (Beeswing) he enchanted the crowd.
He was able to draw on songs old (1952 Black Vincent Lightening) & new (The Sunset Song). And as part of his broken string repertoire RT is professional enough to entertain the crowd with an accapela Sam Hall!
This is an evening of English Folk Rock as it should be played: Lively, exciting but always light-hearted. One of the best.
© James Masterson
Eric Bogle & John Monroe
Whelans, Dublin 25/7/2006
View: Balcony, off-centre front.
The amiable Scot (or for past 30 years Resident Aussie), whose powerful tunes have become timeless anthems, gave Dublin a heart-warming and potent evening of his most influential songs. An early track was Colour of Dreams, which charts the progress of Man, from the assassination of Martin Luther King to the release of Nelson Mandela via the Moon Landings alongside one man’s very personal life journey.
However the first half highlight for this crowd was a touching rendition of his song that The Furey’s took to the charts all over the world – No Man’s Land, better known as Green Fields of France.
This gig proved to be great respite from the searing heat of the summer evening and, whilst the interval was still a welcome relief, The Promise finished first half on a high note with beautiful resonating guitar (John Monroe) and deep vocal as Bogle stood, as if to attention, without his guitar for the first time.
The 2nd half’s early highlight was a John Monroe track- The Border – a beautiful song depicting the torn allegiances of the emigrant. However the evening was to climax with another anthemic song from Eric Bogle’s own canon: And the Band Played Waltzing Matilda – made famous through solid renditions by The Pogues and The Clancy Brothers. Then came a popular local favourite, a track Bogle claimed not to have played live for over 5 years, the harrowing Romeo And Juliet In Sarajevo - which sent a chill down the spines of every member of the crowd.
A truly wonderful evening from a woefully under acknowledge musical genius.
© James Masterson
Take That
Royal Dublin Society Show Ground,
28/06/06
View: Centre Back. Standing: But no tall guys in my way!!!
After too short an absence the quartet return. Older, wiser, but no less energetic on stage.
Rearranged from a smaller venue, due presumably to better than expected sales, demand even seems to have caught the band by surprise. The pop kings of the 1990’s stormed through what are now classic songs – Once You’ve Tasted Love proved to be a popular opener but it was Pray that really prompted the majority female crowd to sing along. The band then kept the audience firmly in their hand as they took us through Babe, Everything Changes But You, A Million Love Songs and of course a Beatles Medley. Very little has changed from performances of old, except the artists and fans alike are ten years older and perhaps more cynical - highlighted by the humourous mocumentary aspects of the show, including a spoken word 10 point plan on ‘how to create a boy band’. This led to one of the high points – an acappella version of Days of Our Lives (Queen), unexpected and out of the ordinary.
Featuring Lulu in an audacious firework entrance for Relight My Fire and climaxing in Back for Good, Could it be Magic and Never Forget all ensured 30,000 fans of unadulterated pop left happy. Top Pop.
© James Masterson
Metallica / Guns and Roses
Download Ireland
9 & 11 June 2006
In 1992/93 when the two great monsters of global Rock co-headlines their massive tour – I found it hard to believe anyone could come away feeling that Guns n Roses hadn’t been the more exciting. However since the two bands’ well publicised fall out and ego battles – they are again back on the same bill for Download. A fact, I think has more to do with Axls need for publicity rather than the patching up of differences. This time however Axl Rose and his entourage failed to ingite in the same way as Metallica. Not hindered by a far greater depth of back catalogue, Metallica were able to offer a retrospective evening that encapsulated Master of Puppets in its entirety. However G n R could only offer a lacklustre ‘Greatest Hits’. Metallica’s archive seemed endless from the Mtv Friendly One to Seek and Destroy and of course the local favourite Whiskey in The Jar. This contrasted with GnR’s who could only really fall back on Appetite and a few of Axl’s tracks on Use Your Illusions (November Rain and You Could Be Mine).
Specific reviews below!
Download Festival. Irish Leg
Metallica
Royal Dublin Society Showground, 11/6/06
View: Stage right, to side of mixing desk.
Since the mid 90’s Metallica’s set list has been heavily weighted towards the Black Album, however, tonight this gave way to a retrospective celebration. After five songs (including Creeping Death, The Unforgiven, and the newer track Fuel) we were treated to a 20th Anniversary special of Master Of Puppets in its entirety. From the Spanish Guitar of Battery to the final chords of Damage, Inc. nearly half the set was unapologetically dedicated to classic metal released before half the appreciative crowd were even born!
Sad But True followed the album, then, as something of a rarity, 50,000 metal fans sang Happy Birthday to James Hetfield’s 8 year old daughter. Back to the serious business of Nothing Else Matters, which, although it was understated, featured guest vocals from Jerry Cantrell. The set then appeared to end on time with the ever popular One, however Metallica – never ones to short change their audience, still had a ½ hour left in them. Cue Enter Sandman, which gave the crowd an added lift. But with the Cork and Kerry mountains only miles away the next track was perhaps inevitable ! (Whiskey in The Jar) and sounded far better live in Dublin than their studio version. With the packed crowd still buzzing the final track, Seek and Destroy, left Dublin exhausted and euphoric. Compared to their co-headliners they really did destroy! Perhaps the only thing missing, in contrast to Download UK, was the omission of ‘The New Song’ keenly anticipated as a taster for the upcoming studio album.
© James Masterson
Creeping Death
Fuel
Wherever I May Roam
The God That Failed
The Unforgiven
Battery
Master of Puppets
The Thing That Should Not Be
Welcome Home (Sanitarium)
Disposable Heroes
Leper Messiah
Orion
Damage, Inc.
Encore 1
Sad But True
Nothing Else Matters (with Jerry Cantrell on vocals)
One
Enter Sandman
Encore 2
Whiskey In The Jar
Seek and Destroy
Download Festival. Irish Leg
Guns & Roses
Royal Dublin Society Showground, 9/6/06
View: Centre stage, directly in front of mixing desk.
Stop Press! – Axl’s on stage early! Perhaps this is the main headline of Download Ireland. Mr. Rose’s band of clones tore through Appetite for Destruction – coming on with Welcome To The Jungle and ending the set exactly 2 hours later with Paradise City: An unbroken formula since the first Get In The Ring dates.
Basking in the glorious evening sun, Axl made the same joke about not being used to performing in sunlight, followed by the obligatory sing along for Knocking on Heaven’s Door - highlighting the formulaic nature of the set nowadays. But that didn’t dampen anyone’s spirits. This was a festival crowd only interested in the greatest hits – which is what they got. Axl’s voice is a strong as ever, breezing through everything, including the whistling on Patience, but the crowd had little time for the extensive solos by the new members of the band, most notably guitarists who were not Slash. The majority of the audience were unaware of who Sebastian Bach was when he came on to duet on My Michelle. The tracks from Chinese Democracy were met with overwhelming apathy, except for one surprise - the rarely played Better – surely one of the best off the illusive album. This part of the set blazed as Guns ‘n’ Roses came alive and weren’t simply going through the motions: Ripping into Live and Let Die followed by Sweet Child o’ Mine, the crowds excitement reached fever pitch.
All in all a great night for the fair weather fan and the devotee alike.
© James Masterson
'Welcome To The Jungle'
'It's So Easy'
'Mr Brownstone'
'Live And Let Die'
'Sweet Child O' Mine'
'Madagascar'
'Better'
'You Could Be Mine'
'Knockin' On Heaven's Door'
'The Blues'
'IRN'
'Outta Get Me'
'November Rain'
'My Michelle'
'Patience'
'Night Train'
'Paradise City'
Ted Nugent
Dublin, Vicar St. 7/6/06
View: Left seated. In a crowd that was less than 1% that of the Monster of Rock!
‘The Brothers get me, but I’ve been scaring white people for 116 years!’ Announced Michigan Sheriff’s Deputy Ted Nugent, after tearing through Wango Tango, and Wang Dang Sweet Poontang at a mile a minute. But tonight’s set was hampered by terrible sound quality early on, which was finally corrected for the powerful metal of Klstrphnky and Rawdogs and Warhogs. Anti French tirades and gun law advocacy, interspersed with volleys of expletives make this man contentious. As he pointed out ‘if you don’t like it you can ……’, but everyone here seemed to appreciate his brand of humour and infectious high energy rock.
Ted seemed to relish every song tonight and the great Motor City Madhouse was no exception. Perhaps the brothers would get his rocking version of the classic Sam & Dave track Soul Man – but this crowd was a bit more hesitant. For the climax of the evening he ploughed through Baby, Pleaz Don’t Go followed by the popular CatScratch Fever. Encore gave rise to the superb Great White Buffalo. Raucous stuff from the Nuge, hot off the back of his Donnington set.
© James Masterson
Zappa Plays Zappa.
Vicar Street, Dublin , 4/6/2006
Balcony. Back, stage right.
Dweezil Zappa’s apparent tribute to his father’s musical achievements was never likely to realize his aspiration of introducing his music to a new generation: The majority of the crowd have owned items since before ‘You Can’t Do That On Stage Anymore’ and most probably since ‘Sheik Yerbouti’, however this did not undermine the quality and excitement of the retrospective evening.
Perhaps, if it was good enough for Napoleon Murphy Brock and Terry Bozzio (both former Mother’s), then it’s good enough for us and by the fun and energy Napoleon had on stage it was certainly good enough for him!
From this years release Imaginary Diseases (albeit recorded in 1972) to old stalwarts such as Montana, we were treated to superb renditions of the expected (Hungry Freaks, Daddy & King Kong) to the unpredictable (Inca Roads).
The Fan base was hardcore with a few happy to only hear ‘Don’t Eat The Yellow Snow’ but most singing every track word for word. This was commitment. The Black Page drum solo gave rise to the unquestionable highlight of the night – the electric entrance of Stevie Vai. The guitar solos went through the roof, along with the crowd, as Vai tore his way through the rest of the set including Peaches En Regalia.
The ever present Napoleon was professionally turning his hand to some great vocals, flute and outstanding sax, supported by 8 other exceptional musicians on stage, including Dweezil.
A night of breathtaking musicianship for the Zappa ‘experts’ only – but they did not seem to mind one bit!
© James Masterson
She walks the fine line
Rosanne Cash
Whelans, Dublin
2/06/2006
Until recently Rosanne Cash’s success was mainly confined to Nashville in the 1980’s. That all changed with this year’s exceptional album, Black Cadillac: about the loss of various family members and friends (most notably both parents). Undoubtedly her popularity is also not hindered by the success of the recent film about her father and his second wife. This should not detract from the real quality of her new songs and the consequent revival in her career. Something she is certainly enjoying.
Entering, not surprisingly, with the self penned title track from the album she gave us an unbitter tribute to her loves and loses. Not a new step, she had bared her soul on her 1993 album The Wheel, but that lacked the magic much of this record captures – perhaps why she is so unafraid to rely heavily on it for tonight’s set.
The second track of the evening was her 1987 hit ‘Runaway Train’ – a great opportunity to show off the skills of her current partner and guitarist – John Leventhal. But the evening was clearly a celebration of Black Cadillac – therefore she ploughed on with what was an early highlight – ‘Radio Operator’, then ‘The World Unseen’ and the powerful rock epic ‘Burn Down This Town’. Calling on highlights from her early career she gave us ‘Seven Year Ache’ and ‘September When It Comes’. Unashamedly the evening also featured cover versions, including Don Gibson’s ‘Sea Of Heartbreak’ and not surprisingly her fathers ‘Tennessee Flat Top Box’ – a song she has almost made her own since she covered it on ‘Kings Record Shop’ (1987). However despite some JC fans keen to hear her play Johnny Cash all night – this was an evening for Rosanne to make her mark on a Dublin crowd: Her father’s track was soon followed by the powerfully emotional tune from Black Cadillac – ‘House On the Lake’ (ironically another song about her parents!). Clearly intending to finish with her father’s ‘40 Shades of Green’ she was won over and brought to tears to hear the whole crowd singing it back to her word for word. This inspired her onto another of her father’s songs - long in her own repertoire – ‘Big River’. She finished this evenings set, not surprisingly, with something off her most recent album - ‘The Good Intent’– charting the Cash journey from 17th Century Scottish sailors to American farmers and finally to international musicians; and she certainly proved she sits in this category, alongside her father, on her own merit!
© James Masterson
Tom Russell
Live at Crawdaddy 30/5/06
View: Right at the back, Centre Back. Too close to the bar!!
Perhaps it was his understated entrance that immediately warmed one to the genial Tom Russell. Playing to a crowd of 150, his personal lack of success belies the number and array of people who have covered and been influenced by his tunes. His song writing skills are highlighted early on with renditions of his own greats Beautiful Trouble and probably his best known Stealin’ Electricity.
These were followed by one of his most humorous, and perhaps cynical, tracks Four Chambered Heart, (the one about the Crocodile and the lovers!). The powerful Mexican guitar barrage of Tonight We’ll Ride and Next Thing Smoking got most of those seated to their feet, however it was his ballad When Sinatra Played Juarez that was my own personal highlight.
Seldom does an artist talk almost constantly between songs about legends during a set and not sound like he’s name dropping, but at no point does this happen with Tom Russell. It is merely fascinating as he recounts mad drinking sessions with Dave Massingill and Dave Van Ronk. Even writing tracks with Peter Case or Dave Alvin, you never feel the usual urge to yawn, but are enthralled.
Talking about when he would chat to Buck Owens or how Ramblin Jack Elliot babysat for Woody Guthrie (baby sitting Arlo of course!) was a fascinating insight. Towards the end he played the track Nanci Griffiths recorded in 1986, the beautiful St. Olav’s Gate. However what could he play for encore to a Dublin crowd to leave them on a high note? When Irish Girls Grow Up. A great show from a songwriter of exceptional ability.
© James Masterson
Ramblin’ Jack Elliot
Whelans, Dublin 25/05/2006
Front, stage right – up close and personal.
“I am just more or less a song and dance man, I’ve written about four songs in my time” humbly declares Ramblin’ Jack Elliot, between tracks. However it is his subtle personal interpretation that makes this evening legend so popular among the cognoscente. He may belittle himself but he is the model of a walking talking Smithsonian Institute. Joined on stage by his talented support Mark Wright for two tracks the accumulated knowledge of folk songs was daunting!
He gives the feeling he picks tracks only minutes before going on stage (The Streets Of Laredo) and others even on stage during his anecdotes! So tonight by request he gave us ‘Mean Old Bed Bug Blues’, and was ever quick to credit Bessie Smith for what he described as her definitive version of that song.
However there were a couple of surprises – If I Were A Carpenter (Tim Hardin) and the above mentioned Streets Of Laredo as the unexpected opener. It was an evening of nods – Woody Guthrie (The Rangers Command), Louis Jordan (Salt Pork, West Virginia) and Leadbelly (Stew Ball).
But of course pride of place was held for Dylan references (Don’t Think Twice Its Alright & I'll Be Your Baby Tonight). But alas, despite requests, even from his very own daughter, no Tennessee Stud. Even this omission could not diminish the enjoyment of an intimate night watching the well soaked sponge of musical knowledge at work!!
© James Masterson
ROLLINS BACK THE YEARS
Henry Rollins 25 Years of Bullshit tour
Live At Vicar Street, Dublin
Henry Rollins’ ‘spoken word’ tours take the same format which, as time goes by, are becoming increasingly formulaic. This show had a clear agenda that could almost come directly from the US Tourist board. Rollins starts with the standard performers rant about ‘our’ current president. He assures us that this is a short observation “to get [American Politics] out of the way early”. However, after constant reference to it throughout the performance, 2 hours and 15 minutes later he concludes by asserting that ‘genuinely 99.9% of Americans are great, and that the 0.1 are running the country’. Whilst I am not sure about the % - I cannot dispute the sentiment.
That said the show as a whole is held together well by a series of anecdotes and witty observational stories that encompass other parts of the globe as well. We move smoothly from America and her current ‘problems’ to Rollins’ well publicized feeling of being constantly overlooked for the Australasian Big Day Out festival. His eventual invitation for the 2006 shows and the political problems he got himself into form an intelligent and well informed critique on post 9-11 society. Humorous and erudite throughout, albeit that he makes too many assumptions about his audience knowledge base, it is ignorance which Rollins fights against. And he does this admirably.
He gets the crowd laughing heartily at the stories about his recent jaunt on the Trans-Siberian Express. Diet, temperature and local characters all play their part in conveying an interesting and funny experience, climaxing with a Vladivostock Taxi driver recognising him from the 1994 MTV-friendly single ‘Liar’!
‘Shock And Awe ….’ Had been the title of his previous tour, ‘25 Years of Bullshit’ took a different angle – to amuse and inform, and here he succeeded.
© JAMES MASTERSON
ROLLINS BACK THE YEARS
Henry Rollins: 25 Years of Bullshit tour
Dublin Vicar Street 28/03/06,
View: Balcony Centre Back.
Henry Rollins’ ‘spoken word’ tours take the same format which, as time goes by, are becoming increasingly formulaic. This show had a clear agenda that could almost come directly from the US Tourist board. Rollins starts with the standard performers rant about ‘our’ current president. He assures us that this is a short outburst “to get [American Politics] out of the way early”. However, after constant reference to it throughout the performance, 2 hours and 15 minutes later he concludes by asserting that ‘genuinely 99.9% of Americans are great, and that the 0.1 are running the country’. Whilst I am not sure about the % - I cannot dispute the sentiment.
That said the show as a whole is held together well by a series of anecdotes and witty observational stories that encompass other parts of the globe as well. We move smoothly from America and her current ‘problems’ to Rollins’ well publicized feeling of being constantly overlooked for the Australasian Big Day Out festival. His eventual invitation for the 2006 shows and the political problems he got himself into form an intelligent and well informed critique on post 9-11 society. Humorous and erudite throughout, albeit that he makes too many assumptions about his audience knowledge base, it is ignorance which Rollins fights against. And he does this admirably.
He gets the crowd laughing heartily at the stories about his recent jaunt on the Trans-Siberian Express. Diet, temperature and local characters all play their part in conveying an interesting and funny experience, climaxing with a Vladivostock Taxi driver recognising him from the 1994 MTV-friendly single ‘Liar’!
‘Shock And Awe ….’ Had been the title of his previous tour, ‘25 Years of Bullshit’ took a different angle – to amuse and inform, and here he succeeded.
© JAMES MASTERSON
Martin Hayes and Dennis Cahill (with special guests)
16/03/2006
Dublin’s Vicar Street,
View: Table, centre back
A diverse and well informed audience greeted this celebration of Irish traditional music, on the eve of Saint Patrick’s Day, with respectful enthusiasm. Martin Hayes haunting fiddle was, as usual, effortlessly accompanied and enhanced by Dennis Cahill’s inventive guitar and mandolin. Reels, jigs, polkas and slow airs were performed with soulful beauty – almost changed out of all recognition! Hayes’s East Clare style of playing gained an extra element from his obvious love of classical, blues and jazz music.
With special guests Mick O’Brien on uilleann pipes and Mary MacNamara (another musician from East Clare!), a lively set was guaranteed. The sean nos singer Iarla O Lionard sang a few Irish songs, including a strange interpretation of Taimse i’m Chodhladh accompanied by an electric guitar. His voice, as always, crystal clear, melodic and evocative of ancient cultures.
The audience certainly appreciated and enjoyed the consummate musicianship of all involved, especially Martin Hayes. Yet perhaps this concert was mainly for those with an interest in Irish traditional music.
© James Masterson
‘Sinatra at the Palladium’
The Palladium.
10/03/2006
Front Stall, centre right
It is hard not to get nervous about a show by a man dead for 8 years. However, judging from the demographic of the crowd, the majority must have seen the man in the flesh decades earlier and nothing could dim their enthusiasm. The extensive coverage this show has received has ranged from highly critical to ardent praise yet the show itself is not a ‘classic’ show; lots of smart, well co-ordinated dancing and ‘character’ performances at the front of the stage anda 25 piece big band at the back. But it was the big screens dropping down at timely points with Ol’ Blues Eyes’ image on them that attracted most of the crowd. There was a healthy mix of familiar footage for tracks like One for my Baby (one more for the road), to completely new footage on I Get a Kick Out of You. Indeed One for my Baby saw classic footage interacting well with the performance on stage whilst other tracks were respectfully left to speak for themselves as the performance went almost unnoticed on the stage below.
That said the big band supporting the footage gave the feel of a live performance – all well timed, although on a couple of fleeting occasions the band and vocal were out of sync with the footage.
The show included performances from a number of periods but the songs are on the conservative kind – the classic greatest hits which can be purchased on a CD at the interval!
Perhaps the only genuine criticism of this show is the exclusive footage appears to be from only one show in the late 50’s – in fact an number of unreleased ABC preparatory sessions from 57 and 58 - but it is very well reproduced and the image is crisp and clear. A lot of effort had been put into bringing this into the digital age!
Even in death Frank Sinatra has come full circle – his first performances in England were at Palladium – two weeks of sell out shows in 1950 and so it is ironic that a show in his honour is here.
© James Masterson
Violent Femmes
Vicar Street, Dublin
25/2/2006
View: In the lap of the gods, centre balcony.
Perhaps one of the things which marks the Violent Femmes out from many other bands is the demographic of their crowds: All between 25 and 40 with no exceptions; all partisan, but never chin-stroking or indulgent. One of the great unsung heroes of Rock n roll with 26 years of experience hard on the road, year in year out, this band never seem to tire, nor do they ever make you feel like they are simply going through the motions.
The trio came out to boisterous applause with Victor De Lorenzo front centre stage where he stayed all evening, theatrical and flamboyant in his energetic drumming, giving the audience a focal point for their adoration and vigour.
Highlights were too many to mention in full but would include Country Death Song and the superb Freak Magnet.
This was not simply a greatest hits, however, they had even made the effort to learn Raglan Road for the local audience, a version albeit more punk than folk. Perhaps their biggest success of the evening though was to dispense with their big hit ‘Blister in the Sun’ almost in passing, during a mid set medley.
Seldom alone on stage, the band were supported by a wealth of professional musicians – all clearly enjoying the show – from saxophonist to banjo player the band and their contributors looked as privileged to be there as the crowd felt.
Perhaps it was only appropriate that after buzzing through Kiss Off for their encore they vowed to return as soon as possible – not soon enough for this loyal assembly.
© James Masterson
