Caught Live: IDestroy (supporting The Men That Will Not Be Blamed For Nothing), Live Rooms Chester, 20th March 2018

Halfway through the opening number of headliners The Men That Will Not Be Blamed For Nothing’s set, and their guitarist stopped dead mid-song. Spotting that the (admittedly sparse) crowd was dotted around the floor, he demanded everyone move to the front, in front of a line in the floor ‘or we won’t play another note!’ When he singled out your correspondent for not complying, he lost me there and then. Having decided I wasn’t going to be bossed about by some fella that I’d never clapped eyes on before, who was in Alice Cooper-esque face paint, I proceeded to step further away from the demarcated ‘line’ until I was back at the bar, or even sat down on the sofas to the side of the hall from where I watched the remainder of their set.

Of course, I wasn’t here to see that band, though I have to admit grudgingly that their set of punk fused with metal, laced with doses of anarchic humour, was pretty good. Had the guitarist not rubbed me up the wrong way so soon into their set, I might have taken closer order – but no, I was here to see Bristol ‘party punk’ trio IDestroy who have just released a new EP ‘Pure Joy Of Life’, which received an encouraging review in Kerrang! mag.  I’ve seen this band numerous times over the past 18 months or so, mostly in tiny venues, and was looking forward to their appearance on a bigger stage. Opening with their eponymous song ‘Idestroy’ they immediately launched into an unrelenting set of power pop/punk anthems. Vocalist/guitarist Bec Jevons soon took command of this stage and the crowd, which was increasing in number at the front as the set progressed.

They have a hard-hitting sound, with a rhythm section straight out of the top drawer featuring human dynamo Becky Baldwin on thumping, insistent bass and Jenn Haneef, who was operating in near darkness at the back of this stage but made her presence felt with powerful, driving rhythms. All that gives the platform for Bec Jevons, who ripped out solos, threw herself across the stage and threw plenty of ‘shapes’ into the bargain. Her guitar sound was heavy too, and the trio had at least one ageing headbanger on the barrier  forgetting that he wasn’t 23 any more 😉

Most of their repertoire to date got played in this set, all five tracks from the new EP including their cover of the Gossip’s ‘And You Know…’ plus ‘Annie’ and ‘98%’ from their double ‘A’ side single of last year, as well as material from their earlier EP. They have the players, they have the frontwoman to engage any crowd and most importantly, they have the songs. Many of these songs are laden with hooks as well as powerchords, so you’re singing them back to yourself at the bar later, or even on the trip home. When you have a talented songwriter in your ranks as this band do, you’ve got a chance.  This was their first appearance in Chester, and they’re welcome back here (or to Liverpool – I keep asking them, haha!) – any time.

Following this tour IDestroy will play dates in Continental Europe, and there will doubtless be more UK appearances later in 2018, around Becky Baldwin’s (she is also a member of international all-girl rockers DORJA, and UK metallers Fury) other commitments this year. When they come around again, get to a show if they’re anywhere near you.

IDestroy Facebook Page


5 – Delightful


Caught Live: REWS (with Scarlet/Bribes) Shipping Forecast Liverpool 17th March 2018

Being one who frequently gets irritated at the lack of gigs in my city, it was a bit of a bummer to be forced to stay in on a night one happened! I couldn’t go to Hangar 34  and see Skid Row with Toseland and Bad Touch as hoped on the night before this show, owing to real life intervening, but it may have been for the best since all these gigs are taking their toll on my pocket! Fortunately March seems to be as mad as October these days for live bands playing, and this gig swiftly followed the one I was forced to miss.

REWS are yet another band I only found out about recently; a duo comprising guitarist Shauna Tohill and drummer Collette Williams (both contribute vocals) who have gained a reputation for their live shows. Described as ‘the female Royal Blood’ by BBC 6 Music’s Mark Radcliffe, that’s probably as much a millstone as it is a compliment. They’re far from the only pairing who have picked up the gauntlet thrown down by Messrs Kerr and Thatcher of course, but they have their own identity. The setting was in the basement of the Shipping Forecast, around the Ropewalks area of Liverpool where there are many bars, and with this night being St. Patrick’s Night you bet the streets were filled with Guinness hats and revellers draped in the tricolour! It was also a bitterly cold evening, which didn’t seem to put the partygoers off one bit but for me, I just wanted to get into this venue in one piece!

I got in to find openers Bribes already on, a local trio whose guitarist also took lead vocals. Their sound did rather overwhelm their surroundings, and it took the edge off their set for me – everything tended to meld together. If their guitar was a bit less ‘Iommi’ I might have got a bit more from this set, as it was I just about managed to spot that one over-driven guitar riff was a lift of Mötley Crüe‘s ‘Looks That Kill’. Maybe in a venue with a bit more space they’d come across better.  Next up were St Helens ‘jangle pop’ outfit Scarlet, a quartet headed by Jessie ‘Scarlet’ Robinson. They’ve been around for a few years now, though this was the first time I’d seen them live. Their recorded material is a bit too indie-lite for my Metallic tastes but live they have more ‘wallop’, courtesy of guitarist Adam Cunliffe and drummer Conor Williams. It was the latter who stood out for me in this band, with some nifty drum patterns.


Jessie ‘Scarlet’ Robinson

REWS spent quite a while setting up on this small stage before striking up, doing so with a cheery roar from Shauna Tohill. Being Irish herself, the occasion (plus, no doubt, Ireland’s Grand Slam win in the Six Nations) must have put her in good spirits for this show, which she revealed was their first in Liverpool. Opening with ‘Let It Roll’ she and Collette Williams quickly got into the groove. ‘You’re all very shy’, she remarked to the crowd who took a little while to warm up, to be honest but the pair did get a few at the front to shake their booties (and play air guitar or even drums 😉 ) as the night progressed. With only two people, you need a good drummer to drive the whole thing along and Collette Williams is certainly that. She provided strong backing for her colleague, who frequently swapped between her two Telecasters and had an array of  effect pedals to change the tone of those axes. Vocally, they sounded excellent, the voices blended so well. Using a lazy comparison of my own, they reminded me a little of South Africa’s The SoapGirls – they had that same fuzzy guitar attack and strong lead vocal. The closest they get to that ‘Royal Blood’ sound is probably with ‘Miss You In The Dark’, that one is reminiscent of the Bloodsters.

By the end of this year REWS will be known to a lot more people and be playing much bigger places than the basement of a pub, so it was good to catch this duo on their way up to the o2 Academies of this world and beyond. Hopefully they’ll return to Liverpool a few more times before they make the leap to those bigger stages.


4 – Deserving

Caught Live: MILK TEETH (with FangClub, Nervus) Buyers’ Club Liverpool 15th March 2018

Another night and another gig by a band about whom I had little previous knowledge! The reasons for attending were two-fold: first of all they came recommended by fellow gig-going friends of mine; secondly and more importantly, they bothered to come to Liverpool! There was a gig up the M62 which tempted me on this night (Dan Patlansky), which would have been more up my street but it’s good to take an occasional step out of your comfort zone, yes? 😀

This venue is new to me, despite being sited in my city. It’s set back from the road (on Hardman Street, close to the Philarmonic and the university area) opposite Magnet, a venue which is soon to cease hosting gigs. Going off this visit, the Buyers’ Club could well fill that gap in the city’s live scene. A small but not claustrophobic upstairs room, there’s a pretty good stage and PA, with room for moving (and moshing, as I would find out!) with a merch table to the back and a small bar. I reckon it could handle up to about 200, by my estimation about 100 showed to this gig and there was plenty of space.  When I got in, openers Nervus were coming to the end of their set. I’d have to catch these again on another night, although they sounded loud and rocky enough I didn’t see enough to make any sort of call about their music.

Next band up were FangClub, a trio who played loud shouty rock anthems, whose vocalist/guitarist played a Fender Jaguar and had shoulder-length dyed blonde hair. If he were left-handed, and the bassist a bit taller, they’d have had me thinking I was Sam Tyler and I’d travelled back to 1991 (!) They did look – and sound – close to a rather more famous trio from Aberdeen, WA but played with enough fire to get a moshpit going among the youthful element of this audience. As that certainly doesn’t apply to me any more, I got out of the way of one over-enthusiastic kid’s flailing limbs sharpish and watched this set from further back! Obvious comparisons aside, these were a good live band and worth a look when they come around again.

I watched Milk Teeth from even further back, expecting the moshpits to intensify if anything (hey, I’ve not long got over a fractured ankle – I don’t want another one at my age!) and so watched three guys and a girl make their way through the crowd to the small stage, and strike up. The band play short, snappy punk/rock anthems led by bassist/singer Becky Blomfield, though vocally she is well supported by guitarist Billy Hutton. The two voices harmonised well, offsetting the hard-hitting guitar to an extent. Their material is similar in feel to that of IDestroy I thought, perhaps not quite as catchy but in that ballpark. Sure enough the moshing soon began and there were even circle pits going, encouraged by the band’s other guitarist Chris Webb. They did change pace mid-set with a couple of acoustic numbers, even throwing in a bit of the Foo Fighters’ ‘Everlong’ for good measure! Another ‘surprise’ they had promised pre-gig turned out to be one number where drummer Oli Holbrook swapped places with Hutton, getting a brief moment in the spotlight alongside the frontwoman. That was another moshfest, of course! The set featured material from their recent EP’s ‘Be Nice’ and ‘Go Away’ as well as some from their 2016 album ‘Vile Child’, plus one or two older cuts. All of it was new to me, of course (!)

A decent night then, apologies for lack of pictures but there was no way I was going anywhere near the front this time around! 😀

3 – Decent


Caught Live: Sumo Cyco (with Skarlett Riot), Live Rooms Chester 14th March 2018

Indirectly, it was a dodgy curry that meant I came to this gig. Not consumed by me, but by Little Caesar vocalist Ron Young following his band’s show in Manchester. They were supposed to play at the Live Rooms the next night, but the gig was cancelled on the morning of the date after he suffered what we shall diplomatically call an ‘upset stomach’ (!) Putting aside my disappointment at that (they’re a band I have yet to see although I’ve been a fan since 1990), when I contacted the venue they advised that as I bought the ticket there, I’d have to return in order to get a refund. It was easier to do that at another gig, and as this gig came along a few days later, the refund was promptly used to take in Sumo Cyco instead!

I’ll readily admit that the Canadian hard rock/punky foursome are one of those bands I’ve heard of, but not a lot by. Several friends of mine do know about them however, and I found a few of those had come to Chester for this gig. Openers were Skarlett Riot, a band I do know all about having seen them at this same venue recently. This time around they were playing with a stand-in bassist (Tim Chambers, of Sister Shotgun) as regular bass player Martin Shepherd sat this tour out. The set they played was similar to that I saw late last year here, with singer Chloe ‘Skarlett’ Drinkwater once again doing without her guitar, concentrating on vocal duties. They were, to coin a phrase, hard, fast and heavy! Their material has definitely taken a turn towards the darker side of late, pretty much everything they did was out and out metal, though the bass-heavy sound didn’t do them too many favours, swamping guitarist Danny Oglesby (but not his drummer brother, Luke!) They still got a good reception from this crowd with an energetic set and some fun from Skarlett herself, posing for a few cameras aimed in her direction!


Chloe ‘Skarlett’ Drinkwater of Skarlett Riot

It was the guys of Sumo Cyco who bounded on stage led by their guitarist Matt ‘MD13’ Drake, geeing up the crowd before launching into their opening number. That soon got the crowd bouncing, as singer Skye ‘Sever’ Sweetnam joined them, not exactly inconspicuous with pink hair and a black/white chequered jumpsuit! Their set was pretty unrelenting all night, with their music a sort of metal/ska/punk fusion designed to keep the crowd on their toes from first to last. It’s a lazy comparison to think of No Doubt (before their breakthrough) as a reference point, but one your correspondent grasped, having not heard a note from this group before they hit this stage! They don’t do any power ballads though, and this set was basically a workout for us on the floor. Occasionally ‘Sever’ joined us out front, she came off the stage and into the crowd numerous times, once going full ‘Joel O’Keefe’ and getting a drink from the bar mid-song, then slugging it on her way back to the stage! Throughout, the tempo was kept up by bassist Ken ‘Thor’ Corke and drummer Matt ‘Trozzi’.

An energetic and entertaining set then, and I understood why the lads I met up with at this gig were so enthusiastic about this band (they are more punk-orientated in their tastes than me, but loud guitar rock is loud guitar rock after all!) I took the chance to meet (and grab a snap) with Skye post-show and she was surprised to find I’d come along not knowing anything about them! She was pleased to find I’d enjoyed the set though, and I left clutching a copy of their most recent album ‘Opus Mar’. When they come back to this country I hope to catch them again, and I didn’t miss the opportunity to tell them we have venues in Liverpool too! 😉

4 – Deserving


Caught Live: Stone Broken (with Jared James Nichols, The Bad Flowers) Live Rooms Chester, 6th March 2018

You got the immediate impression of ‘taking it to the next level’ for Walsall foursome Stone Broken upon entering the main L1 room at Chester’s Live Rooms. There was a backdrop, screens with their logo printed on them and big lighting clusters. That did leave rather a ‘cul-de-sac’ on the stage for drummer Robyn Haycock, though that wasn’t an issue for the two opening acts.

Another pointer that this band are stepping up a level was the turnout; the place was already filling up nicely when openers The Bad Flowers took to the stage and just got busier as the night progressed. They had to open up the rarely-used balcony and it turned out this gig sold out on the night. With tours supporting both Glenn Hughes and Living Colour under Stone Broken’s belts, as well as inking a major-label deal late last year (they are now signed to Spinefarm Records, part of Universal), as well as support from radio station Planet Rock, the building blocks are all in place for this band to make the jump to bigger things. The band’s second album ‘Ain’t Always Easy’ has just been released by Spinefarm, and the label is also to reissue debut ‘All In Time’ later in the year.

The Bad Flowers, a Cannock trio comprising guitarist/vocalist Tom Leighton, bassist Dale Tonks and drummer Karl Selickis, didn’t mess around when they took to the stage. Somewhat cramped for room in front of the Stone Broken backdrops and an array of bass bins at the front to provide a ‘platform’, they played traditional but stoneresque hard rock, thanks to Leighton’s fuzzy guitar tone and Tonks’ fluid bass. The real star of this band is however the drummer, he really powered things along with some mighty hitting. These guys are worth checking out if they play any gigs local to you.


Tom Leighton of The Bad Flowers

Following this was Jared James Nichols, whom I last saw at this place but in the smaller L2 bar area. He had a much bigger crowd to warm up this time and some new material, as well as a new bassist in Gregg Cash. Guitar geeks will have noticed immediately his use of an Epiphone guitar (also that he’d scooped out the neck pickup, leaving a cavity!) and guitar snobs will hopefully have seen that it isn’t the name on the headstock which matters, it’s what’s in the fingers. Playing ‘fingerstyle’, the man from Wisconsin gave a fiery performance with that Epiphone, backed ably by Cash on the bass and Dennis Holm on drums. Clearly someone steeped in traditional American-style rock, his cover of Mountain’s ‘Mississippi Queen’ went down well with this crowd.

Stone Broken entered the stage like conquering heroes, cheered to the rafters from the moment they came on to the moment they took their bows. With a new album just released, they performed plenty from it but also found room for several of the favourites from ‘All In Time’.  They found themselves having to pause to take in the cheers on more than one occasion, especially when singer/guitarist Rich Moss declared that they’d sold this venue out, and that their new album had made the midweek charts. ‘Thanks for putting us, a little band from Walsall, into the national charts’ he said. With their drummer effectively tucked away in her little cubby hole on the stage, the frontman and the other two lads (guitarist Chris Davis, bassist Kieron Conroy) were all over the stage and onto that bass bin ‘platform’, having to dodge a low-hanging stack of speakers in the process! They didn’t hang about either, playing 14 numbers in just over an hour and still squeezing in a brief drum solo for Robyn Haycock!

This is the third time I’ve seen this band now, and they always gave me an impression of being influenced by numerous current American bands, especially Alter Bridge; they have that similar downtuned guitar sound, two axemen (one of whom is also lead singer) and quite a few singalongs not far removed from the early AB days. That perception was reinforced somewhat in the encore, when Rich Moss came back out alone, clutching an acoustic guitar. This was to perform ‘Wait For You’ (still their best song IMO) and the way this packed crowd picked up on it was so reminiscent of seeing Myles Kennedy do something similar with their own ‘Watch Over You’.  The reception Moss and the band got throughout obviously delighted them, though his requests for us to ‘go crazy’ for closer ‘Not Your Enemy’ were not entirely fulfilled. What he’d overlooked was that this crowd was full of old rockers (many a similar age to your correspondent!) and sorry Rich, but our knees aren’t what they once were!


The fact that bands such as this are pulling a crowd of people probably twice their own age rather than people of a similar age to themselves is something I’ve noticed at many gigs lately, and is a subject worthy of further discussion in a future blog post. Not everyone there was old enough to be their parents – I attended this gig with a friend and her daughter, who is the right age to be enthused by a hard working, hard rocking band such as Stone Broken as well as both their support acts. However if even newer rock bands are attracting a mostly 50-something crowd, one has to question how long this success can be sustained.  Rich, Robyn, Chris and Kieron won’t care one jot about people’s ages as long as there are people there to see them of course but this sort of music, played live and with enthusiasm by younger performers, really ought to be reaching their own age group. I’ve a good idea why that is, but that’s for another post.

I can’t speak for the rest of that sold-out crowd of course, but as one of those older fans what I can say is that so long as my legs hold out and my pocket permits, I’ll follow this band and plenty others for a few more years yet!

4 – Deserving



Caught Live: Saint Agnes, Studio2 Liverpool 1st March 2018

Another band I’d only heard of days before this show – having found out about this band, and the gig via a Facebook post, once again the decision was made to check them out after the now-familiar ‘youtube test’. That gave me the impression of a heavy rock band with a blues base, but strong psychedelic tendencies. Enough to pique my interest, then! The weather didn’t help matters though, as the so-called ‘Beast From The East’ reached even our part of the world. It didn’t bring as much snow as it did to other parts of the country but the wind chill, allied to icy conditions out on the road would have persuaded people to stay indoors.

Studio2 seems to be heading back towards hosting more rock-orientated gigs again, after a spell when its focus was more towards jazz. With a good stage and floor offering decent sight lines, it would be good for several bands I follow who have been looking for a suitable venue to play in Liverpool. This evening however, I got in to find a band already on with what appeared to be an encouraging number there. It turned out that this was a four-band bill, with three local support acts and that the other people were mostly friends and family of the other bands! Not that I was aware of that while Widnes trio Strangers went through their paces. The best asset of this band was their bass player, who gave numerous tasty fills and even got a ‘lead bass’ solo in their last number! The material was a bit indie, a bit ‘XS Manchester’ for my taste, though they did play well.

Next band probably should have opened proceedings; The Auxiliary are a youthful quintet and ran through a series of covers with one of their own included. I’ll give them credit for guts, opening with Metallica’s ‘For Whom The Bell Tolls’ and for their singer, who despite looking a little reserved and staring at the floor rather than the audience, put a lot of effort into his performance. This will sound weird coming from a devoted Metalhead, but this band could improve things straight away if they just dialled back on the distortion a bit! Their cover of Radiohead’s ‘Creep’ was drowned in distorted guitar, even during the quiet verses thus rendering the ‘crunches’ leading into the chorus ineffective. The one cover that worked well was their take on ‘Breed’, it did come close to the Nirvana sound. Their original track, the name of which escapes me, was reminiscent of Oasis circa ‘Definitely Maybe’ because of that domineering distortion pedal. They have plenty of room for improvement but also plenty of time TO improve.

Third band up was Salvador who also hail from the surrounding areas; the quartet  played original material but sounded typically indie to these ears. They weren’t anything like as distorted, which was a relief (!) but their songs didn’t latch in my brain, a decent live band but not my cup of tea.

While the supports were playing there was a lot of activity as the previous band was loading out, by the time Saint Agnes had set up and were ready to play the place had almost become deserted! Only a handful remained as the four-piece came on to a flurry of dry ice (we had plenty of real ice outside, there was no need!) and opened with their single ‘Merry Mother Of God Go Round’. Straight away they had something different going on, with vocals from singer/guitarist/keyboardist Kitty Arabella Austen and also from guitarist Jon Tufnell (presumably no relation!) Their sound is powerful, fuzzy, sludgy and has that ‘edge’ which marks them out as unlike most others out there. Frontwoman Kitty flits between instruments constantly, but still has that sensual allure that holds the attention. There’s a clear Zeppelin, or even a clear Sabbath influence in there, particularly in the rhythm section where they have a drummer in Andy Head who hits like he means it, and bassist Ben Chernett whose bass tones reminded me of Geezer in places.  Their set included a reworked, darker cover of The Doors’ ‘Roadhouse Blues’ – if you were hoping for ‘the jig’ similar to how Quo used to do when they covered this song, forget it! 😀

This was a mightily impressive performance from a band about whom I had never heard about until this week, and I will definitely look out for these again. At the time of writing they are due to play in Chester on the 3rd March, and if possible I’ll get along. An exciting live band I look forward to seeing more from in the future.

4 - deserving

4 – Deserving


Saint Agnes Facebook Page

Salvador Facebook Page

Strangers Facebook Page

Caught Live: Dan Reed & Danny Vaughn, Live Rooms Chester 27th February 2018

Dan Reed clearly doesn’t believe in the ‘One Steve Limit‘ rule as described by TV Tropes; in short that is a convention where a group cannot contain two people or more with the same first name. In his regular band Dan Reed Network he has drummer Dan Pred of course, and with this tour he has once again teamed up with Tyketto’s Danny Vaughn for the third run of acoustic dates that they dubbed ‘Snake Oil & Harmony’.

The first time these two frontmen paired up was three years ago and back then they both admitted that they didn’t quite know what would happen. I saw them in Liverpool on that tour, before an audience best described as ‘exclusive’ but it was a truly special night, both guys accompanied by just acoustic guitars and performing a selection of songs from each others’ past, both well-known and not so.  What that also showed me was what a great performer Dan Reed is. I was never a fan of the Network ‘back in the day’, and it took seeing him play in this format to open my eyes/ears to what he has to offer.

This show in Chester was pretty much the same formula with the stage at the main hall in the Live Rooms having just two chairs and mikes on stands. The two Dans came on stage at around 8:30 to an audience of around 100, the show took place during a cold snap which saw the country once again slither to a halt at the sight of some snow. We’re often ridiculed whenever that happens in the UK, which is a subject for another day and probably another blog (!) but suffice to say, our weather is so unpredictable that preparing for such events is a gamble.  As a result, several fans from more remote areas (especially in the North Wales region) who were planning to come didn’t, as their areas were snowed in.  It was cold on the stage too, with Danny Vaughn joking that he was now of that age where he could come on wearing ‘a cardi’. (He’s picked up a fair amount of British slang, since he spends so much time here!)  They took it in turns, with Dan Reed going first with his own song ‘Smile’. A surprise was that ‘Rainbow Child’ came early in the set, one of the Network’s best-loved songs and one I might have expected to be saved for later in the evening. Danny Vaughn’s material covered old and new too, with several tracks from the last Tyketto album ‘Reach’ being performed.

As on the previous occasion there was a lot of banter with the audience and between the two, Dan Reed especially was in great form. They change the set around from night to night on these tours, and will sometimes take requests from the audience. Both guys were also in tremendous voice, Danny Vaughn always is of course but while Dan Reed feigns envy at his colleague’s tremendous range, he has a pretty strong singing voice himself. In addition, he sings with such emotion – he really pours himself into those songs.  They always backed one another up on the other’s songs, sometimes just adding a little bit of backing vocal but on other occasions playing the guitars in unison. These shows also demonstrate their playing as well as singing ability; having attempted to learn guitar myself I have found myself watching guitar players more closely at gigs and both these guys are damn good players too, not just singers.  My highlights for Dan Reed were his acoustic renditions of Network hits like ‘Ritual’, ‘Mix It Up’ and of course ‘Rainbow Child’ and for Danny Vaughn, the deeper cuts like ‘Dulcimer Street’ and ‘Is That All There Is’ were particularly enjoyable.

Dan Reed & Danny Vaughn at Chester

Dan Reed & Danny Vaughn at Chester

Towards the end of the night (a good two hours’ worth) the guys confirmed they had plans to record together in the near future, while both revealed plans to play with their respective bands in the coming year.  They even performed a song that they’d co-written (‘Where The Water Goes’) which is intended to appear on any product they release. Following the set both came to the stand for a meet and greet, signing and posing for photos before the Live Rooms staff had to close up at 11pm.

Both guys are veterans of the scene now but both are still at the top of their game, and on this evidence have got plenty to offer yet. If you get the chance to see them, take it. (As I type, the guys announced that they would postpone the following night’s show in Sheffield owing to the weather situation worsening. They’d actually arrived in the city but felt that they could not ask fans to travel in the conditions, the date will now be rescheduled for 29th March 2018.)


5 – Delightful