Gigs of 2017 – part two

 

For Part One click here

APRIL

The very next night following DORJA’s gig at Bilston, it was back down the M6 to Birmingham in order to see Swedish masked men (and woman!) Ghost. Although they’d been around for a few years they only came onto my radar the year before, with the catchy ‘Square Hammer’ getting a lot of airplay on rock radio. A sensible person would have planned to stay in the Midlands knowing there were two gigs on consecutive nights, but yours truly is neither sensible nor much of a planner! The venue (o2 Academy) was packed out when I arrived, even as support act Zombi did their stuff (not to my taste). A lengthy interval followed, with lots of ritual bowing to one another by the stage crew as they set things up, then the band themselves came on and surprised me at least by opening with the aforementioned ‘Square Hammer’. All the band members dressed in identical jumpsuits with masks completely covering their faces, save for the main man Papa Emeritus III. He made his spectacular entrance in a puff of smoke and proved to be the consummate showman. They played up the Satanic angle to the point of parody, but they were far from threatening, this was pure vaudeville entertainment (much in the style of Alice Cooper) complete with ticker-tape at the end! Shortly after this tour, several former members of Ghost launched legal action claiming they were excluded from royalties, this action unmasked Papa Emeritus III as Tobias Forge, the brains behind the act whose identity was already an open secret, but the lawsuit confirmed it.

A week later I decided to venture out to St Helens and the Citadel, a small theatre which often hosts some good bands. The band Frost* made a rare appearance on the 9th, this quartet is made up of virtuoso players throughout but all are busy with so many other projects, that they can only get together occasionally. Led by guitarist John Mitchell (Lonely Robot, It Bites, many others) and keyboardist Jem Godfrey (a famed producer) and also including bassist Nathan King (of Level 42; brother of Mark and just as adept on the four-string) and drummer Craig Blundell. They play long-form progressive rock, and their set included the epic ‘Milliontown’ which lasted at least half an hour with lots of complex passages. For £15 this was terrific value, especially seeing as a certain famous progressive Metal band were also touring at this time and asking about five times that for a ticket!

On the 14th (Good Friday) I took a run out to Whitchurch, where iDestroy were playing at Percy’s cafe/bar (a small bar with a stage set up out the back in the open). It was good to see Bec, Becky and Jenn again, this time close enough to almost play Bec’s guitar for her (!) and the evening was closed out by Italian hard rockers Atlantic Tides, who impressed me enough to get their album. A week later it was ‘hello Becky’ once again, this time at Rebellion in Manchester where she was performing with Triaxis, her melodic Metal band. This evening was an album launch for Yorkshire metallers Vice, and the bill also included Dakesis and Amethyst. I was there mainly for Triaxis, who annouced later in the year that they were to call it a day following some personnel changes. One of those was in the vocal department, as Greek singer Angel Wolf-Black was fronting the band when I saw them. The band were obviously influenced by European metal bands with many synchronised poses and technoflash guitar solos, but entertaining as anything Becky features in tends to be. Their setlist had ‘DIO’ written on it, I was expecting a cover of Tenacious D but it turned out to be ‘Don’t Talk To Strangers’ (!) I stuck around to watch Vice, who were good but weren’t holding my attention too much until they too did a Dio cover, or more correctly Sabbath’s ‘Heaven and Hell’.

Hot on the heels of that show was a completely different one – Bristol rockers Tax The Heat had a show at Chester’s Live Rooms. To my surprise this took place in the smaller L2 bar area, which I thought was odd for a band who had got themselves a reputation as ones to watch. It turned out tribute band UK Foo Fighters were booked into the main L1 hall, and that had drawn a big crowd. Those who plumped for this gig however got a stormer of a set, TTH play hard and really rocked this small room. For me this was one of the highlights of my gigging year, to see such a slammin’ band up close and personal was a real privilege. The month closed with yet another iDestroy gig, this time at Star and Garter in Manchester. By this point Becky must have thought she could not brush me off the doorstep (!)

MAY

On the first of this month (a bank holiday) I made the crazy decision to drive from Liverpool down to Maidstone just to see Holly Henderson’s debut live set with her newly-assembled solo band. Holly had at that time just come back from LA, having been invited over there by ace guitarist Pete Thorn after he’d heard her home-produced material (released as the ‘Opium Drip’ EP). At that time I had just finished a contract, and with some free time on my hands as well as a little money for once, I decided to do it knowing I wouldn’t get many other chances to see her live this year. She was playing as part of a one-day live music event at a bar in her home town, but as it was I made it there only minutes before her set was due to commence. I’d only ever seen her as a guitarist in bands before then, this time she was out front handling lead vocals too (although she was augmented by singer Katy Chellar) and her band, made up of musician friends of hers, were a powerful live unit who gave her excellent backing. I knew none of the songs she played that night (save for ‘Your Hands’ from that EP) but the track which lodged in my mind was ‘Loneliness’, a pacy rocker that she has now lined up as the lead-off single for that upcoming album. At that time she was still a member of DORJA, but her own solo project had gained legs so quickly that it soon became clear she couldn’t juggle everything, and shortly after this set she announced she was parting company with the hard rock band she co-founded. That was a little saddening for all involved but both she and her former band would go on to release more material this year.

My next gig was a little closer to home; original Whitesnake guitarist Bernie Marsden was playing at the fabled Buckley Tivoli. Although he remains best-known for those three years or so with Coverdale, he has ploughed his own bluesy furrow for decades now and as well as being a highly-respected guitarist, he is also a fine lead vocalist. He couldn’t get away without playing ‘Here I Go Again’ of course, the song he co-wrote with David Coverdale which took off so successfully five years after its initial release, that it probably set him up for life! Following that, I was invited to a birthday bash with a bit of a difference – a friend of mine I know from gig-going (Nigel) had arranged an evening featuring several acts he had seen and got to know. All performed acoustically, and the night was staged in a social club near Nottingham. Performers included Alisha Vickers, a singer from Yorkshire, the glamorous April Allen (a singer/songwriter who performs solo with an acoustic guitar), Nottinghamshire band Desensitised. (the full stop is part of their name!) who played as a duo with guitarist Libby and bassist/singer Charlotte, and Hands off Gretel, a grunge-inspired band featuring the striking Lauren Tate who also performed as a duo with Lauren accompanied by guitarist Sean McAvinue. It was HOG who stole the show, with Lauren Tate’s expressive performance seeing her climb chairs, her guitarist, or even just make shapes as she played and sang. I have yet to see her with the full band but intend to do so in 2018.

The next gig this month was a trip to Stoke-on-Trent, in order to see the Women in Rock act which, on this occasion, featured DORJA guitarist Rosie Botterill who guested in place of their regular guitar player. This act is fronted by two, sometimes three, female singers with a (usually!) male band and they play covers of rock songs made famous by the likes of Pat Benatar, Heart, Stevie Nicks and Joan Jett among many others. Rosie had only limited time to learn a long set and gave a great performance, as sole guitarist a lot sat on her shoulders. She is a big fan of Slash, so playing in his home city was a big deal for her.  A few days later, the month continued with another trip to Stalybridge, to see the SoapGirls who had just arrived back in the UK from their South African homeland. They spend the summer months in the UK playing anywhere and everywhere who will have them, and have gained a loyal following since first making themselves known to many of us in 2015. Comprising of sisters Camille (‘Mille’) and Noemie (‘Mie’) Debray on bass and guitar respectively, they split lead vocal between them and play hard punky guitar-orientated songs, some dealing with serious topics about the state of things in their native SA, others are more light-hearted party numbers. They perform as a trio, with a drummer locally recruited for live performances. Their shows tend to border on the anarchic, with audience participation not just encouraged but enforced sometimes! I found this out for myself as I was shoved up on stage by Sam Debray, their mother who acts as tour manager, driver, road crew, photographer, guitar tech, costumier and chaperone/security where necessary! She, like the girls, has got to know many people who attend regularly and decided to involve yours truly in the show! I won’t divulge what took place exactly other than to say it included water spray bottles and wax strips, with grateful thanks to Mie for going easy on a vulnerable ageing hippy (!) I’d hoped to see more of the SoapGirls this year, as it turned out this was one of only two of their gigs I’d get to for reasons I’ll get to later.

Things calmed down a lot the next week as I attended an in-store appearance by Inglorious, a UK hard rock band fronted by the flamboyant Nathan James, who had just released their second album (recorded at Liverpool’s Parr Street Studios). This took place at Liverpool HMV and saw the quintet perform a short acoustic set of songs from both their albums, followed by a signing and photo session with fans. During the appearance the singer let slip that they were touring in the autumn, when that came it clashed with a gig I had already lined up though, so I have yet to see them live other than this in-store. I saw enough to hear what a powerful voice he has, however.

Days before my next gig, one I was really looking forward to (Iron Maiden, at Liverpool Echo Arena) news broke of the death of Soundgarden/Audioslave singer Chris Cornell. That cast a shadow over the gig, with Brent Smith of support act Shinedown visibly shaken by that news, when he paid tribute to the fallen singer (a hero of his) during their set. Iron Maiden were, as expected, magnificent. They brought the full arena production to Liverpool, a spectacular show with songs from latest album ‘The Book Of Souls’ and a selection of back catalogue classics, all performed with the usual verve and with bassist Steve Harris and guitarist Janick Gers running around the big stage, the bassist as ever mouthing the song words alongside singer Bruce Dickinson.  The show fell on a Saturday evening, and from my prime spot close to the front I was surrounded by fans who had travelled from other countries including Italy, Brazil and Poland. That showed me just how much our city had needed this venue and shows like that to bring people to Liverpool. The gig was one of those real events we get precious little of in Liverpool, with this show having been such a success it is to be hoped there’ll be much more like it while your correspondent is still fit enough to enjoy these gigs!

The month ended on a dreadful note however, as news broke on the night of the 23rd May about the horrendous attack at Manchester Arena following a concert by pop singer Ariana Grande. As someone who knows that venue extremely well, and could have been there myself shortly before this attack had I decided to see Maiden play in Manchester too, it really hit home. It shook music fans of all stripes, especially as many of the victims were children. The arena was out of action until September as a thorough investigation commenced, with planned gigs from KISS, Ritchie Blackmore’s Rainbow and others cancelled.

JUNE

The best laid-plans, and all that. I had several gigs in mind for this month but after seeing two, things all changed!  First of only two gigs I did see this month (both in Liverpool) was at the newly-opened 27 Club (a live venue and rehearsal space) where they kicked things off with a multi-band bill headlined by Californian all-girl glam punks the Glam Skanks. Before that there were some local bands (all female-fronted), including Last Reserves from St Helens, the Liverpool-based Figures, and Novacrow who delivered their usual mayhem including when bassist Freddy not only jumped off stage but ran out of the door – his radio link allowing him to play while out in the street!  Glam Skanks meanwhile, were playing in Manchester supporting The Skids, and as soon as their set was over they hightailed it down the M62 for this set in Liverpool. Arriving during Novacrow’s set, they had to set up quickly in this small bar area. They were very entertaining, more glam than skanky for sure with singer Ali Cat charming the punters with her cheerleader-inspired look. I’d definitely see these again if they came around my way, and it was a great start for a new venue that would be great for many bands of my acquaintance.

The only other gig I got to this month was by The Strypes. I’d heard of this Irish quartet from a few people I know, and they resonated with this old rocker who liked their modern-day take on Feelgood-esque rock ‘n’ roll played hard. Coming the day after the UK General Election feelings were still a little high, encouraged by support Man & The Echo, whose frontman was certainly no fan of the incumbent prime minister! The Strypes themselves avoided such things for the most part, preferring to concentrate on delivering their songs as hard as possible to an eager audience. They had as much energy and volume as any Metal band I’ve seen, more so if the truth be told, and had the crowd moshing all evening. Yours truly anticipated that and stood well clear, however it was after a splendid gig I suffered an injury that put me out of gig-going for some time. Walking back through the city I caught a step by the ruined St Luke’s Church (‘the Bombed Out Church’ as it is locally known). Falling to the ground, I could not stand up again and had to sit for several minutes to compose myself. My right ankle swelled up like the proverbial balloon in the meantime, and I still had to get back to my car which was parked several hundred metres away. To cut a long story short I made it somehow, drove home, thinking I’d just turned it and it’d be OK in a few days. In fact I’d fractured my ankle in the fall, which became clear once I had it looked at and was immediately sent to A&E at my local hospital! With my leg in a cast for several weeks, that meant no more gigs for a while. Ruled out for a start was an intended trip to Chester to see Tyler Brant & The Shakedown, also out of the question were two Manchester gigs by classic rock bands Blue Oyster Cult and Cheap Trick, neither of whom I’ve seen and was hoping to change that.  I’d also considered a run to Birmingham to see Ritchie Blackmore’s Rainbow, but that was also scrapped following the injury. In fact, the only ‘live’ music I got to see during that period was the Foo Fighters’ televised appearance at Glastonbury. That wasn’t bad, but I’d much rather have been at some actual gigs! Also ruled out were the DORJA dates, which were planned for July and would feature their newly-recruited guitarist Sarah Michelle, but I could not travel with my right leg in plaster. That was disappointing, but there was nothing to do other than wait this out and let it heal. Then I remembered – the SoapGirls were coming to Liverpool that month…!

JULY

I had no choice but sit out many tours I’d planned to get to, as my leg was in plaster all through this month. However, by the time of The SoapGirls gig at Maguire’s Pizza Bar (a small restaurant with a back room they hire out for bands) I’d decided that as they were coming to my city I would be there regardless. Some of their regulars were attending, and some were even helping out with merch, gear transportation, whatever. I was unable to stand properly and used a wall as support (!), but was still greeted warmly by tour manager Sam Debray. The performance space was very small, and that possibly affected the girls’ plans as they didn’t do many of the usual stunts such as getting audience members to drink dubious concoctions (!) or even spray champagne (or cheaper sparkling wine) and shaving foam everywhere, it was a more restrained performance by their standards. They still played hard, of course but it was not the full SoapGirls experience by a long way. Nevertheless it was a big deal for me at least to see a band I’d got to know play in my city, and when Mille and Mie saw my cast after their set they got why I wasn’t at the front jumping around as usual!

A week later I decided to go along to another gig in Liverpool, this time at long-established club the Krazy House who were staging a three-band bill including Tequila Mockingbyrd, Black Cat Bones and Aussie outfit Massive. I recognised only drummer Josie from Tequila Mockingbyrd; since their earlier gig singer/guitarist Estelle Artois had stood down from the band and taking over was Louisa Maria Baker. Also recruited for the bass position was Jacinta Jaye, who is a fair dinkum Aussie unlike the Bristolian Louisa. Unfortunately I got there in time to see them packing away – hobbling through the doors I saw Josie clearing away her kit for Black Cat Bones to take the stage. However, the girls let me know that they would reappear with Massive during their set. Black Cat Bones once again delivered a fine set of retro rock, vocalist Jonnie Hodson is a real talent although he does like to have a laugh on stage between songs. I’d little prior knowledge of Massive but was expecting a hard-hitting set, as befits an Aussie rock band. They didn’t disappoint in that respect, they smashed it and at the end, they did indeed bring members from both Black Cat Bones and Tequila Mockingbyrd on stage for a chaotic jam. That was my lot for gigs in July, I was barely getting back on my feet at this stage but without a live fix for weeks I was starting to go stir-crazy!

For Part 3 click here

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CD: Inglorious ‘II’ (Frontiers)

This was an album I meant to do a write-up on long before now; I went to the band’s Liverpool in-store appearance in May and picked up this record on the day, but ‘stuff’ kept intervening and it’s only now, with me out of gig-going action temporarily that I have got around to this one.

Inglorious are the latest in a long line of British rock bands touted as ‘the future of rock’; they were saddled with a tag of ‘The New Deep Purple’ by some commentators, which I thought was a little unfair. For one thing Deep Purple didn’t hit their stride until their fourth album and then only after a change of singer and bassist! Also, when Purple were at their peak, they were also at their most dysfunctional, something that this band could well do without as they make their own way in the rock scene. The tag was one this band could never live up to, and their debut album of last year showed promise, but ‘In Rock’ it wasn’t.

The band are built around singer Nathan James, whose pyrotechnic vocals certainly attracted attention. They have striven to present themselves as a band, not just a vehicle for the singer, but such is his voice, his presence, that he does dominate the spotlight, just as (for example) David Coverdale before him did with Whitesnake. However all the members have contributed to the songwriting on this album, including guitarist Wil Taylor who, after recording his parts for ‘II’ parted company with the band at the end of 2016, to be replaced by his own predecessor Drew Lowe. Taylor has since formed another band (Deeva) and has been back at Liverpool’s Parr Street Studios this year (where this album was recorded), working on new material.

So what do we make of this follow-up album by Inglorious? CD in the deck, let’s press play…

It certainly gets off to a good start with ‘I Don’t Need Your Loving’; typical of their old-school rock style yes, but it’s a catchy number which ticks all the boxes. Hard riffs, singalong chorus and an early chance for James to show off those pipes. From there though, the album is full of material that could have been written by any number of those bands in that long line of acts that came before them. Titles such as ‘Hell Or High Water’, ‘Taking The Blame’, and ‘Change Is Coming’ give away what to expect even before you get to them, that this isn’t going to break any new ground. The playing is fine, the drums kick with enough wallop and the guitars slash away with intent, but these songs just don’t stick. Like the first album, you’ll come away with the impression you’ve heard this record many times before, the only thing that makes them stand out is the voice. There are fast-paced rockers (‘Taking The Blame’, ‘Hell Or High Water’), slower songs (‘Making Me Pay’), ones with Whitesnake-style gentle intros which bring the band in with a wallop (‘Tell Me Why’, ‘Change Is Coming’, ‘Faraway’), guitar workouts for axeman Andreas Eriksson such as the shred solo on ‘I Got A Feeling’, but this is an album that is a distillation of so many 1980s hard rock bands, nothing you haven’t heard many times before. It is all so familiar, that the only reason for picking it up is if you’re a particular devotee of James’s vocal style.

The in-store appearance aside, I’m still yet to see this band live (they are touring the UK in October 2017) and I’m sure they’ll cook up a storm live, but for me they need some stronger songs – even if that means an external writer. They can imitate the style of previous bands, but there is little to innovate here. I’m afraid this album only reinforces the perception that it is a vehicle for James, however hard he tries to tell us otherwise and I still feel the way I did after hearing this band’s debut – sooner or later he will be recruited into a supergroup or will be offered a solo mega-deal, one he would be crazy to refuse. This is a band made up of dependable, solid players but fronted by a singer who cannot be confined by this act for ever.

Inglorious II

Inglorious II

3gtrs

3 – Decent

 

The Inglorious in-store, HMV Liverpool One, 16 May 2017

UK hard rock band Inglorious have just released their second album, ‘II’ (does that mean ‘III’ will take a folkier direction and the fourth album will be untitled, lads? 😉 ) which was recorded here in Liverpool last year, at the famous Parr Street Studios. To promote the album at launch the guys appeared at Liverpool’s HMV store to play a short acoustic set and do a signing. The HMV store in Liverpool One has a small corner set aside for such events on the lower level, and a crowd of between 30-40 people had gathered. These things tend to be awkwardly timed, as they usually take place at around 5pm and unless you are working in the area or have time off, they’re not easy to get to. However on this occasion, I had the opportunity to attend and as it took place at Liverpool’s HMV store rather than one further up the M62, it’d have been rude not to have gone along!

I have never actually seen Inglorious live until now; the gig I had planned to see last year in Wigan was nixed by another Same Night Syndrome – it clashed with a gig from former Wishbone Ash bassist Martin Turner who was playing in nearby St Helens.  So this would be the first occasion I’d encountered them live in any capacity; they have since had one change to the ranks as guitarist Wil Taylor parted company with the group at the end of 2016. His replacement is Drew Lowe, who had been part of the band in its early days. However it is Taylor’s guitar which is heard on this album, alongside that of fellow axeman Andreas Eriksson.

The guys came through the store to make their way to the performance area, with cheery greetings from singer Nathan James. Although the set was to promote the new album, they actually opened with two tracks from their debut (‘Until I Die’ and ‘Breakaway’). In between, the frontman regaled the audience with tales of their time in Liverpool, namedropping a few pubs including The Shipping Forecast. He also pledged that they’d love to come back for their third album, so it is likely they will once again pitch up at Parr Street when that time comes. Some of the new songs were played including ‘I Don’t Need Your Loving’, with a shoutout for radio statio Planet Rock who have consistently supported this band with airplay.

Towards the end they let slip that there would be a UK tour in October this year; needless to say an audience member seized on that and asked whether it would include Liverpool. “I don’t know!” came the honest response from Nathan – “We don’t get to choose!” he added.  He did however say that they would do their best, especially if enough of us bought the album (!) “We need to pay back our record label!”, he concluded. The acoustic set lasted around 30 minutes, enough time to demonstrate what a powerful and rangy voice he has, as well as showcasing Andreas Eriksson’s ability to shred even on acoustic guitar .

Following the performance they gathered at a table across the store for the signing, everyone had either the CD or the LP version of the new album (the CD was £10, but the LP retailed at a whopping £27 – no prizes for guessing which one your correspondent plumped for!). These things tend to be a conveyor belt, but it was still possible to grab a quick chat with the guys. After the signing the staff gathered together those still remaining to have a photo with the band.

I’ll listen to the album more thoroughly in the coming days and do a write up when time permits; their first offering was good but to me was a little familiar, and I would expect this to be similar in style but hopefully with more of their own stamp to it.

Youtube clip courtesy Kerry Maher:

Album: Inglorious ‘Inglorious’ (Frontiers)

It’s been impossible to avoid reading, or hearing about UK sextet Inglorious in the months leading up to the release of this, their debut album. Every time you opened a rock magazine, browsed a rock-orientated website you’d see a picture of these guys (or of just vocalist Nathan James), or if you tuned in to Planet Rock (the UK’s only national radio station geared towards classic rock), chances are you’d hear one of their songs before very long.

The band were put together in 2014 and are very much built around the powerhouse vocal of Nathan James; he was totally off my radar until recently but had previously toured with Trans-Siberian Orchestra (TSO)  as well as Uli Jon Roth. Before all of that, he competed on a televised talent search show in the UK. James is without doubt the name, the face and the voice of this band although in publicity for this record, they have been keen to play that down in favour of presenting this act as a complete unit. To that end, they recorded this album using ‘old-school’ techniques; they eschewed auto-tune, digital recording and other aids such as click-track, in an effort to recreate the feel of the classic-era hard rock records which inspired them.

I was meant to go and see this band live recently but found that the date clashed with another gig I’d booked (a frequent frustration of mine when it comes to gig-going!) so I missed out on seeing their recent headline tour, and also missed the chance to see them open for the Winery Dogs at the start of the year; the nearest show was in Manchester, because it was mid-week that made it impractical.

So having missed out on seeing them live this time around, I decided to fire up Spotify where the whole album is available to listen to for free (if you don’t mind the occasional ad) and decide for myself whether or not the massive hype surrounding this group is justified.

Things kick off with ‘Until I Die’; one of two tracks that has been in heavy rotation on Planet Rock. On the album it’s preceded by a lengthy intro on Hammond organ (courtesy of Liam Holmes), but soon kicks in with that mighty riff from guitarist Andreas Eriksson. The initial impression is that James’s voice is reminiscent of the late Ray Gillen; his band Badlands are just one of the many rock bands of the past you’ll recall when listening to this record. ‘Breakaway’ is a fast-paced rocker which made me think of Sammy Hagar.

The whole album will have you either getting straight away where they drew their inspiration from or have you scratching your head wondering where you heard that bit before. I did get the impression I’d heard this album many times before, and while they certainly do mine the Zeppelin seam like so many others before them have, it’s hard not to think of the likes of Whitesnake, Mr Big, Rainbow, and even more recent acts such as Alter Bridge while playing this album through.

Overall then, it is a solid debut, not the instant classic many would have you believe as the influences are a little bit too obvious. I feel the plaudits already bestowed upon them (they’ve been compared to Deep Purple, for example) have led to something that is impossible to live up to, certainly with a debut album. They can become a great band in time, if allowed to develop properly. However, vocalists of the calibre of Nathan James don’t come around that often, so sooner or later I think he will receive an offer he’d be mad to turn down and will find himself in LA in the company of more stellar players. He’s far and away the most recognisable name in this outfit and it will either become ‘Nathan James and Inglorious’, with a revolving cast of backing players or he will eventually go solo. It is to be hoped that the band as it currently stands will survive long enough to make the album they’re capable of before that happens.

3gtrs

Decent

ingloriouscover