Glen Campbell: The Rhinestone Cowboys Final Countdown
In My Arms indeed
Glen Campbell
Dublin, Convention Centre 19th November 2011
View: Front, Off centre Right.
Hailing from the wonderfully named Delight in Arkansas, the consummate old-school entertainer and performer Glen Campbell always lives up to his roots. “I really love doing this” he declares part way through tonight’s final date in Dublin. The absolute finality of the Goodbye Tour was perhaps never in doubt; however the touching sentimentality could not have been foreseen. From the get go of tonight’s show an almost constant stream of people wandered up to the bottom of the stage to shake his hand, much to the annoyance of many others in the audience!
Although he was looking at the autocue a lot more than previous years he really took it in his stride, like the consummate performer that he is. Campbell put in an excellent set overall – despite also being plagued by sound problems on the amps and a strange problem with auditorium lights mid set! However, amazingly - although the early stages of dementia were recognised in recent years - the nimble fingered guitar work during The Duelling Banjos and a cracking interpretation of Hank Williams Lovesick Blues was unaffected, indeed faultless. In fact he was still astounding on his 12 string guitar: a claim as true on his 1964 album as it is today!
Opening the set with Gentle on my Mind clearly implied an ironic statement or even a humourous observation about his current condition. Getting the albatross out of the way early on! His two crisp guitar solos proved that he had not lost his musical ability or memory, but it did nothing to stop the signs of his frailty (or perhaps demonstrated that his illness made him unsure of himself), with his hand visibly shaking at the beginning of his set.
However he soon made clear that he still possessed full talent and faculties as he gave brilliant renditions of his classic hits Galveston and Try a Little Kindness. True to form as well he was consistent in his gratitude to the phenomenal song writing skills of Jimmy Webb.
He took a well deserved mid-set rest by handing over to the family band for a song (Hey Little One) from his own Grammy Winning By the Time I Get To Phoenix. But he returned shortly with tracks from his new Ghost on the Canvas LP Including tracks by Teddy Thompson and Jakob Dylan, which were sentimental but solid. By the climax of Wichita Lineman and Rhinestone Cowboy this very sympathetic crowd were enthralled and applauded for a well deserved encore. The final track I will ever see Glen Campbell play live was ‘A Better Place’ and lets hope he finds it in his own time and at his own pace. “ I really love doing this” Well I love watching this.
Glen Campbell
Dublin, Convention Centre 19th November
1) Gentle on my mind
2) Galveston
3) Try a Little Kindness
4) It’s Only Make Believe (Conway Twitty or … Elvis! )
5) Where’s the Playground Suzie?
6) Dreams of the everyday housewife
7) By the time I get to Phoenix (lights Up)
8) Lovesick Blues
9) Duelling Banjos
10) Hey Little One (Dad off stage)
11) Ghost on the Canvas
12) It’s Your Amazing Grace (Lights down)
13) Don’t Go To Any Trouble
14) Southern Nights
15) The Moon is a harsh mistress
16) Wichita Lineman
17) Rhinestone Cowboy
Encore
18) "In My Arms" (Teddy Thompson) made very beatles esque
19) A Better Place
Dublin, Convention Centre 19th November 2011
View: Front, Off centre Right.
Hailing from the wonderfully named Delight in Arkansas, the consummate old-school entertainer and performer Glen Campbell always lives up to his roots. “I really love doing this” he declares part way through tonight’s final date in Dublin. The absolute finality of the Goodbye Tour was perhaps never in doubt; however the touching sentimentality could not have been foreseen. From the get go of tonight’s show an almost constant stream of people wandered up to the bottom of the stage to shake his hand, much to the annoyance of many others in the audience!
Although he was looking at the autocue a lot more than previous years he really took it in his stride, like the consummate performer that he is. Campbell put in an excellent set overall – despite also being plagued by sound problems on the amps and a strange problem with auditorium lights mid set! However, amazingly - although the early stages of dementia were recognised in recent years - the nimble fingered guitar work during The Duelling Banjos and a cracking interpretation of Hank Williams Lovesick Blues was unaffected, indeed faultless. In fact he was still astounding on his 12 string guitar: a claim as true on his 1964 album as it is today!
Opening the set with Gentle on my Mind clearly implied an ironic statement or even a humourous observation about his current condition. Getting the albatross out of the way early on! His two crisp guitar solos proved that he had not lost his musical ability or memory, but it did nothing to stop the signs of his frailty (or perhaps demonstrated that his illness made him unsure of himself), with his hand visibly shaking at the beginning of his set.
However he soon made clear that he still possessed full talent and faculties as he gave brilliant renditions of his classic hits Galveston and Try a Little Kindness. True to form as well he was consistent in his gratitude to the phenomenal song writing skills of Jimmy Webb.
He took a well deserved mid-set rest by handing over to the family band for a song (Hey Little One) from his own Grammy Winning By the Time I Get To Phoenix. But he returned shortly with tracks from his new Ghost on the Canvas LP Including tracks by Teddy Thompson and Jakob Dylan, which were sentimental but solid. By the climax of Wichita Lineman and Rhinestone Cowboy this very sympathetic crowd were enthralled and applauded for a well deserved encore. The final track I will ever see Glen Campbell play live was ‘A Better Place’ and lets hope he finds it in his own time and at his own pace. “ I really love doing this” Well I love watching this.
Glen Campbell
Dublin, Convention Centre 19th November
1) Gentle on my mind
2) Galveston
3) Try a Little Kindness
4) It’s Only Make Believe (Conway Twitty or … Elvis! )
5) Where’s the Playground Suzie?
6) Dreams of the everyday housewife
7) By the time I get to Phoenix (lights Up)
8) Lovesick Blues
9) Duelling Banjos
10) Hey Little One (Dad off stage)
11) Ghost on the Canvas
12) It’s Your Amazing Grace (Lights down)
13) Don’t Go To Any Trouble
14) Southern Nights
15) The Moon is a harsh mistress
16) Wichita Lineman
17) Rhinestone Cowboy
Encore
18) "In My Arms" (Teddy Thompson) made very beatles esque
19) A Better Place
Hayseed Dixie
Hayseed Dixie
Dublin, Crawdaddy 27th Oct 2011
View: Centre front.
Hayseed Dixie were supported by the competent local heroes, The Riptide Movement, who have had an outstanding year supporting Bon Jovi, Billy Bragg, and many more. Their exceptional vocalist raises the band above an Irish tribute southern rock band into a great warm-up act for these humourous hillbillies. Hayseed Dixie’s Appalachian bluegrass reinterpretations of rock classics wears thin after a while (this is the third time I have seen them) but the formula still works. By offering a Norwegian concept album they aim to constantly surprise and entertain.
Their version of the Beatles Strawberry Fields Forever was a surprise and slightly lighter than most of the chosen originals tonight, whilst a tight performance of the classic Bohemian Rhapsody worked well.
What is clear from the quartet on stage, though, is that they cannot believe their luck. They clearly love their job (touring the world playing live music) and this is what is so infectious even when the music does wear a bit thin. The tangent of Norwegian songs may not have worked wonders on the crowd, but it certainly gives them a reason to keep playing the same sorts of song and dance. The music remains the same as only one of the new tracks featured tonight this sentence is a bit unclear. Instead some good old fashion rockgrass gets this small crowd rocking.
No track listing for the gig this time – the Scrumpy jack got the better of me (well the fantastic heineken they do at the pod actually) but here is a selection of tracks played at the gig!
Dirty Deeds Done Dirt Cheap
Kirby Hill
You Shook Me All Night Long
Ace Of Spades
Walk This Way
Alien Abduction probe
Corn Liquor
Hells Bells
TNT
Bohemian Rhapsody
Strawberry Fields
I’m Keepin’ Your Poop
Dueling Banjos
Highway To Hell
Dublin, Crawdaddy 27th Oct 2011
View: Centre front.
Hayseed Dixie were supported by the competent local heroes, The Riptide Movement, who have had an outstanding year supporting Bon Jovi, Billy Bragg, and many more. Their exceptional vocalist raises the band above an Irish tribute southern rock band into a great warm-up act for these humourous hillbillies. Hayseed Dixie’s Appalachian bluegrass reinterpretations of rock classics wears thin after a while (this is the third time I have seen them) but the formula still works. By offering a Norwegian concept album they aim to constantly surprise and entertain.
Their version of the Beatles Strawberry Fields Forever was a surprise and slightly lighter than most of the chosen originals tonight, whilst a tight performance of the classic Bohemian Rhapsody worked well.
What is clear from the quartet on stage, though, is that they cannot believe their luck. They clearly love their job (touring the world playing live music) and this is what is so infectious even when the music does wear a bit thin. The tangent of Norwegian songs may not have worked wonders on the crowd, but it certainly gives them a reason to keep playing the same sorts of song and dance. The music remains the same as only one of the new tracks featured tonight this sentence is a bit unclear. Instead some good old fashion rockgrass gets this small crowd rocking.
No track listing for the gig this time – the Scrumpy jack got the better of me (well the fantastic heineken they do at the pod actually) but here is a selection of tracks played at the gig!
Dirty Deeds Done Dirt Cheap
Kirby Hill
You Shook Me All Night Long
Ace Of Spades
Walk This Way
Alien Abduction probe
Corn Liquor
Hells Bells
TNT
Bohemian Rhapsody
Strawberry Fields
I’m Keepin’ Your Poop
Dueling Banjos
Highway To Hell
Chris Smither. Hero and oft overlooked bastion of the blues.
Chris Smither, The Sugar Club Dublin 25th August 2011.
The work horse of American folk music and an unsung hero of an era, Chris Smither is a true bastion of the blues. Growing up surrounded by the sounds of Mississippi John Hurt and Lightening Hopkins he learnt from the best – and continues to pass on his wealth of knowledge and experience with a warmth and sincerity that is as fresh as his 66 years will allow! His gravelly voice and occasionally unclear diction are hangovers of an excessive lifestyle but he still revels in performing live and chatting with his partisan and passionate crowd.
He is a master song writer and a great performer of both his own songs and those of his heroes - a solid rendition of Dylan’s Visions of Johanna was for example well received. But the blues for him is a distant memory: comfortable in his old man mantel and settled family life. The intensity may be gone but a new confidence and assurance has replaced it. The classic No Love Today proves a popular number, though does not include his usual standard introduction – no need – this is a crowd who know him and his music well enough. Through two short sets we are entertained with a wealth of various selections from his back catalogue and new tracks.
Standards like Stateboro Blues sit comfortably alongside Leave The Light On.
Overall an entertaining evening of song, showcasing Smither massive back catalogue but the fact that he has lost his fire, whilst not detracting from the songs, as Billy Bragg would say – just because you’re going forwards doesn’t mean I’m going backwards – good stuff but not pushing any boundaries any time soon.
But the Sugar club was jammed to the rafters - and everyone left happy!
Tracklisting
Sorry – don’t know Chris’s back catalogue as well as I will in the future – only discovered this guy a few weeks ago! So here instead of a track list is a selection of tracks he definitely played!!
Killing the Blues
Crocodile Man
Origin Of Species
Stateboro Blues
Leave the Light On
Lola
No love Today
Visions of Johanna (Dylan)
Caveman
The work horse of American folk music and an unsung hero of an era, Chris Smither is a true bastion of the blues. Growing up surrounded by the sounds of Mississippi John Hurt and Lightening Hopkins he learnt from the best – and continues to pass on his wealth of knowledge and experience with a warmth and sincerity that is as fresh as his 66 years will allow! His gravelly voice and occasionally unclear diction are hangovers of an excessive lifestyle but he still revels in performing live and chatting with his partisan and passionate crowd.
He is a master song writer and a great performer of both his own songs and those of his heroes - a solid rendition of Dylan’s Visions of Johanna was for example well received. But the blues for him is a distant memory: comfortable in his old man mantel and settled family life. The intensity may be gone but a new confidence and assurance has replaced it. The classic No Love Today proves a popular number, though does not include his usual standard introduction – no need – this is a crowd who know him and his music well enough. Through two short sets we are entertained with a wealth of various selections from his back catalogue and new tracks.
Standards like Stateboro Blues sit comfortably alongside Leave The Light On.
Overall an entertaining evening of song, showcasing Smither massive back catalogue but the fact that he has lost his fire, whilst not detracting from the songs, as Billy Bragg would say – just because you’re going forwards doesn’t mean I’m going backwards – good stuff but not pushing any boundaries any time soon.
But the Sugar club was jammed to the rafters - and everyone left happy!
Tracklisting
Sorry – don’t know Chris’s back catalogue as well as I will in the future – only discovered this guy a few weeks ago! So here instead of a track list is a selection of tracks he definitely played!!
Killing the Blues
Crocodile Man
Origin Of Species
Stateboro Blues
Leave the Light On
Lola
No love Today
Visions of Johanna (Dylan)
Caveman
Sorry!
Sorry it has taken me over a month to post these! Mr bloody efficient!
Neil, passing a Diamond? Whatever it is it looks painful!
Diamond Geezer? Not really, just a nice bloke doing a good enough job!
Neil Diamond
Aviva (Lansdowne) Stadium 26th June 2011
Old Man Neil returns for another bitter sweet selection of classic hits. Which, of course included 'Sweet Caroline', 'Cracklin' Rosie' and 'Forever In Blue Jeans'
I have a confession to make: I like Neil Diamond’s greatest hits. There, I said it. I do feel slightly dirty after saying it – because he reminds me of a cheap suit – but there are moments when he veers close to that of a demi God. A man who has gotten glimpses of the whole of the moon.
So I like Neil Diamond’s Greatest Hits. Yet, somewhat anomalously, I am not a huge fan of greatest hits across the board feeling that you need to at least turn your ear to more tracks than that to admire the consistent greatness of any artist. However, Neil Diamond, the dark haired fox (surely from a bottle at his tender age of 70), has at points bordered on the self obsessed and introverted (just watch his remake of Jazz Singer). But the oft quoted 128 million record sales really can’t be wrong: sometimes his formula pays off. So it was tonight I found myself €100 worse off – but basking in glorious warmth and sunshine of the best day of the year so far watching a 40,000 (female heavy) crowd cheer on the man who writes romantic and uplifting songs with little stadium aura. He comes on stage to present his songs – not to woo a crowd. Perhaps the Ronseal of Pop, Diamond is happy to do exactly what is expected of him – no more, no less. A large percentage of the crowd are half cut on overpriced plastic bottles of grog, the other half just want to dance. And all seem to love it. I personally would have preferred a bit more interaction and less of what felt like a 20 minute rendition of the classic Sweet Caroline – but the house wives lapped it up ….. (note to self. don’t get too bitchy). The anonymous background band are overly professional – ensuring a note perfect evening, but this was not going down in history as an ‘I swear I was there’ any time soon.
Rough setlist for Neil Diamond at Aviva ? Not a fan or particularly knowledgeable beyond my 2 CD collection – so here it it! (my notes mixed with a bit of google!)
Aviva (Lansdowne) Stadium 26th June 2011
Old Man Neil returns for another bitter sweet selection of classic hits. Which, of course included 'Sweet Caroline', 'Cracklin' Rosie' and 'Forever In Blue Jeans'
I have a confession to make: I like Neil Diamond’s greatest hits. There, I said it. I do feel slightly dirty after saying it – because he reminds me of a cheap suit – but there are moments when he veers close to that of a demi God. A man who has gotten glimpses of the whole of the moon.
So I like Neil Diamond’s Greatest Hits. Yet, somewhat anomalously, I am not a huge fan of greatest hits across the board feeling that you need to at least turn your ear to more tracks than that to admire the consistent greatness of any artist. However, Neil Diamond, the dark haired fox (surely from a bottle at his tender age of 70), has at points bordered on the self obsessed and introverted (just watch his remake of Jazz Singer). But the oft quoted 128 million record sales really can’t be wrong: sometimes his formula pays off. So it was tonight I found myself €100 worse off – but basking in glorious warmth and sunshine of the best day of the year so far watching a 40,000 (female heavy) crowd cheer on the man who writes romantic and uplifting songs with little stadium aura. He comes on stage to present his songs – not to woo a crowd. Perhaps the Ronseal of Pop, Diamond is happy to do exactly what is expected of him – no more, no less. A large percentage of the crowd are half cut on overpriced plastic bottles of grog, the other half just want to dance. And all seem to love it. I personally would have preferred a bit more interaction and less of what felt like a 20 minute rendition of the classic Sweet Caroline – but the house wives lapped it up ….. (note to self. don’t get too bitchy). The anonymous background band are overly professional – ensuring a note perfect evening, but this was not going down in history as an ‘I swear I was there’ any time soon.
Rough setlist for Neil Diamond at Aviva ? Not a fan or particularly knowledgeable beyond my 2 CD collection – so here it it! (my notes mixed with a bit of google!)
- Soolaimon
- Beautiful Noise
- Forever in Blue Jeans
- Hello Again
- Shilo
- September Morn
- Red Red Wine
- Solitary Man
- Yes I Will
- Glory Road ???????
- Cherry Cherry
- Morningside ???????????????
- Aint no sunshine when she's gone
- I'm a Believer (ballad version) became a Rock-Version
- You Don't Bring Me Flowers (with Mary Byrne)
- Crunchy Granola Suite
- Sweet Caroline
- Sweet Caroline (reprise) Twice ?!?! (He knows he is onto a good thing!)
- Holly Holy
- Hell Yeah
- Cracklin' Rosie
- America
- Brother Love's Traveling Salvation Show
- I Am I Said
Ron Sexsmith, finally finding success and recognition, has it changed him?
Ron Sexsmith
Live Dublin Academy, 23rd June 2011
The nervous gangly Canadian singer songwriter returned to one of his self confessed favourite haunts. Sick of comparisons with Nick Drake he has finally found some personal success in his lifetime with the new LP, the appropriately titled Long Player Late Bloomer which was nearly played in its entirety. Almost lounge room country – but when did it become so catchy?
Tonight’s opening slot was by Delta Maid, who is a Scouser mad on country blues. Not earth shattering but solid set. (Though I thought she said Delta Mae which would have surely been a bit cooler?!) Country she said, country we got: but good country and even some upbeat blues! Her sintles are worth turning your ear to if that is your cuppa tea. But everyone was here for the main event. The recent success of his (Bob Rock produced) LP has given Ron Sexsmith the validation he has craved for a long while. However, perhaps the most amazing and real insight into his abilities is the varied selection of artists who have covered his tracks: Rod Stewart, Michael Bublé, k.d. lang, Chris Martin, Nick Lowe, Feist, The Brodsky Quartet (Elvis Costello), Anne Sofie von Otter, Emmylou Harris, Tom Jones and Mary Black, amongst many others (I intentionally left Curtis Stigers off!). Such validation and perhaps even some financial security have produced a slightly more professional sounding album than previous outings. I am not saying that is better – but it is certainly more popular. To many his song structure is still a little jarring and the performing style a little maudlin at points, which brings us to tonight. His message of love and understanding tangled with clear 60s pop melodies – is at points pleasant and even a bit too easy on the ear music, but that is balanced by his consciously ill-timed and strangely structured lyrics.
Hearts Desire and Wait in Line were an inauspicious opening – due to technical problems with the antique Vox amp – but these sound glitches appeared to have been quickly overcome (after much battering of the top of the amp!) Unfortunately all this off-stage action detracted slightly from the catchy and excellent Wait in Line. The appealing Brandy Alexander went down well with the crowd, almost prompting a singalong. We were even treated to his earliest ‘hit’ the subtle Speaking With the Angels, which was mesmerising, with a clear message. Following on from Emmylou Harris’ surprise recent cover of Hard Bargain Sexsmith gave us his own (original) version. Strawberry Blonde proved enthralling and popular whilst his pseudo vanity project (a song for Bing) with Gold In Them Hills was enchanting, but perhaps not Bing’s material …l had he even written it in time! . Overall the set was not faux, but sincere and childlike.
“I would vote for songwriting over therapy” Sexsmith once declared and tonight proved therapeutic for both him and this thronged Dublin crowd.
Live Dublin Academy, 23rd June 2011
The nervous gangly Canadian singer songwriter returned to one of his self confessed favourite haunts. Sick of comparisons with Nick Drake he has finally found some personal success in his lifetime with the new LP, the appropriately titled Long Player Late Bloomer which was nearly played in its entirety. Almost lounge room country – but when did it become so catchy?
Tonight’s opening slot was by Delta Maid, who is a Scouser mad on country blues. Not earth shattering but solid set. (Though I thought she said Delta Mae which would have surely been a bit cooler?!) Country she said, country we got: but good country and even some upbeat blues! Her sintles are worth turning your ear to if that is your cuppa tea. But everyone was here for the main event. The recent success of his (Bob Rock produced) LP has given Ron Sexsmith the validation he has craved for a long while. However, perhaps the most amazing and real insight into his abilities is the varied selection of artists who have covered his tracks: Rod Stewart, Michael Bublé, k.d. lang, Chris Martin, Nick Lowe, Feist, The Brodsky Quartet (Elvis Costello), Anne Sofie von Otter, Emmylou Harris, Tom Jones and Mary Black, amongst many others (I intentionally left Curtis Stigers off!). Such validation and perhaps even some financial security have produced a slightly more professional sounding album than previous outings. I am not saying that is better – but it is certainly more popular. To many his song structure is still a little jarring and the performing style a little maudlin at points, which brings us to tonight. His message of love and understanding tangled with clear 60s pop melodies – is at points pleasant and even a bit too easy on the ear music, but that is balanced by his consciously ill-timed and strangely structured lyrics.
Hearts Desire and Wait in Line were an inauspicious opening – due to technical problems with the antique Vox amp – but these sound glitches appeared to have been quickly overcome (after much battering of the top of the amp!) Unfortunately all this off-stage action detracted slightly from the catchy and excellent Wait in Line. The appealing Brandy Alexander went down well with the crowd, almost prompting a singalong. We were even treated to his earliest ‘hit’ the subtle Speaking With the Angels, which was mesmerising, with a clear message. Following on from Emmylou Harris’ surprise recent cover of Hard Bargain Sexsmith gave us his own (original) version. Strawberry Blonde proved enthralling and popular whilst his pseudo vanity project (a song for Bing) with Gold In Them Hills was enchanting, but perhaps not Bing’s material …l had he even written it in time! . Overall the set was not faux, but sincere and childlike.
“I would vote for songwriting over therapy” Sexsmith once declared and tonight proved therapeutic for both him and this thronged Dublin crowd.
- Heart’s Desire
- Wait in line
- The Reason why (from new LP)
- Thinking out Loud
- Hard Bargain (included because of Emmylou Harris's recent cover)
- That’s Just My Heart talking
- Believe it when i see it (new LP)
- Wastin Time
- Strawberry Blonde
- ??Michael and his Dad (‘Companion piece’ to Strawberry Blonde?)
- ??
- ?? Brandy Alexander
- Gold in them hills (for Bing Crosby)
- Tomorrow In Her Eyes
- Nowadays
- Heavenly
- Speaking with the angels
- Up the road
- Late Bloomer
- Hands of time
- ??
- Secret Heart
- Whatever It Takes (covered by Michael Bublé)
- Lebanon, Tennessee
- Every Time I Follow’
Super Cooper, Light weight Lep's
NWOBHM is right!
Def Leppard, Alice Cooper & Thin Lizzy
Dublin, The O2,
8th June 2011
The American glitz, glamour and accessories of Alice Cooper contrasted nicely with the no frills balls to the wall rock of Def Leppard.
A midweek treat at the O2 tonight. It may have been one of classic rocks most definitive ‘classic’ line ups, but it is just a slight shame that on most counts it was 20 + years too late. Thin Lizzy (minus Philo), Alice Cooper beyond his prime and Def Leppard old caricatures almost dead, make a combined age of somewhere near 1000! Personally I didn’t catch Thin Lizzy, but early doors meant I wasn’t alone there. It appeared that the new line up was certainly enjoyed by many and the greatest hits they offered was popular. If age is anything to go by though, experience certainly counted for a lot, especially in the case of Alice Cooper who knew how to entertain this festival atmosphere crowd. With rapier sharpened, snake in tow and guillotine showmanship he pulled out all the gimmicks to give this large Dublin audience an entertaining hour of popular songs – right down to the self deprecating effusiveness when playing the completely new I’ll Bite Your Face Off. Naturally Poison, towards the end of the set, prompted a large crescendo of cheers, but the celebratory Schools Out and Elected, complete with Tricolour waving, ensured this crowd enjoyed an unimaginative but highly entertaining evening of song. (Hey - if it ain’t broke don’t fix it!)
All that remained was for Def Leppard to rock the night until the early hours. Whilst they took a while to get rolling – even the classic cover Action (The Sweet) sounded a bit tiney and uninspiring early on - by the time they reached the fully fledged cock rock satire of Make Love Like a Man and the anthemic Love Bites they were in full flow. Their back catalogue doesn’t realty enable a full or rousing acoustic interlude, but they held that together well with Two Steps Behind and Bringin On The Heartbreak. If the first half of their set had been predominantly 90s hits, then during the second they tore through their 80’s classics. Hysteria, Armageddon it and Animal all prompted rousing cheers – whilst after the inevitable Pour Some Sugar On Me much of the crowd left happy. Rock Of Ages seemed a strangely understated track to finish on before a well received (and anticipated) encore of When Love and Hate Collide. Joe Elliot is of course a former resident of these parts – having teamed up with many Irish artists in the past well. After giving his all for the crowd he looked exhausted. So perhaps he should have known better - when the Union Flag was ‘greened up’ on the LCD screens in the background – was it to incite or just misjudged and consequently perhaps missed the target with many spectators. However overall a great night’s rawk was had by all.
Alice Cooper 3 guitarists & knew how to work a festival or support band crowd
1) The Black Widow
2) Brutal Planet
3) I’m Eighteen (livened up …. From here onwards on fire)
4) Billion Dollar Babies (well practiced flamboyant sabre rattle)
5) No More Mr Nice Guy
6) It Is My Body (complete with snake – ooh er missus!)
7) I’ll bite your face off (new song)
8) Cold Ethynol
9) Feed my Frankenstein
10) Clones We’re All
11) Poison
12) Wicked young man (complete with guillotine)
13) Killer (segement?)
14) I love the dead
15) Schools out
Encore
16) Elected
Def Leppard set list – included Sweet and David Essex covers…
1) Undefeated
2) Action (I want action)
3) Lets get rocked
4) Let It Go
5) Foolin’
6) Make Love Like a Man
7) Love Bites
8) Rock On
9) 2 steps behind (acoustic)
10) Bringin On the Heartbreak (acoustic)
11) Switch 625
(?Rock It Addict ? )
12) Rocket
13) Hysteria
14) Armageddon it
15) Animal
16) Photograph
17) Pour Some Sugar on me
18) Rock Of Ages (curious understated number to finish on) but for contrived ‘encore’!
Encore
19) When Love and Hate collide
20) Wasted
Dublin, The O2,
8th June 2011
The American glitz, glamour and accessories of Alice Cooper contrasted nicely with the no frills balls to the wall rock of Def Leppard.
A midweek treat at the O2 tonight. It may have been one of classic rocks most definitive ‘classic’ line ups, but it is just a slight shame that on most counts it was 20 + years too late. Thin Lizzy (minus Philo), Alice Cooper beyond his prime and Def Leppard old caricatures almost dead, make a combined age of somewhere near 1000! Personally I didn’t catch Thin Lizzy, but early doors meant I wasn’t alone there. It appeared that the new line up was certainly enjoyed by many and the greatest hits they offered was popular. If age is anything to go by though, experience certainly counted for a lot, especially in the case of Alice Cooper who knew how to entertain this festival atmosphere crowd. With rapier sharpened, snake in tow and guillotine showmanship he pulled out all the gimmicks to give this large Dublin audience an entertaining hour of popular songs – right down to the self deprecating effusiveness when playing the completely new I’ll Bite Your Face Off. Naturally Poison, towards the end of the set, prompted a large crescendo of cheers, but the celebratory Schools Out and Elected, complete with Tricolour waving, ensured this crowd enjoyed an unimaginative but highly entertaining evening of song. (Hey - if it ain’t broke don’t fix it!)
All that remained was for Def Leppard to rock the night until the early hours. Whilst they took a while to get rolling – even the classic cover Action (The Sweet) sounded a bit tiney and uninspiring early on - by the time they reached the fully fledged cock rock satire of Make Love Like a Man and the anthemic Love Bites they were in full flow. Their back catalogue doesn’t realty enable a full or rousing acoustic interlude, but they held that together well with Two Steps Behind and Bringin On The Heartbreak. If the first half of their set had been predominantly 90s hits, then during the second they tore through their 80’s classics. Hysteria, Armageddon it and Animal all prompted rousing cheers – whilst after the inevitable Pour Some Sugar On Me much of the crowd left happy. Rock Of Ages seemed a strangely understated track to finish on before a well received (and anticipated) encore of When Love and Hate Collide. Joe Elliot is of course a former resident of these parts – having teamed up with many Irish artists in the past well. After giving his all for the crowd he looked exhausted. So perhaps he should have known better - when the Union Flag was ‘greened up’ on the LCD screens in the background – was it to incite or just misjudged and consequently perhaps missed the target with many spectators. However overall a great night’s rawk was had by all.
Alice Cooper 3 guitarists & knew how to work a festival or support band crowd
1) The Black Widow
2) Brutal Planet
3) I’m Eighteen (livened up …. From here onwards on fire)
4) Billion Dollar Babies (well practiced flamboyant sabre rattle)
5) No More Mr Nice Guy
6) It Is My Body (complete with snake – ooh er missus!)
7) I’ll bite your face off (new song)
8) Cold Ethynol
9) Feed my Frankenstein
10) Clones We’re All
11) Poison
12) Wicked young man (complete with guillotine)
13) Killer (segement?)
14) I love the dead
15) Schools out
Encore
16) Elected
Def Leppard set list – included Sweet and David Essex covers…
1) Undefeated
2) Action (I want action)
3) Lets get rocked
4) Let It Go
5) Foolin’
6) Make Love Like a Man
7) Love Bites
8) Rock On
9) 2 steps behind (acoustic)
10) Bringin On the Heartbreak (acoustic)
11) Switch 625
(?Rock It Addict ? )
12) Rocket
13) Hysteria
14) Armageddon it
15) Animal
16) Photograph
17) Pour Some Sugar on me
18) Rock Of Ages (curious understated number to finish on) but for contrived ‘encore’!
Encore
19) When Love and Hate collide
20) Wasted
Alice Cooper, chained to second place behind the headliners Def Lep.
Goddess in the Doorway
Anais Mitchell.
Anais Mitchell
Dublin, Sugar club , 3rd June 2011
Ably supported by local boy David Burke
This sparsely attended gig belies how phenomenal Anais Mitchell’s most recent album (2010’s Hadestown) really is. Her other albums may be almost exclusively well presented singer songwriter fodder at points, but her current, perfectly formed, creation is a work of genius. Although her vocals complete with child-like lisp can at points be like Veruca Salt (not the 90s band but the original Willy Wonka’s Charlie and the Chocolate Factory performer!) there is no denying that her affected manner is sincere and overall her music intelligent.
With Michael Chorney on guitar (orchestral arranger on the album) she works her way through much from Hadestown, but also many of her older tracks – some specifically requested by this devoted audience. Opening with the Wedding Song she thrived on the energy of this crowd. The simple call and response of Why We Build the Wall (including sporadic backing vocals from the crowd) was simple but chillingly effective. Her gangly performance style and nervous mannerisms are highlighted on tracks like the emotionally astute Cosmic American, whilst her lyrical intelligence comes out in full abundance on more recent tracks like If It’s True.
She was genuinely disappointed by the size of the crowd, but humbled by the depth of knowledge they possessed and seemed sincerely flattered by the vociferous second encore which could have turned into three if she had allowed it! Instead she closed all chance with a sing-along version of Leadbelly’s Goodnight Irene.
Setlist
1) Wedding song
2) I Raise my cup to Him (on LP featuring Ani Defranco)
3) Namesake
4) He Said
5) Out of Pawn
6) ????? Love you love you .. he did he did Your daddy was a Farmer
7) If Its true (highlights her lyrical intelligence)
8) Flowers (Eurydice's Song)
9) Why We Build the Wall (invited request)
10) The Shepherd's Song
11) ????? Oh Mother shelter us
12) Of a Friday night
13) When your ship comes in
E1
14) Cosmic American
15) Way Down Hadestown
E2
16) Changer
17) Goodnight Irene
Dublin, Sugar club , 3rd June 2011
Ably supported by local boy David Burke
This sparsely attended gig belies how phenomenal Anais Mitchell’s most recent album (2010’s Hadestown) really is. Her other albums may be almost exclusively well presented singer songwriter fodder at points, but her current, perfectly formed, creation is a work of genius. Although her vocals complete with child-like lisp can at points be like Veruca Salt (not the 90s band but the original Willy Wonka’s Charlie and the Chocolate Factory performer!) there is no denying that her affected manner is sincere and overall her music intelligent.
With Michael Chorney on guitar (orchestral arranger on the album) she works her way through much from Hadestown, but also many of her older tracks – some specifically requested by this devoted audience. Opening with the Wedding Song she thrived on the energy of this crowd. The simple call and response of Why We Build the Wall (including sporadic backing vocals from the crowd) was simple but chillingly effective. Her gangly performance style and nervous mannerisms are highlighted on tracks like the emotionally astute Cosmic American, whilst her lyrical intelligence comes out in full abundance on more recent tracks like If It’s True.
She was genuinely disappointed by the size of the crowd, but humbled by the depth of knowledge they possessed and seemed sincerely flattered by the vociferous second encore which could have turned into three if she had allowed it! Instead she closed all chance with a sing-along version of Leadbelly’s Goodnight Irene.
Setlist
1) Wedding song
2) I Raise my cup to Him (on LP featuring Ani Defranco)
3) Namesake
4) He Said
5) Out of Pawn
6) ????? Love you love you .. he did he did Your daddy was a Farmer
7) If Its true (highlights her lyrical intelligence)
8) Flowers (Eurydice's Song)
9) Why We Build the Wall (invited request)
10) The Shepherd's Song
11) ????? Oh Mother shelter us
12) Of a Friday night
13) When your ship comes in
E1
14) Cosmic American
15) Way Down Hadestown
E2
16) Changer
17) Goodnight Irene
The Anais Mitchell (Bruce Springsteen) pose. Thanks to Dara Costello for these great photos.
Loud 'n proud.
Loudon Wainwright III
Dublin, Olympia Theatre, 28th May 2011
In the beginning fate created what looked like being a painfully small crowd.* Clashing at it did with the Champions League Final (Barca v’s Man United), Kings of Leon at Slane (80,000) and Emmylou Harris in the Grand Canal it was a wonder that these hardcore devotes turned up to Loudon Wainwright at all! However, a crowd did start to gather during Lucy Wainwright Roche’s supporting set. And the headliner’s daughter gave us her own pleasant repertoire in a neat and professional manner: from tracks like the soft Best Western and a sing-along cover of the boss’s Hungry Heart. Fortunately the crowd grew to a respectable level however the obvious prioritising did serve to sort the wheat from the chaff: There was no excessive talking from this devoted crowd, who passionately wanted to be there and, as became clear, in most cases knew a healthy amount of Loudon’s back catalogue. Though most weren’t always aware of the New Depression songs (which he shamelessly plugged in the foyer now)! And yet it was depression songs which were most appropriate and apt to recession struck Ireland. The simple inverted joy of House (don’t know it give it a listen!) was touching.
I once heard Billy Bragg say he had lived all his songs and they were real (I have never had a chance to ask him if he did have an uncle who played for Red Star Begrade) but you get the impression that the sincerity of LWIII is genuine and authentic.
Comedy, community and commentary flow through Loudon’s country folk. Seeing him perform as his songs one realises that the act is is clearly a well oiled art, but also a cathartic experience for the man himself.
*Thanks to the writer of Genesis for the ‘inspiration’ for this.
1) ?,,,, (My Dog Misses me…being a ghost)
2) Older Than My Old Man Now ~(climbing blues)
3) guilty conscience and a broken heart
4) Half Fist (Combine love and death)
5) The Panic is on
6) House (Country folk)
7) So Damn Happy
8) Unrequited to the Nth Degree
9) The World (is a terrible place)
10) High Wide and Handsome
11) White Wino
12) That Cross (Flowers side of road )
13) Love Hurts (reference to Emmylou playing locally tonight) with LWR
14) It’s a family
15) Please Remember My Song
16) He Said, She Said
17) My Meds
18) The Picture
19) Unhappy Anniversary
20) Daughter (the Daughter Song)
21) Tip that Waitress
22) ?…….. (I know you’re in a hurry, I know you’re late for work? Homeless in this station? [not homeless])
23) Middle of the Night
Encore 1
24) Swimming Song
Encore 2
25) Beautiful (Barney Warren track from 1897)
26) Something’s Out To Get Me
Dublin, Olympia Theatre, 28th May 2011
In the beginning fate created what looked like being a painfully small crowd.* Clashing at it did with the Champions League Final (Barca v’s Man United), Kings of Leon at Slane (80,000) and Emmylou Harris in the Grand Canal it was a wonder that these hardcore devotes turned up to Loudon Wainwright at all! However, a crowd did start to gather during Lucy Wainwright Roche’s supporting set. And the headliner’s daughter gave us her own pleasant repertoire in a neat and professional manner: from tracks like the soft Best Western and a sing-along cover of the boss’s Hungry Heart. Fortunately the crowd grew to a respectable level however the obvious prioritising did serve to sort the wheat from the chaff: There was no excessive talking from this devoted crowd, who passionately wanted to be there and, as became clear, in most cases knew a healthy amount of Loudon’s back catalogue. Though most weren’t always aware of the New Depression songs (which he shamelessly plugged in the foyer now)! And yet it was depression songs which were most appropriate and apt to recession struck Ireland. The simple inverted joy of House (don’t know it give it a listen!) was touching.
I once heard Billy Bragg say he had lived all his songs and they were real (I have never had a chance to ask him if he did have an uncle who played for Red Star Begrade) but you get the impression that the sincerity of LWIII is genuine and authentic.
Comedy, community and commentary flow through Loudon’s country folk. Seeing him perform as his songs one realises that the act is is clearly a well oiled art, but also a cathartic experience for the man himself.
*Thanks to the writer of Genesis for the ‘inspiration’ for this.
1) ?,,,, (My Dog Misses me…being a ghost)
2) Older Than My Old Man Now ~(climbing blues)
3) guilty conscience and a broken heart
4) Half Fist (Combine love and death)
5) The Panic is on
6) House (Country folk)
7) So Damn Happy
8) Unrequited to the Nth Degree
9) The World (is a terrible place)
10) High Wide and Handsome
11) White Wino
12) That Cross (Flowers side of road )
13) Love Hurts (reference to Emmylou playing locally tonight) with LWR
14) It’s a family
15) Please Remember My Song
16) He Said, She Said
17) My Meds
18) The Picture
19) Unhappy Anniversary
20) Daughter (the Daughter Song)
21) Tip that Waitress
22) ?…….. (I know you’re in a hurry, I know you’re late for work? Homeless in this station? [not homeless])
23) Middle of the Night
Encore 1
24) Swimming Song
Encore 2
25) Beautiful (Barney Warren track from 1897)
26) Something’s Out To Get Me
Thanks to Dara Costello for these cracking photos of Loudon. WIII
The Radiant Gemma Hayes. Thanks to Dara Costello for this cracking photo.
Intimate, sincere, and over here. The passion of the VDP.
Van Dyke Parks
Dublin, Button Factory
15th May 2011
The support for tonight’s gig, Clare and the Reasons, performed a quirky and entertaining set which included the highlight of a guest appearance from Duke Special (Peter Wilson).
“I am happy to live my life in reflective glory”, declared Van Dyke Parks at the beginning of tonight’s musical overview of his career. In maturity Van Dyke captures less of his wide eyed excitement of the 60s Smile and more embittered cynicism of the fallacy of the American dream in the form of Black Gold.
Probably most famous for his work with Brian Wilson in the 60s and again in the 90’s this 68 year old is spritely, pragmatic and pleasant. Both before and after the short (one hour) set he is out in the crowd meeting and greeting with obvious enjoyment. That may wear off – after all this was the opening night of his (short 5 night) tour of Europe - but I doubt it. Backed by Clare Manchon’s 3 piece band, the Reasons, his performance was solid.
Parks himself, as well as working with Wilson and the Beach Boys, is also responsible for Randy Newman and Ry Cooder’s first recordings as well as more recently Joanna Newsom first album. But whilst his writing is often faultless, his presence sometimes just lacks the entertaining edge of Randy Newman. He is skilled in his performance, if uncharismatic. It all sounds a little music hall and musical songs, almost classical at points, but an entertaining evening overall.
A popular number with the crowd was the Wilson duet ‘Orange Crate Art’. ‘My only regret is that more people clapped than bought the darn thing’ declared Van Dyke with a smile before ploughing into it. Sweeter love songs such as Wings of A Dove and the heart warming Delta Queen Waltz (dedicated to his wife) were poignant and tender.
“There is no shelter in the arts” declared Van Dyke referencing Vic Chesnutt. This gentle man is aware often of his own failings and grateful for, and to, those in attendance. Touching, not earth shattering.
Set List
1) Jump?
2) Opportunity for Two Sad Song? Jump! The Adventures Of Brer Rabbit.
3) Come Along
4) Orange Crate Art
5) Black Gold
6) FDR In Trinidad
7) Danza
8) The Delta Queen Waltz
9) Wings of a Dove
10) Cowboy (about situation in Hawaii)
11) The Attic (written when he was 21)
12) Heroes and villains (not as sharp as Beach Boys version – bit more avant garde!!) Clare Manchon
13) Sail Away
Encore
14) The All Golden
Then back out amongst the crowd – shaking nearly ever persons hand as they left!
Dublin, Button Factory
15th May 2011
The support for tonight’s gig, Clare and the Reasons, performed a quirky and entertaining set which included the highlight of a guest appearance from Duke Special (Peter Wilson).
“I am happy to live my life in reflective glory”, declared Van Dyke Parks at the beginning of tonight’s musical overview of his career. In maturity Van Dyke captures less of his wide eyed excitement of the 60s Smile and more embittered cynicism of the fallacy of the American dream in the form of Black Gold.
Probably most famous for his work with Brian Wilson in the 60s and again in the 90’s this 68 year old is spritely, pragmatic and pleasant. Both before and after the short (one hour) set he is out in the crowd meeting and greeting with obvious enjoyment. That may wear off – after all this was the opening night of his (short 5 night) tour of Europe - but I doubt it. Backed by Clare Manchon’s 3 piece band, the Reasons, his performance was solid.
Parks himself, as well as working with Wilson and the Beach Boys, is also responsible for Randy Newman and Ry Cooder’s first recordings as well as more recently Joanna Newsom first album. But whilst his writing is often faultless, his presence sometimes just lacks the entertaining edge of Randy Newman. He is skilled in his performance, if uncharismatic. It all sounds a little music hall and musical songs, almost classical at points, but an entertaining evening overall.
A popular number with the crowd was the Wilson duet ‘Orange Crate Art’. ‘My only regret is that more people clapped than bought the darn thing’ declared Van Dyke with a smile before ploughing into it. Sweeter love songs such as Wings of A Dove and the heart warming Delta Queen Waltz (dedicated to his wife) were poignant and tender.
“There is no shelter in the arts” declared Van Dyke referencing Vic Chesnutt. This gentle man is aware often of his own failings and grateful for, and to, those in attendance. Touching, not earth shattering.
Set List
1) Jump?
2) Opportunity for Two Sad Song? Jump! The Adventures Of Brer Rabbit.
3) Come Along
4) Orange Crate Art
5) Black Gold
6) FDR In Trinidad
7) Danza
8) The Delta Queen Waltz
9) Wings of a Dove
10) Cowboy (about situation in Hawaii)
11) The Attic (written when he was 21)
12) Heroes and villains (not as sharp as Beach Boys version – bit more avant garde!!) Clare Manchon
13) Sail Away
Encore
14) The All Golden
Then back out amongst the crowd – shaking nearly ever persons hand as they left!
Van Dyke Parks, The Caretaker Commands!
Lookin' back ,on the track, for a little green bag
Dad, Mum.... It's a Family affair. But we've got the quiffs - one up on the old people!
Kitty Daisy & Lewis.
Thursday 5th May, Dublin, Button Factory
Right at the front of this great performance.
There is nothing new about Kitty Daisy & Lewis – their sound is retro and their look is consciously nostalgic. Even in their recording methods they pay a conscious homage to a superior (?) age. But this family five piece band work brilliantly both on shellac and on stage. Perhaps because of the more complicated slant to their new LP they change instruments more than Madonna changes outfits, indeed regular drummer rotation detracted slightly from the performance. But their sound and performance are exciting. Aided by their dad (Graeme Durham) and mum (Ingrid Weiss) on guitar and double bass respectively, siblings Kitty, Daisy and Lewis treat this enthusiastic crowd to an evening of songs from their debut LP and the soon to be released follow up, which if tonight is anything to go by will be more ska than the rock ‘n’ roll of their debut. Complete with the surprise guesting of reggae Jamaican trumpet player Eddie "Tan Tan" Thornton (of Georgie Fame and the Blue Flames) on Tomorrow amongst others.
However, Going Up Country (originally ‘written’ by Henry Thomas – not Canned Heat) was one of the most popular of the evening. Newer tracks like the recent double single Mean Son Of A Gun and I’m Going Back held their own as openers. However later in the show the new Messing With My Life definitely had hit single written over it (though note from editor – my ability to predict hits is as good as my ability to part the waters….). Regardless – a great exciting set that bodes well for their new album and their future.
Setlist
Thursday 5th May, Dublin, Button Factory
Right at the front of this great performance.
There is nothing new about Kitty Daisy & Lewis – their sound is retro and their look is consciously nostalgic. Even in their recording methods they pay a conscious homage to a superior (?) age. But this family five piece band work brilliantly both on shellac and on stage. Perhaps because of the more complicated slant to their new LP they change instruments more than Madonna changes outfits, indeed regular drummer rotation detracted slightly from the performance. But their sound and performance are exciting. Aided by their dad (Graeme Durham) and mum (Ingrid Weiss) on guitar and double bass respectively, siblings Kitty, Daisy and Lewis treat this enthusiastic crowd to an evening of songs from their debut LP and the soon to be released follow up, which if tonight is anything to go by will be more ska than the rock ‘n’ roll of their debut. Complete with the surprise guesting of reggae Jamaican trumpet player Eddie "Tan Tan" Thornton (of Georgie Fame and the Blue Flames) on Tomorrow amongst others.
However, Going Up Country (originally ‘written’ by Henry Thomas – not Canned Heat) was one of the most popular of the evening. Newer tracks like the recent double single Mean Son Of A Gun and I’m Going Back held their own as openers. However later in the show the new Messing With My Life definitely had hit single written over it (though note from editor – my ability to predict hits is as good as my ability to part the waters….). Regardless – a great exciting set that bodes well for their new album and their future.
Setlist
- Mean Son Of A Gun
- I’m Going Back
- Make A Fool Out Of Me
- Polly Put the Kettle On
- The Love I had has turned to pain Will I Ever ?
- Reconsidered Darlin’ ? . Buggin' Blues
- I’m So Sorry
- (Baby) Hold Me Tight (Left my baby all alone)
- From New LP Ska direction - ‘Tomorrow’ ?
- Messing with my life (A potential hit?)
- Going up country
- I’m Coming Home
- Baby Don't You Know About Me
Sartainian Elegance
Dan Sartain
Button Factory
Friday 29th April
View: Up front and personal.
Tonight’s set from the persona driven Sartain was part solo, part band. This well attended free gig in the city centre of Dublin is bound to increase his standing, but was a complete change from previous tours. Last time around was a rockabilly set with the band. This was pure punk. Having ably walked around the crowd and chatted to members of the audience Sartain unassumingly sauntered onto the stage. In theory he is promoting his very own ‘Basement Tapes’ containing alternate versions, outtakes and unheard tracks, some even pre-dating his earliest elusive self produced and self released albums Crimson Guard (2001) and Romance In Stereo’(2002). However, none of those tracks featured tonight! Instead we started with a solo set complete with Walk Among The Cobras and the popular Atheist Funeral, as well as a brace of Roy Rogers numbers (including Blue Prairie and Dust).
One of his more popular numbers The Flight Of The Finch didn’t feature tonight– but during a ‘requests’ section he did deliver on Totem Pole and This World Is Gonna Break your Little Heart. With ‘This World …..’ he initially felt it was necessary to inform his audience that he didn’t feel that way anymore, indeed there was a buoyancy to his performance with less the weight of the world and more enjoyment of its bounty.
There’s nothing like your first time and breaking my cherry with Dan Sartain in 2010 was a fittingly memorable event – so tonight was never going to recreate that to the same effect, but this free gig was excellent none the less. And tonight’s driving punk for the second half of the set showed just how diverse and exciting his performance can be. Short, compact but a great time.
Button Factory
Friday 29th April
View: Up front and personal.
Tonight’s set from the persona driven Sartain was part solo, part band. This well attended free gig in the city centre of Dublin is bound to increase his standing, but was a complete change from previous tours. Last time around was a rockabilly set with the band. This was pure punk. Having ably walked around the crowd and chatted to members of the audience Sartain unassumingly sauntered onto the stage. In theory he is promoting his very own ‘Basement Tapes’ containing alternate versions, outtakes and unheard tracks, some even pre-dating his earliest elusive self produced and self released albums Crimson Guard (2001) and Romance In Stereo’(2002). However, none of those tracks featured tonight! Instead we started with a solo set complete with Walk Among The Cobras and the popular Atheist Funeral, as well as a brace of Roy Rogers numbers (including Blue Prairie and Dust).
One of his more popular numbers The Flight Of The Finch didn’t feature tonight– but during a ‘requests’ section he did deliver on Totem Pole and This World Is Gonna Break your Little Heart. With ‘This World …..’ he initially felt it was necessary to inform his audience that he didn’t feel that way anymore, indeed there was a buoyancy to his performance with less the weight of the world and more enjoyment of its bounty.
There’s nothing like your first time and breaking my cherry with Dan Sartain in 2010 was a fittingly memorable event – so tonight was never going to recreate that to the same effect, but this free gig was excellent none the less. And tonight’s driving punk for the second half of the set showed just how diverse and exciting his performance can be. Short, compact but a great time.
- Whatcha Gonna Do?
- Dust (Roy Rogers)
- Walk among the Cobras
- Atheist Funeral
- Hangers On
- Indian Massacre
- ?
- Blue Prairie (Sons of the Pioneers with Roy Rogers)
- AutoPilot
- Tryin to Say
- Totem Pole
- This World Is Gonna Break your little heart (I don’t feel that way anymore)
- Gun V’s Knife
- 'I Don't Wanna Go To The Party'
- Im gonna make you mine baby (Ramones Esque)
- Nothing (Pistols esque)
- I hate shops (Swap Me?)
- Boo Hoo Hoo
- Fuck Friday
Geordie Joy
The Unthanks Live
Vicar Street
9th April 2011
View: Centre, Middle of balcony.
Celebrated sister act The Unthanks opening night of their Irish tour was the in the well attended venue of Dublin’s Vicar St. Their development to such a large, respected venue has been a slow process. Their debut won Mojo magazine’s Folk Album of the Year; whilst the follow up, The Bairns, was nominated for the Best Album Award at the BBC Folk Awards 2008 as well as the Mercury Music Prize.
Building up slowly has done them no harm – on such a big stage the band appeared
unintimidated, even fearless. Classical arrangements and strings gave a new dynamic to their expanded show. At centre stage, the likeable Unthank sisters retained a schoolgirl charm and excitement about the whole affair.
Track selection for tonight’s set is dominated by this most recent release, album four, Last (see below setlist). Not, Becky assured me in a recent interview, actually their last album, simply the title of the lead track! There is a formula to the Unthanks’ music – grand opening introducing the sister’s vocal duet followed by solo instrument, then an appropriate crescendo often echoed by the climax in the story line as well. Nor is this the first time I have seen them, therefore I was slightly concerned that the classical arrangements would only over-burden the evening.
For this tour, the Unthanks comprise of a ten piece with four string set on an elevated background and trumpet piano as well as bass and drums. Overall their product is beautiful but not in a ‘fragile artist’ way – merely a well presented analytical recording of history for posterity by two well adjusted middle class girls! Not only do Rachel and Becky have powerful, sonorous voices that immediately make you feel on an intimate setting with the singer and song, but they are also passing on important fragments of oral history.
Tonight’s audience were treated to an excellent balance of humour, interspersed with professionalism and a solid musical performance. Becky changes shoes more times than Axl Rose and Elton John does clothes mid set in order to jump between clog dancing and standing heals (with pregnant Rachel regrettably unable to perform full dancing).
It is important to note how much they play with their cover versions – from the slightly twee Alex Glasgow’s Close The Coalhouse door to the prog rock of King Crimsons Starless are done starkly different to the originals. Confirming that the Unthanks are as fearless with their interpretations, as they are comfortable with their own inimitable charm. A great set from a growing (in more ways than one – har har!) band.
1) Last
2) Gan To The Kye
3) Queen Of Hearts
4) The Gallowgate Lad (becky lead)
5) Lucky Gilchrist (Becky Clogs)
6) Better Be A Maiden than a poor man’s wife (off mike)
7) No one knows I’m gone (T Waits)
8) Give Away Your Heart (John Redfern)
9) Sad February
10) Great Northern River (from the recent film soundtrack they did one night only in Newcastle)
11) Canny Hobbie Elliot (Becky Clogs)
12) Close the Coal House Door (by The Wilsons)
13) Starless (King Crimson)
Encore
14) Fairwheel Regality (sounds like Purple Heather)
15) Blackbird
Vicar Street
9th April 2011
View: Centre, Middle of balcony.
Celebrated sister act The Unthanks opening night of their Irish tour was the in the well attended venue of Dublin’s Vicar St. Their development to such a large, respected venue has been a slow process. Their debut won Mojo magazine’s Folk Album of the Year; whilst the follow up, The Bairns, was nominated for the Best Album Award at the BBC Folk Awards 2008 as well as the Mercury Music Prize.
Building up slowly has done them no harm – on such a big stage the band appeared
unintimidated, even fearless. Classical arrangements and strings gave a new dynamic to their expanded show. At centre stage, the likeable Unthank sisters retained a schoolgirl charm and excitement about the whole affair.
Track selection for tonight’s set is dominated by this most recent release, album four, Last (see below setlist). Not, Becky assured me in a recent interview, actually their last album, simply the title of the lead track! There is a formula to the Unthanks’ music – grand opening introducing the sister’s vocal duet followed by solo instrument, then an appropriate crescendo often echoed by the climax in the story line as well. Nor is this the first time I have seen them, therefore I was slightly concerned that the classical arrangements would only over-burden the evening.
For this tour, the Unthanks comprise of a ten piece with four string set on an elevated background and trumpet piano as well as bass and drums. Overall their product is beautiful but not in a ‘fragile artist’ way – merely a well presented analytical recording of history for posterity by two well adjusted middle class girls! Not only do Rachel and Becky have powerful, sonorous voices that immediately make you feel on an intimate setting with the singer and song, but they are also passing on important fragments of oral history.
Tonight’s audience were treated to an excellent balance of humour, interspersed with professionalism and a solid musical performance. Becky changes shoes more times than Axl Rose and Elton John does clothes mid set in order to jump between clog dancing and standing heals (with pregnant Rachel regrettably unable to perform full dancing).
It is important to note how much they play with their cover versions – from the slightly twee Alex Glasgow’s Close The Coalhouse door to the prog rock of King Crimsons Starless are done starkly different to the originals. Confirming that the Unthanks are as fearless with their interpretations, as they are comfortable with their own inimitable charm. A great set from a growing (in more ways than one – har har!) band.
1) Last
2) Gan To The Kye
3) Queen Of Hearts
4) The Gallowgate Lad (becky lead)
5) Lucky Gilchrist (Becky Clogs)
6) Better Be A Maiden than a poor man’s wife (off mike)
7) No one knows I’m gone (T Waits)
8) Give Away Your Heart (John Redfern)
9) Sad February
10) Great Northern River (from the recent film soundtrack they did one night only in Newcastle)
11) Canny Hobbie Elliot (Becky Clogs)
12) Close the Coal House Door (by The Wilsons)
13) Starless (King Crimson)
Encore
14) Fairwheel Regality (sounds like Purple Heather)
15) Blackbird
Brady Baby!
Paul Brady
No April Fool, 1st April 2011
View: Off centre, Balcony, stage right.
There is no denying that Paul Brady has a loyal following – in Dublin and further afield – and tonight’s international crowd included many of these devotees. One woman from Germany next to me mourned the fact that her 3 friends who normally make the journey with her simply couldn’t afford it this year. But perhaps an indictment on his two dates last year in the town (and tonight with a similar set list to 2009), it was over ambitious to plan 2 nights at the excellent venue of Vicar St. So it was that one of them had to be cancelled and then they couldn’t even manage one night sell out.
But – to the gig itself. Brady opened with promises that he wouldn’t mention the current state of crisis with the banks. Yet the recession and the state of Ireland proved unavoidable, especially given the nature of some of his songs – for example Hard Times At The Station – which featured tonight. That said neither the current economic situation nor the fact that it was one night only stopped Brady putting on an intimate and overall exciting set. He may be (to this reviewer at least!) a bit staid and boring at points. Indeed the pop rock sound wears a little thin and dancing like your father is not particularly endearing! But there is no getting away from the fact that he is a great song writer and, at points, a charismatic performer. Occasionally he may be more reminiscent of a nervous, unconventional Trevor Horn meets a gangly Bruce Springsteen, but his flashes of inspiration win over the crowd. Joined by the talented Bill Shanley (of Ray Davies band) on guitar and Steve Fletcher (Penguin Café Orchestra) on keyboards this professional trio put in a quality performance. Indeed the dynamic of the trio added to the majesty of tracks like The Island, but gave too much extra to the pop rock songs Brady slipped into in the 80’s tracks like The Long Goodbye. The ever popular Arthur McBride, done alone, proved a highlight for many, but the rockier songs worked well with full band as well - This World Is What You Make It particularly.
Overall a great balance between sentiment and excitement made for a good nights rock n roll.
Also worth a mention – a solid support slot from Cork girl Nicole Maguire.
Track listing
1) Stories ? (‘new’ but over 25 years old!)
2) Lord Thomas and the fair Islander
3) Trusted in you ?
4) Nobody Knows (Johnny got high expectations )
5) Rainbow (from the new LP)
6) Hard times at the stations (recession) With Glen Hansard (of the frames)
7) Mother & Son (new from LP Hooba Dooba)
8) The Jolly Soldier /
9) A jig / reel ?
10) Wearing the Breeches
11) Out the door and over the wall
12) Smile
13) Nothing but the same of story (about 1969 London with his first band The Johnstons)
14) Living the Mystery (last track on Hooba Dooba?)
15) Follow On
16) The Island
17) The Long Goodbye
18) Crazy Dreams (?Marie I love you , in the heat )
19) This world is what you make it
5 track encore
20) Arthur McBride
21) One more today
22) Rocky road to Dublin (pleasant spontaneous surprise)
23) The Hills of Donegal
24) Busted loose
No April Fool, 1st April 2011
View: Off centre, Balcony, stage right.
There is no denying that Paul Brady has a loyal following – in Dublin and further afield – and tonight’s international crowd included many of these devotees. One woman from Germany next to me mourned the fact that her 3 friends who normally make the journey with her simply couldn’t afford it this year. But perhaps an indictment on his two dates last year in the town (and tonight with a similar set list to 2009), it was over ambitious to plan 2 nights at the excellent venue of Vicar St. So it was that one of them had to be cancelled and then they couldn’t even manage one night sell out.
But – to the gig itself. Brady opened with promises that he wouldn’t mention the current state of crisis with the banks. Yet the recession and the state of Ireland proved unavoidable, especially given the nature of some of his songs – for example Hard Times At The Station – which featured tonight. That said neither the current economic situation nor the fact that it was one night only stopped Brady putting on an intimate and overall exciting set. He may be (to this reviewer at least!) a bit staid and boring at points. Indeed the pop rock sound wears a little thin and dancing like your father is not particularly endearing! But there is no getting away from the fact that he is a great song writer and, at points, a charismatic performer. Occasionally he may be more reminiscent of a nervous, unconventional Trevor Horn meets a gangly Bruce Springsteen, but his flashes of inspiration win over the crowd. Joined by the talented Bill Shanley (of Ray Davies band) on guitar and Steve Fletcher (Penguin Café Orchestra) on keyboards this professional trio put in a quality performance. Indeed the dynamic of the trio added to the majesty of tracks like The Island, but gave too much extra to the pop rock songs Brady slipped into in the 80’s tracks like The Long Goodbye. The ever popular Arthur McBride, done alone, proved a highlight for many, but the rockier songs worked well with full band as well - This World Is What You Make It particularly.
Overall a great balance between sentiment and excitement made for a good nights rock n roll.
Also worth a mention – a solid support slot from Cork girl Nicole Maguire.
Track listing
1) Stories ? (‘new’ but over 25 years old!)
2) Lord Thomas and the fair Islander
3) Trusted in you ?
4) Nobody Knows (Johnny got high expectations )
5) Rainbow (from the new LP)
6) Hard times at the stations (recession) With Glen Hansard (of the frames)
7) Mother & Son (new from LP Hooba Dooba)
8) The Jolly Soldier /
9) A jig / reel ?
10) Wearing the Breeches
11) Out the door and over the wall
12) Smile
13) Nothing but the same of story (about 1969 London with his first band The Johnstons)
14) Living the Mystery (last track on Hooba Dooba?)
15) Follow On
16) The Island
17) The Long Goodbye
18) Crazy Dreams (?Marie I love you , in the heat )
19) This world is what you make it
5 track encore
20) Arthur McBride
21) One more today
22) Rocky road to Dublin (pleasant spontaneous surprise)
23) The Hills of Donegal
24) Busted loose
The Nualas: Their glasses brimming over.
Thanks to Muireann
The Nualas.
Vicar Street, March 25th 2011
View: far right three rows from the front
“Older, none-the-wiser and just as silly”
Patrick McDonnell, best known for his maniacally wide-eyed petulant portrayal of Eoin McLove in Father Ted, got proceedings underway tonight with a funny, but disjointed set. The older members of the audience did not seem to appreciate his foul-mouthed tirade against the excess of Celtic Tiger Ireland: although the assertion that the country deserved a lie-in after the hectic few years of work was well observed.
The headline act, The Nualas, powered onto the stage with their swanky dresses and geeky glasses. Returning after a sabbatical of ten years, this comedy trio have lost none of their sparkle and wit. They quickly had this near capacity crowd laughing uproariously at their particular brand of song and banter. Guitar Nuala’s (aka Josephine O’Reilly) talented musicianship was accompanied by a session pianist for most of the set. Not only are these ladies smart, funny, and sharp, but their voices are beautiful and their songs are quite catchy. They nicely capitalised on McDonnell’s focus on recessionary expediencies with their harmonies on ‘Yummy Mummy Blues’. Included on the set list were old favourites such as ‘Comedy Man,’ Donald Sutherland’ and ‘Lorcan.’ Blond ‘child-bearing’ Nuala’s (aka Susan Collins) well rehearsed repartee seemed off-the-cuff and had the audience in stitches. ‘Divorced’ Nuala’s (aka Anne Gildea) inexpert interlude of Irish dancing during one song displayed her hilarious talent for physical comedy. The encore, ‘No Bábóg,’ was dark, surreal and comedy gold – asserting female strength and power, whilst pulling petals and branches of trees out of dresses! No amount of words can describe the true hilarity and surrealness of this musical comedy trio. Pure class.
Vicar Street, March 25th 2011
View: far right three rows from the front
“Older, none-the-wiser and just as silly”
Patrick McDonnell, best known for his maniacally wide-eyed petulant portrayal of Eoin McLove in Father Ted, got proceedings underway tonight with a funny, but disjointed set. The older members of the audience did not seem to appreciate his foul-mouthed tirade against the excess of Celtic Tiger Ireland: although the assertion that the country deserved a lie-in after the hectic few years of work was well observed.
The headline act, The Nualas, powered onto the stage with their swanky dresses and geeky glasses. Returning after a sabbatical of ten years, this comedy trio have lost none of their sparkle and wit. They quickly had this near capacity crowd laughing uproariously at their particular brand of song and banter. Guitar Nuala’s (aka Josephine O’Reilly) talented musicianship was accompanied by a session pianist for most of the set. Not only are these ladies smart, funny, and sharp, but their voices are beautiful and their songs are quite catchy. They nicely capitalised on McDonnell’s focus on recessionary expediencies with their harmonies on ‘Yummy Mummy Blues’. Included on the set list were old favourites such as ‘Comedy Man,’ Donald Sutherland’ and ‘Lorcan.’ Blond ‘child-bearing’ Nuala’s (aka Susan Collins) well rehearsed repartee seemed off-the-cuff and had the audience in stitches. ‘Divorced’ Nuala’s (aka Anne Gildea) inexpert interlude of Irish dancing during one song displayed her hilarious talent for physical comedy. The encore, ‘No Bábóg,’ was dark, surreal and comedy gold – asserting female strength and power, whilst pulling petals and branches of trees out of dresses! No amount of words can describe the true hilarity and surrealness of this musical comedy trio. Pure class.
Still Punking? After all these years.
Stiff Little Fingers
The Academy, Dublin
11th March 2011
A now chubby (or ‘fat’ as he self-deprecatingly referred to himself) Jake Burns lead a band of now long serving talented session Fingers in a celebration of their earliest albums as well as a few newer numbers. Tonight we were even treated to a track from the ‘next’ SLF album: something which has been in the pipeline only just shorter and more amended than Chinese Democracy! Opening with the driving rhythm of the ever popular Roots Radicals Rockers and Reggae, certainly got this 40 something crowd of ageing punks on side. That was followed by the surprise inclusion of the 1999 Hope Street, a great track, but almost alone on the night in a set of late 70’s classics. Though the witty cynicism and acerbic criticism against X Factor and the like, of Guitar And Drums, certainly proved Burns still has the ability to write (and perform) some magic tracks. Similarly the brand new ‘Full Stem Backwards’, held its own, and proved particularly apt in recession hit Ireland. Whilst even on tracks like (“our love song”) ‘Barbed Wire Love’ the energetic and spritely Ali McMordie thumping bass in true punk fashion kept the tempo of the night high.
Burn’s seething anger at injustice, prejudice and all forms of unfairness come simmering throughout the set. Like folk sentiments with a punk sound his (and original writer Ogilvie’s) message is undiluted, rousing and eloquently presented. This - combined with the exuberance of the band, energetic bassist Ali McMordie especially – gave the evening a lively and vigorous feel. Anti racism songs like Harp, (about racism in America and more generally) receive nods of recognition (though the irony seemed lost on some of the Celtic top wearing brigade in the crowd!).
Burns himself was dressed in a tasteless ‘guitar’ shirt (see photo - “bought in a Willie Nelson Garage Sale” he joking observes) that seemed to make a mockery of his late 70’s punk conspirators, but this is a trifling criticism when we are here for the music: his and that of his heroes. Amongst those was Joe Strummer – to whom he dedicated his own Strummerville.
As the crescendo approached we were indulged with a cracking staccato version of Tin Soldiers, before the popular number Suspect Device. A much demanded encore resulted in the surprise track “done by everyone else, now us” – a cracking version of the song the Clash made famous, I Fought the Law. This was immediately followed by the ever popular rally call for a new world order – as relevant now as it was when first released - Alternative Ulster. Amazingly a second encore was demanded and met. An extended version of the Marley classic Johnny Was, another of their stalwarts was given a punk update. All in all this was a standard set from a punk mammoth – but a bit like seeing the Rolling Stones, these bastions of punk know what they are doing and fulfil their side of the deal overall unexceptional, but highly exciting.
Set list
1) Roots Radicals Rockers and Reggae
2) Hope St
3) At The Edge
4) Guitar and Drum
5) Just Fade Away
6) Full Steam Backwards
7) Straw Dogs
8) Listen
9) Barbed Wire Love
10) Cant get away with that
11) Don’t call me Harp
12) Nobody’s heroes
13) I can be happy yesterday
14) Wasted Life
15) Strummerville
16) Tin Soldiers
17) Suspect Device
Encore
18) I Fought the Law
19) Alternative Ulster
Encore 2
20) Johnny Was (Extended version)
The Academy, Dublin
11th March 2011
A now chubby (or ‘fat’ as he self-deprecatingly referred to himself) Jake Burns lead a band of now long serving talented session Fingers in a celebration of their earliest albums as well as a few newer numbers. Tonight we were even treated to a track from the ‘next’ SLF album: something which has been in the pipeline only just shorter and more amended than Chinese Democracy! Opening with the driving rhythm of the ever popular Roots Radicals Rockers and Reggae, certainly got this 40 something crowd of ageing punks on side. That was followed by the surprise inclusion of the 1999 Hope Street, a great track, but almost alone on the night in a set of late 70’s classics. Though the witty cynicism and acerbic criticism against X Factor and the like, of Guitar And Drums, certainly proved Burns still has the ability to write (and perform) some magic tracks. Similarly the brand new ‘Full Stem Backwards’, held its own, and proved particularly apt in recession hit Ireland. Whilst even on tracks like (“our love song”) ‘Barbed Wire Love’ the energetic and spritely Ali McMordie thumping bass in true punk fashion kept the tempo of the night high.
Burn’s seething anger at injustice, prejudice and all forms of unfairness come simmering throughout the set. Like folk sentiments with a punk sound his (and original writer Ogilvie’s) message is undiluted, rousing and eloquently presented. This - combined with the exuberance of the band, energetic bassist Ali McMordie especially – gave the evening a lively and vigorous feel. Anti racism songs like Harp, (about racism in America and more generally) receive nods of recognition (though the irony seemed lost on some of the Celtic top wearing brigade in the crowd!).
Burns himself was dressed in a tasteless ‘guitar’ shirt (see photo - “bought in a Willie Nelson Garage Sale” he joking observes) that seemed to make a mockery of his late 70’s punk conspirators, but this is a trifling criticism when we are here for the music: his and that of his heroes. Amongst those was Joe Strummer – to whom he dedicated his own Strummerville.
As the crescendo approached we were indulged with a cracking staccato version of Tin Soldiers, before the popular number Suspect Device. A much demanded encore resulted in the surprise track “done by everyone else, now us” – a cracking version of the song the Clash made famous, I Fought the Law. This was immediately followed by the ever popular rally call for a new world order – as relevant now as it was when first released - Alternative Ulster. Amazingly a second encore was demanded and met. An extended version of the Marley classic Johnny Was, another of their stalwarts was given a punk update. All in all this was a standard set from a punk mammoth – but a bit like seeing the Rolling Stones, these bastions of punk know what they are doing and fulfil their side of the deal overall unexceptional, but highly exciting.
Set list
1) Roots Radicals Rockers and Reggae
2) Hope St
3) At The Edge
4) Guitar and Drum
5) Just Fade Away
6) Full Steam Backwards
7) Straw Dogs
8) Listen
9) Barbed Wire Love
10) Cant get away with that
11) Don’t call me Harp
12) Nobody’s heroes
13) I can be happy yesterday
14) Wasted Life
15) Strummerville
16) Tin Soldiers
17) Suspect Device
Encore
18) I Fought the Law
19) Alternative Ulster
Encore 2
20) Johnny Was (Extended version)
Levelling the Land .... Again. 2011 The Indie folk punk bed-sit kings of the early’ 90’s reasserted why they, and this album, still matter.
The Levellers, Levelling The Land Live, 2011.
The Academy, Dublin
3rd March 2011
As has been the trend in recent years (from bands such as Metallica to The Pixies), the Levellers set out to play an album in its entirety, complete with a few classic B sides inserted for variety, before an encore of their other hits. And so it was that tonight the Levellers kicked off their Levelling The Land Live 2011 tour (could also be known as the ‘Academy’ Tour) at one of the few non sell out dates. Perhaps the added incentive of support on all the tour dates (except of course Dublin) being The Wonder Stuff hampered that. Either way it was a shame.
Anyway tonight’s gig itself was a neat full circle. From the celebration of life with One Way opening proceedings to the anthemic Just the One closing proceedings, there was a festive feel to events – especially as once the associated album tracks were fully exhausted the greatest hits got underway. Levelling the Land the album had a well-rounded classic sound, including fuller punk tracks such as Liberty Song alongside more traditional folk ballads like The Boatman. Such great tracks ensured a top night of true English folk. The band seemed to be genuinely enjoying revisiting this great period from an exceptional career. On tracks like Just the One you can see Woody Strummer and the Clash’s influence on the band even down to lead singer Mark Chadwick’s mannerisms: after all they were the original folk punks. The band, including the tireless and ever lively Jonathan Sevink on fiddle, set up a generous set of old numbers working well off this excited crowd! The majority of tonight’s set came from before their cosmetic make over, which was complete by 1997’s Mouth To Mouth (if you don’t believe me –– but contrast the video for say One Way against What A Beautiful Day). That said the quality of music and the caustic nature of the communication remains even on up to date tracks like The Cholera Well – which were popular tonight. But local favourite for this loyal fanbase was The Riverflow – which was rewarded with a middle aged moshpit of sorts spread across most of the crowd!
Consistently popular staple the ‘70’s country cover The Devil Went down to Georgia was also lapped up – giving all 6 members on stage a chance to shine individually, as well as cameo an instrumental interlude of contemporary hit ‘Smells Like Teen Spirit’. The underused Didgeridoo player had his moment in the spotlight for a solo before the frantic Liberty Song, possibly the oldest in their setlist.
With the album dispensed with in full the encore was a classic greatest hits including the sing along Hope Street and Carry Me, before a second encore produced a predictable but popular finale of a brace of exceptional tracks well executed – the euphoric What a Beautiful Day and the sobering rally call to drink Just The One. On a Thursday night in Dublin I think a few did just stick to the one but with that ringing in your ears you weren’t going to get to sleep early. The message and the music proving that they are still as relevant today as when that album was released.
Setlist
The Academy, Dublin
3rd March 2011
As has been the trend in recent years (from bands such as Metallica to The Pixies), the Levellers set out to play an album in its entirety, complete with a few classic B sides inserted for variety, before an encore of their other hits. And so it was that tonight the Levellers kicked off their Levelling The Land Live 2011 tour (could also be known as the ‘Academy’ Tour) at one of the few non sell out dates. Perhaps the added incentive of support on all the tour dates (except of course Dublin) being The Wonder Stuff hampered that. Either way it was a shame.
Anyway tonight’s gig itself was a neat full circle. From the celebration of life with One Way opening proceedings to the anthemic Just the One closing proceedings, there was a festive feel to events – especially as once the associated album tracks were fully exhausted the greatest hits got underway. Levelling the Land the album had a well-rounded classic sound, including fuller punk tracks such as Liberty Song alongside more traditional folk ballads like The Boatman. Such great tracks ensured a top night of true English folk. The band seemed to be genuinely enjoying revisiting this great period from an exceptional career. On tracks like Just the One you can see Woody Strummer and the Clash’s influence on the band even down to lead singer Mark Chadwick’s mannerisms: after all they were the original folk punks. The band, including the tireless and ever lively Jonathan Sevink on fiddle, set up a generous set of old numbers working well off this excited crowd! The majority of tonight’s set came from before their cosmetic make over, which was complete by 1997’s Mouth To Mouth (if you don’t believe me –– but contrast the video for say One Way against What A Beautiful Day). That said the quality of music and the caustic nature of the communication remains even on up to date tracks like The Cholera Well – which were popular tonight. But local favourite for this loyal fanbase was The Riverflow – which was rewarded with a middle aged moshpit of sorts spread across most of the crowd!
Consistently popular staple the ‘70’s country cover The Devil Went down to Georgia was also lapped up – giving all 6 members on stage a chance to shine individually, as well as cameo an instrumental interlude of contemporary hit ‘Smells Like Teen Spirit’. The underused Didgeridoo player had his moment in the spotlight for a solo before the frantic Liberty Song, possibly the oldest in their setlist.
With the album dispensed with in full the encore was a classic greatest hits including the sing along Hope Street and Carry Me, before a second encore produced a predictable but popular finale of a brace of exceptional tracks well executed – the euphoric What a Beautiful Day and the sobering rally call to drink Just The One. On a Thursday night in Dublin I think a few did just stick to the one but with that ringing in your ears you weren’t going to get to sleep early. The message and the music proving that they are still as relevant today as when that album was released.
Setlist
- One Way
- The Game
- Fifteen Years
- The Boatman
- Didgeridoo interlude solo
- Liberty Song
- Far From Home
- Hard Fight (‘random B sides to follow’)
- Dance before the Storm
- ?? (People I know ?) ?? (I don’t know all their B Sides!)
- The Devil Went down to Georgia (with Smells Live Teen Spirit interlude)
- Sell Out
- Another Man's Cause
- The Road
- The Riverflow (Most popular local track)
- Battle of the Beanfield
- Hope Street
- Carry Me
- The Cholera Well
- Beautiful Day
- Just the One (sounds a bit like London calling!)
Ben Folds Live. His usual great self!
Ben Folds
Vicar Street
18th Feb 2011
Personal favourite of spincity Mr Folds (a real US hero with European sensibilities) returned to kick off another European tour in Dublin. Where better to start any tour off than at the fantastic venue of Vicar Street. And how better to kick off the day than with a Beshoff’s fish supper – a fact Fold’s had ‘tweeted’ earlier in the day and then improv’d about during his set.
Ben Folds has a solidly loyal solid fan base, which ensured that tonight was a near sell out. Coming as it does on the back of the recent collaboration album Lonely Street (with Nick Hornby;s lyrical imput) amazingly most of these fans know all the tracks from this album just as well as the hits they’ve come to hear.
This evening’s set started late for a Vicar Street gig – a pleasant by-product was a large crowd were treated to an excellent opening slot from the charismatic and humorous Australian Kate Miller Heidke. Kate’s classical vocal range (which in the past included conservatorium performances no less) boils over a bit too much at points – becoming warbling to the pop sensibilities. But overall the set struck the perfect balance of humour, wit and entertainment. Youtube a few of her tracks for a taste!
Anyway – back to the reason we were here and the hero of the hour. Tonight quite literally saw the Ben Folds five on stage (which is ironic given that the original Ben Folds 5 from the (90s?) was a trio!! ed.) Competent (and cute according to my wife) Ryan Lerman gave a solid bass and backing vocals, but special mention should be made of all Fold’s well selected musical partners, drummer and overall rhythm section being very tight. And unlike other tours the entire one and a half hour set was full band. Rocking with the political to open the set – the new satire Levi Johnston’s Blues was an upbeat and popular start. Also, in my opinion, one of the stronger tracks on the new album.
Each tour also involves an abstract cover version – this one being the Itunes number one from last year Sleazy; by Kesha (or Ke$ha if you please). In true Folds form this was given a musical and melodic twist- (like his classic Bitches’ Aint Shit) – slowed and given a more jazzy feel - to accentuate different aspects of the song.
Folds is consistently captivating on stage – either in his amiable chat or his absolute control of the piano – which meant the crowd were transfixed throughout.
Joined partway through by Kate Miller-Heidke for the duets You Don’t Know Me and From Above. She was not as good as the originals, but did add an extra dynamic to the overall performance. His Rock This Bitch improv where, to a jazz rhythm section, Folds recounts about landing jet lagged in Dublin and the events of the day impressed everyone both in its entertainment value and the requisite skill of the entire ensemble to keep time. This gave rise naturally to the climax of the set: with a triple play of songs about women - coincidence or design? The world of Sara without an H (Zak and Sara) and then the popular Kate were well received before the humourous crescendo of that truism The Bitch Went Nuts – complete with updated lyrics.
An encore may have been an inevitability – but starting late ensured that the curfew loomed menacingly close – which perhaps explains why the final track One Angry Dwarf and 200 Solemn Faces was played at break neck speed before the lights shot up. This was preceded by an excellent and extremely popular sing-along of the autobiographical Army, but no Rocking the Suburbs or Brick. But these were trifling complaints – as was the equally frustrating dilemma: If he had started earlier we may have got extra tracks, but many would have missed the popular support act. Overall another great set from a master craftsman and songsmith.
Ben Folds Setlist
———————–
Vicar Street
18th Feb 2011
Personal favourite of spincity Mr Folds (a real US hero with European sensibilities) returned to kick off another European tour in Dublin. Where better to start any tour off than at the fantastic venue of Vicar Street. And how better to kick off the day than with a Beshoff’s fish supper – a fact Fold’s had ‘tweeted’ earlier in the day and then improv’d about during his set.
Ben Folds has a solidly loyal solid fan base, which ensured that tonight was a near sell out. Coming as it does on the back of the recent collaboration album Lonely Street (with Nick Hornby;s lyrical imput) amazingly most of these fans know all the tracks from this album just as well as the hits they’ve come to hear.
This evening’s set started late for a Vicar Street gig – a pleasant by-product was a large crowd were treated to an excellent opening slot from the charismatic and humorous Australian Kate Miller Heidke. Kate’s classical vocal range (which in the past included conservatorium performances no less) boils over a bit too much at points – becoming warbling to the pop sensibilities. But overall the set struck the perfect balance of humour, wit and entertainment. Youtube a few of her tracks for a taste!
Anyway – back to the reason we were here and the hero of the hour. Tonight quite literally saw the Ben Folds five on stage (which is ironic given that the original Ben Folds 5 from the (90s?) was a trio!! ed.) Competent (and cute according to my wife) Ryan Lerman gave a solid bass and backing vocals, but special mention should be made of all Fold’s well selected musical partners, drummer and overall rhythm section being very tight. And unlike other tours the entire one and a half hour set was full band. Rocking with the political to open the set – the new satire Levi Johnston’s Blues was an upbeat and popular start. Also, in my opinion, one of the stronger tracks on the new album.
Each tour also involves an abstract cover version – this one being the Itunes number one from last year Sleazy; by Kesha (or Ke$ha if you please). In true Folds form this was given a musical and melodic twist- (like his classic Bitches’ Aint Shit) – slowed and given a more jazzy feel - to accentuate different aspects of the song.
Folds is consistently captivating on stage – either in his amiable chat or his absolute control of the piano – which meant the crowd were transfixed throughout.
Joined partway through by Kate Miller-Heidke for the duets You Don’t Know Me and From Above. She was not as good as the originals, but did add an extra dynamic to the overall performance. His Rock This Bitch improv where, to a jazz rhythm section, Folds recounts about landing jet lagged in Dublin and the events of the day impressed everyone both in its entertainment value and the requisite skill of the entire ensemble to keep time. This gave rise naturally to the climax of the set: with a triple play of songs about women - coincidence or design? The world of Sara without an H (Zak and Sara) and then the popular Kate were well received before the humourous crescendo of that truism The Bitch Went Nuts – complete with updated lyrics.
An encore may have been an inevitability – but starting late ensured that the curfew loomed menacingly close – which perhaps explains why the final track One Angry Dwarf and 200 Solemn Faces was played at break neck speed before the lights shot up. This was preceded by an excellent and extremely popular sing-along of the autobiographical Army, but no Rocking the Suburbs or Brick. But these were trifling complaints – as was the equally frustrating dilemma: If he had started earlier we may have got extra tracks, but many would have missed the popular support act. Overall another great set from a master craftsman and songsmith.
Ben Folds Setlist
- Levi Johnston's Blues
- Doc Pomus
- Gone
- Belinda
- Sleazy (Kesha Cover)
- You To Thank
- Cologne
- Saskia Hamilton
- Bastard
- Still Fighting It
- You don’t know me (w/ Kate Miller-Heidke)
- From Above (w/ Kate Miller-Heidke)
- Effington
- Landed
- Annie waits
- Hiroshima
- Rock This Bitch Improv about landing jet lagged in Dublin
- Zak and Sara
- Kate
- Real Bitch Went Nuts
———————–
- Army
- One Angry Dwarf and 200 Solemn Faces (played at break neck speed – perhaps in part to avoid curfew fines!)
Ani DiFranco - Frank and Appealing.
Angelic DiFranco 'A moment to gather my thoughts' . Thanks to Cathy Duffy for the great photo.
Ani DiFranco
Live Dublin’s National Concert Hall 22nd January 2011
A bit like Marillion will always be a Scottish heavy metal band, so too, for some lazy journalists and consequently for much of the popular perception, Ani DiFranco will always be an angry young girl. Indeed at the end of Angry Anymore early in her set, she roll’s her eyes and comments on the journos who asked her upon release of that song whether she was really ‘Not Angry Anymore’ – “Really, not angry anymore, in reference to Family? Please?” she wryly observes. Journalists just don’t do irony.
But that is all in the past - surely performing at the much vaunted (and well attended) Concert Hall in Dublin shows that if she ever merited that moniker; she has long since shed it. That said - her powerful, (and liberal) voice, and equally strong opinions, are still as potent and valid as they were when she first came to the fore in the early 90’s. However, because she has her own record label and has not been bought by the ‘corporates’ she is often ignored. Her label gave us last year’s classic Hadestown by the otherwise mediocre Anais Mitchell. It was therefore a slight shame that DiFranco’s own support for this tour is the relatively ineffectual Jim Moray. His brand of twee over-affected (award winning – but then what do I know!) English folk failed to be an enthralling warm up. That said this crowd didn’t really need livening up for their heroine. Upbeat and quirky Difranco is a political hot potato for the conservative majority – with songs voicing her strong, outspoken opinions on everything from abortion to war. All the issues dealt with are of course fair game in the folk fraternity, but the eloquence and gutsy humour with which she deals with them make her exceptional.
A flying visit, she is spending less than 12 hours in the country to kick off her European tour (Hey - this is Ireland – can you afford anymore?!), didn’t stifle her stage presence or songmanship. DiFranco appeals to the Concert Hall crowd to be her ‘taste of Dublin’ on this visit. They duly obliged, though she would prefer a crowd who participate more, which they do towards the end. And in return she put in an unaffected, powerful and riveting set. Her intricate guitar picking and top-string heavy crisp guitar work (even when singing) is riveting to watch and listen to.
Overall, tonight’s was a strong and diverse set steeped in militant songs about many of the issues that trouble her and the world. She covers environmental and social issues – whilst often using women as her metaphor for many of the woes and injustices in the world- most obviously in Promiscuous.
There are glimpses of her classical talent throughout the show as she croons through the ‘non expletive’ chorus on Untouchable Face. It is hard to stress enough how an artist of her calibre is breathtaking live, conveying her passionate and urgently relevant message that is, unfortunately, at best diluted on LP (CD or MP3!). The joy and celebration in Smile Underneath only simmers on the album version – live on the Concert Hall stage it explodes in ecstasy. Overall a great set at a superb setting.
Tracklisting
1) Fuel
2) Angry Anymore
3) Manhole
4) Everest
5) Lag time
6) Promiscuous (new song)
7) Unrequited
8) Amendment
9) She Says
10) Smile underneath
11) Jay on the Balcony? (New song about Louisiana and the oil spills)
12) Alla This
13) Reckoning
14) Albacore
15) ‘If you’re Not’ (as yet unreleased ? ‘new’ [er…at least 2 years old] song?)
16) Which Side Are You On? (stonking track from the 30’s rewritten/’updated’!)
Encore
17) Gravel
18) Both Hands
19) Untouchable Face (Great anthem – but one of the reasons she gets her wrong or at least lazy ‘angry’ and ‘man hating’ image).
Live Dublin’s National Concert Hall 22nd January 2011
A bit like Marillion will always be a Scottish heavy metal band, so too, for some lazy journalists and consequently for much of the popular perception, Ani DiFranco will always be an angry young girl. Indeed at the end of Angry Anymore early in her set, she roll’s her eyes and comments on the journos who asked her upon release of that song whether she was really ‘Not Angry Anymore’ – “Really, not angry anymore, in reference to Family? Please?” she wryly observes. Journalists just don’t do irony.
But that is all in the past - surely performing at the much vaunted (and well attended) Concert Hall in Dublin shows that if she ever merited that moniker; she has long since shed it. That said - her powerful, (and liberal) voice, and equally strong opinions, are still as potent and valid as they were when she first came to the fore in the early 90’s. However, because she has her own record label and has not been bought by the ‘corporates’ she is often ignored. Her label gave us last year’s classic Hadestown by the otherwise mediocre Anais Mitchell. It was therefore a slight shame that DiFranco’s own support for this tour is the relatively ineffectual Jim Moray. His brand of twee over-affected (award winning – but then what do I know!) English folk failed to be an enthralling warm up. That said this crowd didn’t really need livening up for their heroine. Upbeat and quirky Difranco is a political hot potato for the conservative majority – with songs voicing her strong, outspoken opinions on everything from abortion to war. All the issues dealt with are of course fair game in the folk fraternity, but the eloquence and gutsy humour with which she deals with them make her exceptional.
A flying visit, she is spending less than 12 hours in the country to kick off her European tour (Hey - this is Ireland – can you afford anymore?!), didn’t stifle her stage presence or songmanship. DiFranco appeals to the Concert Hall crowd to be her ‘taste of Dublin’ on this visit. They duly obliged, though she would prefer a crowd who participate more, which they do towards the end. And in return she put in an unaffected, powerful and riveting set. Her intricate guitar picking and top-string heavy crisp guitar work (even when singing) is riveting to watch and listen to.
Overall, tonight’s was a strong and diverse set steeped in militant songs about many of the issues that trouble her and the world. She covers environmental and social issues – whilst often using women as her metaphor for many of the woes and injustices in the world- most obviously in Promiscuous.
There are glimpses of her classical talent throughout the show as she croons through the ‘non expletive’ chorus on Untouchable Face. It is hard to stress enough how an artist of her calibre is breathtaking live, conveying her passionate and urgently relevant message that is, unfortunately, at best diluted on LP (CD or MP3!). The joy and celebration in Smile Underneath only simmers on the album version – live on the Concert Hall stage it explodes in ecstasy. Overall a great set at a superb setting.
Tracklisting
1) Fuel
2) Angry Anymore
3) Manhole
4) Everest
5) Lag time
6) Promiscuous (new song)
7) Unrequited
8) Amendment
9) She Says
10) Smile underneath
11) Jay on the Balcony? (New song about Louisiana and the oil spills)
12) Alla This
13) Reckoning
14) Albacore
15) ‘If you’re Not’ (as yet unreleased ? ‘new’ [er…at least 2 years old] song?)
16) Which Side Are You On? (stonking track from the 30’s rewritten/’updated’!)
Encore
17) Gravel
18) Both Hands
19) Untouchable Face (Great anthem – but one of the reasons she gets her wrong or at least lazy ‘angry’ and ‘man hating’ image).
NO GIGS YET THIS YEAR! But a few good ones on the cards! So watch this space! She for one can't wait! (Or maybe she is just happy that she holds the key, she holds the secret)
