Tag Archive: Rock


Debbie Harry is nearly 77. Seventy-seven, God-dammit! I don’t know if that makes her old or me feel it. You see, 45 years ago, when I first discovered Blondie, I was barely fourteen years old myself. Once again, I am blessed that Blondie, like many of my favourite rock bands, are still about. I must have good taste for longevity. Okay, so due to Chris Steins’ ill-health, there were only two original members on stage: Debbie Harry and the brilliant Clem Burke on drums. But we also had Glen Matlock on bass, which was a bonus for me and the rock alumni of 1977.

Kicking off where it all began with X-Offender, a packed arena went back in time and unless you were in the first few rows (as I was) you’d be hard pressed to believe you were not seeing the band at their height during that era.

Harry hasn’t lost it a bit. Sure, after a handful of numbers, the heels had to come off as in her own words, she needed to get serious. But to still do a high-energy set lasting almost two hours is incredible.

We listened to hit after hit, but inexplicably, not Denis. That didn’t matter, and it was only afterwards I realised it had been omitted. There are so many more in the catalogue to rave about. Not just the early years, but from the post 1998 revival: Maria, My Monster, What I Heard, Long Time, Mother and best of all, one of my favourites, No Exit. All greeted with similar Rapture as the song of the same name.

But you also had the classics: Sunday Girl, Picture This, Dreaming, Call Me, Atomic, Heart of Glass … the list goes on. I was also overjoyed to hear Fade Away and Radiate in such an incredible set.

Save the best until last, Blondie finished with One Day or Another, a song so massive and popular, but never a single in the UK (until it charted digitally in 2013). This is the measure of a great song. No mainstream release but instantly recognisable.

The euphoria of the audience swept through the arena in one of the best gigs I have seen. Yes, even at that age, Harry rocks. Whereas myself and my partner (late 50s) hobbled back to the car afterwards, near unable to walk. Whatever Debbie Harry has, I’ll take some myself. Brilliant.

Cheers.

Antony N Britt

Somebody once said to me that there were better Queen tribute bands out there than Queen & Adam Lambert. Now, I rarely do tribute acts, apart from when you can no longer see the real thing like Queen. So, how did Supreme Queen measure up to the dazzling legacy and did it beat the modern-day incarnation of the band?

Well, visually, it took time because obviously, they were not Queen, but the sound! With a voice so like Freddy Mercury, lead singer, Scott Maley immediately had me believing I was listening to the real thing. And that, I guess, is what you need with tributes. For tributes are what they are and to be successful you do need to believe. After a few songs, I forgot the physical differences and I experienced legends of rock.

Starting off with One Vision and Tie Your Mother Down, Supreme Queen treated a packed audience to hit after hit: Seven Seas of Rhye, Keep Yourself Alive, It’s a Kind of Magic and Under Pressure were among 25 instantly recognisable classics. I was also overjoyed to hear the fast (and, superior) version of We Will Rock You.

The set in the main modelled itself on the stadium tour songs of the mid-1980s. I guess when you have such an enormous catalogue, things must give way. Therefore, sparse on the early albums and nothing from the final three. A shame, but it’s probably what the fans want. And to be there, the audience most definitely were fans of Queen. Such energy and enthusiasm from Supreme Queen transferred onto those watching. And not just the oldies who formed the majority. It was also good to see younger members; teenagers with parents next to me and three children all under eleven in front with their family. It was clear all were brought up on the band, gloriously indoctrinated and now having the time of their lives. Brilliant. You see, we form many of our tastes based on those of others. I, myself, was into Queen aged 10, all because my elder sister had Queen albums in 1973 while my classmates went on to like The Bay City Rollers, .

The show divided into two sets, allowing audience and band time to recuperate and then we had more of the same: I Want to Break Free, Another One Bites the Dust, Radio Ga Ga and, of course, Bohemian Rhapsody. Mimicking Queen shows of old, Supreme Queen ended with We Will Rock You (single version) and We Are the Champions.

What we also had were two long drum and guitar solos. Now, I’m not a fan of Brian May and Roger Taylor’s musical masturbations, but they were mainstays of the original shows throughout Queen’s career, so I can see why they’re included.

Supporting Scott Maley’s Mercury was Luke Timmins (Brian May), Alan Wallbanks (John Deacon) and Allan Brown (Roger Taylor). In addition, we had Ben Marshall as the keyboard player Queen didn’t have but contributing the pieces Freddy Mercury would play. All were excellent. Let’s face it, to pull off being convincing Queens, you’ve got to be damn good at what you do, and Supreme Queen were that and more.

A thoroughly wonderful night. I will be back. Long live Queen.

Cheers.

Antony N Britt

I shall start with something unconnected to The Coral by stating that the O2 Institute in Birmingham was the most difficult venue to get into (on numerous counts) in over 40 years of attending music gigs and theatres. And with a management policy ignorant of autism.

So, I was in a bad mood before we started, and I was looking for The Coral to lift me. Thankfully, they did, although I was not particularly a fan of the show format, being a 20th anniversary celebration of their self-titled debut album.

Don’t get me wrong, I love the 2002 offering; it has great tracks. But I also like songs from the subsequent nine, therefore, when the opening 11 numbers come from one album, the remainder only average one per subsequent release in a shorter set than most gigs with just 19 numbers in total.

From the first album set and following Spanish Main, standout numbers were Shadows Fall, I Remember, Dreaming of You and the epic Goodbye. I say epic because played live, the extended instrumental break during Goodbye is out of this world. Bisecting the album and second set was the hidden track Time Travel while the band took a short break. And then we had the best of the rest.

Starting off with Bill McCai and Pass it On, The Coral also treated the crowd to a couple from the 2021 release, Coral Island. Now this is where I felt the most disappointment because Coral Island was one of the best releases of last year. To only get two tracks from it, and a double album at that, left me feeling short-changed. The two on the night were Faceless Angel and Lover Undiscovered, but I would dearly have loved to hear Vacancy, among others. Still, of the remaining offerings we did get In the Morning, Holy Revelation and my own personal favourite Coral track, Jaqueline.

The Coral produce original music with a touch of nostalgia, sometimes harking back to the psychedelia of the 60s and fluctuating between melodic and raw energy. The sort of music you can lose yourself in, and long may it continue. In addition to the full-time current line-up of the band (James Skelley, Paul Duffey, Nick Power, Ian Skelley and Paul Molloy), Zak Mc Donnell and Danny Murphey join live proceedings to achieve a massive sound which in a smaller venue like the O2 Institute, makes for something special. I just wish we would have had more from them, even just a further 10 minutes.

So, not the most enjoyable Coral gig I have been to, due to the set content, but still a great night out.

Cheers.

Antony N Britt

First and foremost, I’m a Stranglers fan. So much so, in my 2015 novel, Dead Girl Stalking, my protagonist had a poster of them on his bedroom wall, and he defended the band from the derision of his girlfriend whose tastes were probably more R&B. I even acknowledged the band at the front of the book as having provided a running soundtrack while writing it. So if you ever do read Dead Girl Stalking, have a little Don’t Bring Harry or Baroque Bordello at the back of your mind.

My own love affair with The Stranglers began in 1977 with a BASF C-90 taped recording of Rattus Norvegicus. A multitude of albums and 21 gigs attended, that dalliance long ago became a full-blooded relationship. I have many favourite bands but if I’m honest, the one I could not live without are The Stranglers.

The last two years have affected everyone in varying ways, none more so than the Family in Black. The loss of Dave Greenfield in 2020 was that of a family member. A constant companion, friend, and lover, all through the years I have followed the band.

Yeah, I admit, when I first heard the news of Dave’s passing, I thought, “Well, that’s it.” I couldn’t see how the band could continue. Members, some of them huge, have departed over the years but along with the trademark bass of Jean-Jacques Burnel, Dave Greenfield’s keys are the sound of The Stranglers. So I was glad when the tour still took place in memory of Dave and ecstatic when the 18th studio album, Dark Matters, was posthumously released with Dave’s keyboards present. Within the opening minute of Water, I fell in love with Dave and The Stranglers all over again. But how would they be live without the great man on stage?

The answer was – superb. From the opening bars of Waltz in Black, I had that buzz I’d not felt for so long. Then the euphoria as the band took to the stage and launched into Toiler on the Sea. The Stranglers were back.

One massive change as Toby Hounsham had the unenviable task of taking the keyboards and was described by guitarist/vocalist Baz Warne as having massive balls to do so. Toby was brilliant, in fact, reproducing Greenfield’s arpeggios and sounding just as good as any other Stranglers gig I have attended. It was also nice to see Toby well received by the faithful, thankful, like myself, that the magic is not over. As JJ Burnel stated in the past, The Stranglers are a brand, not a band, so there is no reason they should ever end. I guess it’ll happen one day but aged 58 myself, I can be selfish and hope they don’t go just yet.

On the night we were treated to classic after classic: Something Better Change, Always the Sun, Strange Little Girl, Go Buddy Go, Golden Brown, Hanging Around, Sometimes and Skin Deep among many others. But we also had six new songs from the brilliant Dark Matters. Water, Last Men on the Moon and This Song, fans are already familiar with, having done the circuit on the last tours before Covid. But there was also a debut for White Stallion, which I believe will become a permanent fixture in future tours like Relentless has been since 2006.

It’s always good to witness The Stranglers gel. I’ve followed them from near the beginning but can honestly say in recent years they have never been better live. JJ and Baz come across as two who are on the same page. This also applies to the newer recruits. Jim Macauly on drums has been with the band several years now and even contributed to songs on Dark Matters. And along with Toby Hounsham, provided great backing vocals on several numbers, just as Mr. Greenfield did for many years.

The other two new songs were performed as a JJ/Baz duet during the first of two encores. The short acoustic, The Lines was excellent before a poignant and highly emotional version of And if You Should See Dave. Written as a tribute, there was many a watery eye during the line, “This is where your solo would go.” The empty keyboard lit to all round applause and cheers.

As the case is so often, The Stranglers finished with No More Heroes, always guaranteed to bring the house down. Thankfully, I do still have heroes and hopefully, mine will be here for some time yet.

Cheers.

Antony N Britt

It’s no secret that I’m a lover of Rock amongst many genres of music, including being a massive fan of Musical Theatre. Therefore, when worlds collide and bring two of my favourites together, I’m going to be interested.

Poseidon, the debut single from the astounding Teej achieves this mix of theatre and metal in excellent fashion. It’s a story of a ruler who spends years creating a beautiful world, only for its inhabitants to let it go to ruin. Our singer and heroine then teams up with the Lord Poseidon to destroy the world that the people did not appreciate. This brings so many parallels with the likes of modern-day heroines like Greta Thunberg who cry out at the devastation of this world by the hands of its own people. Poseidon tells a similar tale. Take care of what you have now, or regret the loss afterwards.

“They’ll miss the world they wish they had valued.”

From a soulful beginning to a climax of Evanesence proportions, Poseidon takes us on a journey to leave you breathless. It’s nice, also to listen to someone unafraid to mix these and many more genres and go outside the box. Oh yes, we like ‘outside the box.’ As we also like dramatic and spectacular. This song, I am delighted to say, has all these elements.

Teej is the new incarnation for Katie Teitge, frontperson of former Birmingham metal band, Insurgent. And she is well supported here on bass by Jake Brettle from that same late lamented line-up. Completing a trio involved on the track is Jake Elwell (Fury) on guitar and drums with Elwell also producing and mastering the song.

I enjoyed Poseidon a great deal and look forward to more from Teej, as I am certain there will be. I believe we may be witness now to something huge coming our way in future years. Because as debuts go, this is a classic. The Lord Poseidon would be well pleased.

Poseidon is available from 20 April 2021 on all major platforms.

Cheers.

Antony N Britt

Alice Cooper is one artist I never tire of seeing, and at the age of 71, you wonder how many more opportunities you’ll get. Sorry, Alice, but death comes to all of us. However, I’m sure he won’t mind as here we have one performer who has made death a trademark by including large parts of it in his act.

Yes, I had no hesitation buying tickets to see the man and the occasion was made even more enjoyable by The Stranglers being the support. One of my favourite bands and the 20th time I had seen them. Great they were, too (as always), but this gig was not about them. It was a night for The Greatest Showman.

With the latest incarnation of touring band, including Chuck Garrick (Bass), Ryan Roxie (Guitar), Nita Strauss (Lead and Rhythm), Tommy Henricksen (Rhythm and Lead) and Glen Sobel (Drums), we were immediately treated to a massive opener of Feed My Frankenstein (Complete with giant monster). Then came No More Mister Nice Guy and if any neutrals in the audience were unsure what they were in for, they now knew. Assisted in theatrics by Mrs. Alice Cooper (Sheryl Goddard) as the nurse, this wasn’t just a rock show, it was musical theatre, hard-core.

Notable numbers for me were Eighteen, Poison and He’s Back (The Man Behind the Mask), the latter complete with machete wielding maniac who slays groupies onstage. Then we had the grand medley of Steven/Dead Babies/We Are the Dead. As I say, theatrics in the extreme but nobody was complaining as two macabre giant babies in work clothes led Mr. Cooper to the guillotine. But enough of the effects, even if you couldn’t see, this was one of the best audio experiences going, and such atmosphere.

Then, into the encore and Under My Wheels before the grand finale of Schools Out with a little bit of Another Brick in the Wall for good measure. This finale lasted nearly ten minutes with huge dead baby balloons flying around the audience, plus ticker tape and streamers. We didn’t care. This was great and such was the performance, it simply flew by.

Alice Cooper certainly knows how to put on a show, and it was great to see many young people in the arena, including an under-10 next to me who jumped and sang with the rest of them.

I still wonder how many more times we can expect to see Alice Cooper, as with so many of that era, but if you never have seen them, I recommend it. At least once.

Cheers.

Antony N Britt

Insurgent
NOUN
1. a person fighting against a government or invading force; a rebel or revolutionary. “an attack by armed insurgents”
synonyms:
rebel · revolutionary · revolutionist · mutineer · agitator · subversive ·
ADJECTIVE
1. rising in active revolt. “alleged links with insurgent groups”

The venue is The Flapper, formerly known as The Longboat once upon a time and a regular haunt of mine in the 1980s. But there is nothing 80s about Insurgent who are fresh and an exciting addition to the home of heavy metal in Birmingham.

With a new band you’d maybe expect rawness, but what you have with Insurgent is polished professionalism which gives the feel they’ve been at this for years. Maybe they have, but not collectively as Insurgent were founded by guitarist, Joe Rowley less than twelve months ago in the winter of 2018.

Some bands give a general feel of everything melding into one. This one, however, are nothing like that. There is a controlled blend of sound which you can listen to and isolate each instrument’s contribution, if you wish to do so. Jake Brettle (Bass) and Mike Tabone (Drums) compliment Rowley on guitar in excellent fashion. But then when you add the essential instrument of Katie Teitge on vocals, Insurgent turn into something special. And what a voice Teitge has with power and emotion at the same time. This was shown no better than during Colours Bleed.

It’s hard to comment on music you have no prior knowledge of but after an hour, I thought I knew Insurgent a good deal. Launching with My Sentence Awaits and Illusionary, the crowd were immediately into the band. In addition to the openers, we had the more thoughtful Dogma before eventually covering Slipknot’s, Duality. A brave move when you cover a well-known song, but Insurgent pulled it off with ease.

Finally, we were treated to the band’s debut single, Counterpart, which also went down a storm and is as good as anything else up there in the halls of rock.

The music and lyrics are written by Joe Rowley, but each member adds their own special elements to songs which have a wide outlook of general thoughts. Thoughts which appeal to more than just the heavy metal scene. I know it did with me.

Currently working on a follow-up single, Insurgent’s Facebook page describes themselves as creating new and exciting heavy metal music that aims to change the Birmingham music scene. Whether the current scene is good or bad, change is good and the world needs insurgents, and in this band, we have them. So, if you’re in the area, check them out and share the music. You won’t be disappointed.

Cheers.

Antony N Britt

It’s an amazing injustice that despite the fact I purchased this band’s debut album, Showbiz, when it was first released, added to the fact I have seen most rock bands I like many, many times, I had never seen Muse until Tuesday September 17 2019. No reason, other than their shows were always in the wrong place at the wrong time. Therefore, I am glad this has now been rectified.

Watching Muse isn’t just attending a rock concert, it’s witnessing a theatrical spectacle and although I am usually more in favour of letting the music do the talking, this approach works for Muse. And it’s that mix of special effects combined with kick-ass rock which sticks in the memory most. From laser spectaculars, and an army of choreographed robot dancers, to the appearance at the end of a giant … erm, thing (Some sort of robot, monster, I think). The whole experience was immense.

Straight from the off, Matt Bellamy, Chris Wolstenholme and Dominic Howard showcased their recent album, Simulation Theory, throughout the show. Pressure is my favourite of the newer stuff, and I reckon I’d class it up there with the best in what is now 20 years of recording success.

But we also had the classics in Uprising, Plug in Baby, Supermassive Black Hole and Time is Running Out. I was also pleased to hear my favourite Muse track, Hysteria get an airing, and Starlight, too.

Towards the end, we had a mash up of Stockholm Syndrome, New Born, Assassin, Reapers and The Handler, all combined with that giant colossus on stage. Accompanying this, the release of hundreds of giant silver and black balloons, and yes, they were as massive as the music and effects.

I was lucky enough to have chosen a spot in the centre of the arena to stand. Fortunate, I say, as this had me within 20 yards of Bellamy and Co when they performed at the end of a catwalk, which they did on numerous occasions, including Dig Down.

To top off a brilliant night we had the mega Knights of Cydonia and everyone went home happy, including myself as I departed, having collared a huge black balloon as a memento, although it was a bugger to get in the car.

So, a late inclusion for Muse into my live arena, but hopefully, not the last from this wonderful band.

Cheers.

Antony N Britt.

This was my fourth time seeing Frank Turner and first in an arena venue. And as with previous experiences, one thing you can guarantee from Frank is entertainment. So much energy, the guy and the band keep going at a breath-taking pace, much like Frank’s work schedule.

Frank Turner and the Sleeping Souls – Birmingham Arena – 22 January 2019 © Antony N Britt 2019

We are informed this is show 2299. Now, even if you divide that by his adult years, it still averages out at well over one hundred shows a year. Then you consider the seven studio albums since 2007 and you appreciate the tag of The Busiest Guy in Rock. However, there is a downside. With a huge catalogue of songs, it does mean many of my favourites are left out of a two-hour set. Dammit, I’ve still never heard Father’s Day live!

Still, with each new studio album comes a host of material and 2018s Be More Kind is no exception in quality: 1933, Blackout and Little Changes are but to mention three of these. Mix with the back catalogue and you have a show that delights the fan and hopefully pleases recent converts.

Always great to hear Photosynthesis, Recovery, The Road, Don’t Try This at Home and I Still Believe. Also, my atheist anthem, Glory Hallelujah. Heck, my evening was complete. Well, complete bar Father’s Day, Frank. It was also pleasing to hear Love, Ire and Song, not played for a few years, apparently.

Frank Turner and the Sleeping Souls – Birmingham Arena – 22 January 2019 © Antony N Britt 2019

We had music, crowd surfing, plus a little dance with audience members for the final number, Four Simple Words. I was exhausted merely watching. Good humour and banter along with crowd participation. And an apology for missing Birmingham out last time around. In fact, this was my first reunion with the man in five years as previous local shows have coincided with productions of my own. I hope the next isn’t too far away, probably at this rate, with a new album. And let’s not forget the Sleeping Souls: Ben Lloyd, Tarrant Anderson, Matt Nasir and Nigel Powell, always a magnificent contribution to the show.

The only thing I would note as a minor negative is nothing to do with Frank Turner, it’s just the crowd were not as lively as my previous encounters. This could be to do with a larger arena venue and maybe the energy is less likely to be infectious due to the greater number of people to share it with. I didn’t care. It was a great show by a great showman.


Frank Turner - Be More Kind Signed

Cheers.

Antony N Britt

“How did the Foo Fighters get this fucking big?” That was the question asked by Dave Grohl to 80,000 fans who packed the London Stadium. And do you know, I truly believe he’s as mystified as he made out.

Foo Fighters – London Stadium – June 22 2018 © Antony N Britt 2018

Well, I’ll tell you the answer. By having nine albums of the highest calibre in 24 years and transferring that standard onto the live arena, making the Foo Fighters currently the biggest rock band on the planet.

Quite a statement, and when I consider how many bands I’ve followed over the years, with many still going, it’s a massive accolade.

This was the fourth time I have seen the Foo Fighters and easily the best. Perhaps longevity is the reason. By continuing to produce music of such a high standard, the quality increases with each new release.

Launching the set with All My Life, the hits followed one after another: Learning to Fly, The Pretender and My Hero. However, we also had the new in The Sky is a Neighborhood, Dirty Water and Run. Then the classics again: Monkey Wrench, Best of You, Breakout, Times Like These and finally, the marvellous Everlong.

One thing I admire about the Foo Fighters is they’re more than just Dave Grohl. The magic is the fact that they are a band. And it’s nice to see not only Taylor Hawkins having the usual solo, but also Chris Shiflett with a cover of Alice Cooper’s Under My Wheels.

Okay, one niggle. Not fond of instrumental solos, especially drum which go on for ages. Maybe it’s just me but I’d rather have more songs.

So, we had the old, the new, and the downright bizarre. Only the Foo Fighters could do a mash up of John Lennon’s Imagine backing with the vocals of Van Halen’s Jump.

These days, the question isn’t what they played, more, what did they leave out.

As I have said, each gig I’ve been to from this band has been bigger than the last. And add to that, the ever-increasing pool of songs. How the hell will they top 80,000 at London Stadium? We await the answer with the next album and future tour.

I’m sure it will be magnificent.

Foo Fighters – London Stadium – June 22 2018

Cheers.

 

Antony N Britt

%d bloggers like this: