Sep 062018
 

Review and photographs by Dod Morrison.

P.I.L hadn’t played Aberdeen since the mid 80s, so this was a highly anticipated gig. The gig sold out about a week after it was announced.

The shows starts off with “Warrior” and the crowd gets excited to see a punk legend.

He now has a book in front of him to read the lyrics and doesn’t move around so much, but still pulls silly faces and grimaces as he puts heart and soul into each song.

This was a no nonsense show, no rants ( well a wee one when he asks the lights to be turned down a bit ) , no banter, just a song after song.

There is a lull in the crowd when a few new songs are played but once the hits are played. 

“Flowers of Romance” and “This is not a Love Song” perk the crowd up again, but it is “Public Image” that really gets the crowd in a frenzy and singing along..

I think the crowd may have been mostly PIL fans but I felt there was quite a few who were just there to see John Lydon aka Johnny Rotten in their home town.

Here some comments from people on the night.

Margo McCombie:

“Transported back to my youth. Last time I saw PIL was in the Capitol over 30 years ago.”

Jeff Bruce: 

“Debut PIL gig for me, wasn’t disappointed!, great sound and visuals!”

Paul Reid:

“3rd PIL gig, once again pure class. No nonsense, we we’re treated to pure PIL.”

Gary:

“From the moment I walked in and saw the backdrop I felt the hairs rise. Memories of The Capitol and bouncing down the front. This was to be a nostalgic experience for so many.

“From the second the band emerged I felt a sense that something special was about to be witnessed. John Lydon’s presence on stage is mesmerising and his voice intoxicating. A tour not to be missed by any Lydon fan. Feeling blessed, still smiling.”

Hen:

“Absolute stotter of a gig , I’ve seen them a heap of times but last nights rendition of Flowers of Romance was the best I’ve heard them do it, got me duncin like a neep!”

Micheal Foreman:

“Great gig same as Hen I’ve seen them loads, great gig, loads of new versions of the classics with Lydon ad libbing throughout.

“He said at rebellion he used the music stand cos he couldn’t remember the lyrics. Maybe he should have consulted his lyrics before writing them down. Great show though didn’t disappoint.”

Billy Aitken:

“No Lydon psycho-drama – just let the music do the talking which is always a good move. Lu is the dude like.”

Donna Bruce: 

“The Public Image gig last night was fantastic with some old favourites and some new gems and I have not seen a gig so well attended at the Assembly. Cracking night.”

Aug 122018
 

Craig Chisholm reviews Iron Maiden at AECC. Photos by Craig Chisholm.

One of the biggest names in the history of heavy metal returned to Aberdeen for the second time in just 18 months to perform an exclusive Scottish date in front of a sold-out audience.
With the larger Hydro venue in Glasgow being used as part of the 2018 European Athletics Championships, the Exhibition Centre provided the bands only date north of the border in what must count as an intimate show for a band more used to headlining stadiums and festivals.

For metal fans in the North East, Glasgow’s loss was Aberdeen’s gain as the AECC hosted the most extravagant, theatrical, over-the-top, and, arguably, one of the greatest performances ever seen in the arena.

However, before they were treated to Maiden’s powerhouse set they also had one of the leading lights in modern Metal to contend with. Killswitch Engage have been around since the turn of the century and provided an energetic, pulverising set that’s rarely delivered by headliners, let alone a support band.

The Metalcore band from Massachusetts stormed through a dozen songs in their all-too-brief set. From opener ‘Strength of Mind’ to the closing cover of Dio’s ‘Holy Diver’ the band were relentless in their energy.

Pausing briefly only to praise the “beautiful city” of Aberdeen – and to speak of his hatred towards our wasps! – the bands set was a masterclass in arena heavy metal that would have blown many a headliner off their own stage.

However, Iron Maiden are not of that many. With four decades of touring and recording behind them they are consummate professionals and masters of the stage – despite all of the band now nearing what most normal people would consider retirement age.

Fortunately, Maiden are anything but normal and retirement seems a long way off as the six band members show energy and stamina on stage that would leave people half their age gasping for breath and begging for a rest.

With no new album to promote, the tour is thematically linked to their ‘Legacy of the Beast’ video game which gives them a good excuse to trawl through their back catalogue and pull out some deep cuts, old favourites and tireless classics.

Opening with ‘Aces High’ from 1984’s ‘Powerslave’ LP, the stage is, quite literally, set for a show of epic proportions as a near full size Spitfire is dangled above the band as they power tirelessly through the opener.

Singer Bruce Dickinson comes tearing onto the stage as the track opens and jumps, leg wide open, in the air for a number that’s quite epic, even by their standards.

After the song has finished, and the spitfire has retreated into the stage and out of sight, a quick one-two of old classics ‘Where Eagles Dare’ and ‘2 Minutes to Midnight’ follows before Dickinson addresses the crowd for what he says will be the only time during the bands marathon set.

Referring to the spitfire, he praises the “brave men, a third [his] age” that were fighting Nazis and fascism.

It’s a thought provoking and humbling monologue that holds resonance in the current climate of fear and uncertainty and the rise of the so-called alt-right.

He then introduces the next song and how much of an honour is to play it in Scotland before the band play their Scottish themed track ‘The Clansman’.

From then till the main set closer -the eponymously titled ‘Iron Maiden’ – the music is left to do the talking.

However, the band’s theatricality is given full reign during most of these tracks – the bands mascot, the giant zombie-like figure Eddie, comes onstage to engage in a swordfight with Dickinson during ‘The Trooper’.

Dickinson lugs a lit-up cross around the stage whilst performing ‘Sign of The Cross’.

A giant demonic head appears at the rear of the stage during erstwhile classic ‘The Number of the Beast’ and Dickinson fires flame throwers at a giant winged angelic figure during ‘The Flight of Icarus’.

At any other concert such theatrics would be in danger of falling into Pantomime.

But Maiden perform it with a knowing wink and a nod to their fans who are lapping up every move on stage by the legendary six piece.

The band wrap up the near two hour long show with a triple song encore of 1987’s ‘The Evil That Men Do’ and a couple of early 80s classics ‘Hallowed Be Thy Name’ and ‘Run to The Hills’.

Despite the length of the set and the energy sapping heat, there’s no doubt that the band and their fans – many of whom have travelled from all over Europe to watch them – could have happily went for another couple of hours of, what surely, must be one of the greatest stage shows in Maiden’s history.

Jul 042018
 

Craig Chisholm reviews ‘Enjoy’ music festival at Hazlehead Park. Photos by Craig Chisholm.

Enjoy Music festival returned for the fourth year on a fun packed, sun soaked weekend that drew the crowds, had some big name artists and will have left punters looking forward to next year’s event.
After three years of successful one day festivals the organisers took the brave step of making this year’s festival a two day affair.

And, after a bit of rain last year, also took the decision to make the main stage inside a giant 3000 capacity big top, rather than outdoors – but, typically, the Scottish weather conspired to make it to one of the hottest weekends of the year with not a cloud in sight.

Gates opened at 4 o’clock on the Friday afternoon, when a lot of attendees would still be at work, school or college. But those that did make it early were treated to electric sets by Fat Hippy Records signings, the Scottish indie band Miss Lucid and Manchester band Alias Kid, who are signed to Creation Record’s Svengali Alan McGhee’s management team.

After the up and coming bands had warmed the crowd up it was time for the big names to take the main stage.  Mark Morris, frontman of Britpop band The Bluetones, played an acoustic set that was well received by his fans.

With The Bluetones numbers such as ‘Slight Return’ and ‘Cut Some Rug’ he had no trouble commanding the stage and warming up the crowd for the next band on the bill – another Britpop band with a string of Top 10 hits behind them.

The tent is rammed for Cast.

They do not disappoint those in attendance.

Pulling such hits as ‘Sandstorm’, ‘Finetime’ and the ballad ‘walkaway’ out of their back catalogue has the tent buzzing.

But it’s their debut hit, ‘Alright’ that is the highlight with the crowd signing along word for word.

Completing the bill on the Friday, is a headlining set by dance legends Faithless.
The band’s keyboard player and writer, Sister Bliss, is behind the decks and delivers a high tempo, energetic set that has everyone dancing.

Filled with classic dance tracks, contemporary floor fillers and a healthy dose of Faithless’ biggest numbers she brings the crowd to a frenzy and closes off the first day of the festival in style.

Saturday brings in a bigger crowd and has more stages and family entertainment for all.

With amusements from Codona’s, bungee trampolines, Nerf Wars, craft workshops, a storytelling tent, face painting and much more there’s plenty there to keep kids entertained whilst their parents enjoy the music.

Performances in the family big top prove to be popular and with Love Rara providing walk around characters from Disney and superhero movies there’s a lot of happy youngsters on site. On the main stage, the music provides a wonderful soundtrack on a hot, sunny day.

Blues influenced rockers Full Fat play some engaging, competent blues influenced rock, whilst local band The Capollos storm through a frenetic indie rock set that has earned them a strong following locally and across Scotland.

Another Aberdeen band that are making waves are Cold Years. No less a publication than rock magazine Kerrang! described them as an ‘Aberdeen five piece [that] prove beyond doubt that rock ‘n’ roll lives’ and it’s certainly a sentiment that those who watched them that would agree with.

Glasgow band Colonel Mustard & The Dijon 5 are, quite possibly, the perfect festival act and will have gained a lot of new fans today.
An explosion of colour, the band engage the audience and make them part of the performance.
‘Dance Off’ is exactly what it says it is with children and adults alike strutting their stuff. The entire audience are led around the tent by a band member carrying a lollipop man’s sign to ‘Cross the Road’ and there’s a minor stage invasion by redheads to ‘Ginger Girl’.

Their eclectic mix of brass, disco, rock and humour is perfect for an event such as this, uniting old and young in one happy, joyous collective.

Dodgy singer Nigel Clark follows them with an acoustic set that includes hits such as ‘Staying Out for The Summer’ and ‘Good Enough’ to a rapt audience.

Welsh rap heroes Goldie Lookin’ Chain provide a humorous set with ‘Guns Don’t Kill People (Rapper’s Do)’ proving a popular highlight.

Over in the dance tent things are really hotting up – a day of beats and breaks is finished off with a couple of big names that have the tent rammed. The talented producer and DJ James Zabiela has the crowd dancing to a frantic and energetic set before handing over to one of the biggest names in dance music – Basement Jaxx.

The dance duo are no strangers to big stages and working large crowds as headlining performances at Glastonbury and Rockness with a full band prove.

In a smaller environment such as this they are flawless – with a back catalogue stretching back over 20 years they have no trouble at all and have the crowd eating out of their hand.

Meanwhile, the main stage is closing out to a couple of eclectic big names.

With 5 albums behind them, Starsailor have no problems working the big stage and pulling out some major hits. ‘Alcoholic’, ‘Silence is Easy’ and ‘Good Souls’ are particular highlights and has the crowd singing along in rapture.

After their set there’s a change of tempo as drum and bass act Sigma end the evening. Hidden behind a cloud of dry ice and flashing lights the duo gives a sensory overloaded set closing the festival in euphoric fashion.

With 10,000 people through the gates over the weekend, some stunning entertainment and beautiful weather Enjoy Music can only be declared a success yet again – here’s to next year and to another bill that will put Aberdeen firmly on the festival map.

May 032018
 

Frank Turner & The Sleeping Souls, Arkells and The Homeless Gospel Choir @ The Garage, 20th April 2018. Review and photos by Craig Chisholm.

It’s gig number 2155 for Frank Turner, as announced by the man himself from the stage.

However, for the venue, there’s only one number of gigs that matters tonight – and that’s zero. That’s how many are left at The Garage once Frank exits the stage after his encores.

It came as a shock to many of the Granite City’s gig goers and clubbers when it was announced that the venue was to close early May after 6 years of being one of the mainstays of the Aberdeen live music scene.

However, any notions of this being an evening of mourning are dispelled as soon as the first act takes to the stage in front of a healthy number of fans, despite the 6:30pm stage time.

The Homeless Gospel Choir is the nom de plume of Pittsburgh born folk-punk singer Derek Zanetti.

The punk aspect of his music is influenced by Green Day and the 90s explosion of US day-glo stadium acts rather than the original ’77 spirit of punk however.

By his own description, he’s an ‘overweight rock singer’.

With lyrics revolving around politics, mental health and angst, but delivered with a jokey aside he proves to be a popular draw, particularly to the younger members of the crowd.

Canadians Arkells are a different proposition – the lyrical themes may be similar but live they are much more polished and professional stage performers than Zanetti’s looser style.

Lead singer Max Kerman has the looks, moves and attitude that have been honed to perfection on larger venues in North America rather than the small stage he finds himself on tonight. In fact, the stage isn’t enough for him as it takes him only a few minutes to find himself on the barrier hanging over a willing audience who succumb instantly to his charms.

And the very notion of crowd and audience is blurred completely on a couple of occasions during their 40-minute set.

Only two songs in and he has pulled a young female fan out of the audience to play guitar quite competently alongside the band.

And another fan is hauled onstage for the final song where he sings with the band perfectly.
It’s possibly a bit gimmicky and cliched but it’s also quite touching and endearing and it will have won them new fans tonight and provide unforgettable memories for the young fans that performed with their idols.

Arkells play an energetic and fun set that serves to ramp the crowd up into even more frenzied anticipation for the night’s main act.

Frank Turner is another polished live act. After a couple of thousand gigs in venues of all shapes and sizes, festival stages and stadiums he’s a man with no fears treading the boards and honed the skills to the work the crowd into a frenzy.

Not that the crowd really require worked up – the sold-out venue is boiler room hot with a packed floor full of devoted Turner fans, almost wilting in the heat.

His new album – his eighth – ‘Be More Kind’ might not be released for another couple of weeks but that doesn’t stop four of its cuts getting an airing tonight, all of which go down a storm with the devoted crowd.

The rest of the set spans the full gamut of his career – reaching as far back to 2007’s ‘Sleep is for the Week’ as the track ‘The Ballad of Me and My Friends’ is given as a solo performance by Turner during a 3-song acoustic interlude in the middle of the set.

The crowd aren’t here out of curiosity – this is a crowd of devoted fanatics of all ages here to see their hero. They know every word and sing along to every song, fully immersed in his performance.

It’s an unusual sight and sound to see 700 people hollering ‘There is no God so clap your hands together’ – they might not engage in worshipping a holy deity but, then again, there’s maybe no need to tonight whilst they worship at the altar of Frank Turner.

So, gig number 2155 for Frank Turner, and it’s a roaring success for him with a sweaty, joyous crowd fully immersed in his 100 minutes on stage.

But, by the time the clock reaches 2155, The Garage is emptying slowly as the night concludes and live music at yet another Aberdeen venue ends for the final time.

Turner would not have reached that amount of live performances if not for venues such The Garage.

So it not only leaves a gap in the Aberdeen scene, but in the UK scene as a whole. If venues keep on closing where will the next Frank Turner learn their trade and spread their message?

Apr 132018
 

Review and photos by Craig Chisholm.

Three of the UK’s most highly tipped bands brought their unique talents to the Granite City as Manchester’s Cabbage, She Drew the Gun from Wirral, and Glasgow’s own Rascalton performed rapturous and well received sets to an appreciative crowd at The Tunnels.
Opening tonight’s triple bill were Rascalton.

The young Glaswegian’s performed a short, punky set that drew heavily from classic punk bands such as The Clash or the Sex Pistols but a post-Libertines indie aesthetic also shone through.

The band are no strangers to Aberdeen having played The Tunnels before – previously playing there as support to Baby Strange – as well as playing a headlining set at Café Drummond just before Christmas.

Frontman Jack Wyles is engrossing – his chiselled features hidden behind an unkempt mop of hair, whilst the way he attacks his guitar makes him look not unlike Wilko Johnson in his prime.

He has angelic features but a devil’s stare that makes his barked vocals and the bands shouty choruses compelling to listen to and hard to forget.

The band are back North in June to support Idles at The Tunnels.

It is highly recommended that if you’re going to that then make sure you’re there early to see them.

She Drew the Gun are a different proposition. No less intense, but in a quieter, subtler way.

Singer and guitarist Louis Roach performs a mix of poetry and psych-pop that has brought her and her band Radio airplay – championed by no less than Steve Lamaq on Radio 6 – and accolades such as winner of the Emerging Talent Competition that saw play the John Peel Stage at Glastonbury on 2016.

Roach is front and centre on stage, glad in a blue, sparkly hoodie with the hood drawn up which gives her an aura of mystery that suits the music perfectly.

She is a compelling, virtuoso guitar player – picked solos break through the dreamy, fuzzy riffs that anchor the music whilst she half whispers, half sings the lyrics. The music is dark and swampy reminiscent of classic PJ Harvey.

There’s only one slip in an otherwise flawless set as Roach forgets the lyrics to ‘Poem’ half way through. But she recovers well, acknowledges the mistake and wins the audience on side at that moment.

Headliners Cabbage are on a roll just now.

New album ‘Nihilistic Glamour Shots’ has been released to critical acclaim and has made it to number 21 in the BBC Album Charts as well as no.1 on the Official Cassette Charts.

Live in concert, they are fantastic – energetic and exuberant, never staying still as they blast through their own unique post-punk sound.

Frontmen Joe Martin and Lee Broadbent control proceedings from the front of the stage with different styles – Martin is icily cool and more detached whilst Broadbent is more manic and deranged looking.

Their song titles are compelling and confounding in equal measurers – ‘Arms of Pleonexia’, ‘Molotov Alcopop’, ‘Postmodernist Caligula’ and ‘Uber Capitalist Death Trade’. Those alone will have you reaching for the dictionary.
Beneath the sometimes-perplexing titles, there’s political discourse and juvenile humour in equal measure in their lyrics – ‘Dinner Lady’ might sing about having a ‘w**k in the quiche’ but is also a comment on the class divide, in this case in a private school.

Closer ‘Necroflat In the Palace’ has the chorus that will be ringing in their ears as they head home – ‘I was born in the NHS, I wanna die in the NHS’. There’s no encore as the sweat drenched band collapse off stage after their exhilarating set, a gesture of punk defiance against pop crowd pleasing acts.

Three bands then and all, to quote the title of Cabbage’s collection of EPs, ‘Young, Dumb and Full of…’. Maybe not so dumb though and if they are full of anything it’s life, exuberance and lots of promise.

Apr 052018
 

Craig Chisholm looks ahead to this summer’s ‘Enjoy’ music festival.

After last year’s successful festival that saw storming sets from Primal Scream, Chase & Status, The Little Kicks and many more, Enjoy Music returns to Hazlehead Park in June with a stellar line of dance and rock acts on the bill.

Now expanded to a two day festival, the fourth Enjoy boasts some of the biggest names in music – from Glastonbury headliners to Britpop legends.

Held over the weekend of Friday 1st and Saturday 2nd June, Aberdeen’s biggest outdoor music festival will see bands such as Starsailor, Cast, Colonel Mustard & The Dijon 5 and Welsh rappers Goldie Lookin’ Chain perform alongside DJ set from Faithless, Basement Jaxx, Sigma and James Zebeila.

Bluetones frontman Mark Morris and Dodgy singer Nigel Clark will also be attendance to provide crowd pleasing acoustic sets chock full of their Britpop classics.

Festival boss Russell Aitchison said:

“We’re delighted to have added these amazing acts, to make this our biggest line up ever. There’s a real range of music on offer over the weekend with something to suit all tastes.”

Marketing Director Mark Lenthall added:

“We’re here to give the North East a large-scale music festival we can all be proud of, and 2018 is shaping up to be just that. Tickets are selling fast and I am sure music lovers will want to be part of the Aberdeen’s biggest event this summer” 

But if you’re planning to attend then be quick – 2nd release tickets have already sold out and the third release of tickets in mid-March are already selling fast!

Tickets can be purchased at:

Apr 022018
 

Review and photos by Craig Chisholm.

Stiff Little Fingers yearly St Patricks gigs at The Barrowlands in Glasgow are stuff of legend.

For 27 years they’ve played the iconic venue on the fabled night of Irish celebrations that has become a pilgrimage for their fans.

For fans in the North East, however, the Irish punk legends trip to the Granite City, around the same time of the year, has also become a regular pilgrimage as a sell out crowd tonight can testify.

This might have been the smallest of the three venues the band are playing in Scotland this tour but that didn’t stop them from giving a memorable show that pleased the energetic and loyal crowd.

Before the influential Irish punk legends hit the stage another bunch of influential punks step up to warm the crowd up.

Ruts DC have a long, and sometimes complicated, history that stretches back to the original punk days of 1977. But their music is more varied and eclectic than straight ahead rock with a strong reggae influence shining through in songs such as the mighty ‘Jah War’.

They run though a strong set of a dozen songs with punk classics ‘Babylon’s Burning’, ‘In a Rut’ and ‘Staring at the Rude Boys’ all going down a storm with the attentive crowd.

Headliners Stiff Little Fingers last couple of shows in Aberdeen have been at a different venue – The Garage – but they are no strangers to the Lemon Tree having played here numerous times to sell out crowds.

It’s a partisan audience that greet them as they walk out to the regular intro tape of ‘Go For It’. The crowd are a sea of SLF t-shirts and hoodies – and anyone not wearing one could have bought from the dozen or so on sale at their merchandise stall.

Singer and guitarist Jake Burns tells the crowd that this is going to be a set that explores more of the deep cuts from SLF’s ‘forgotten’ albums but that doesn’t stop them singing and pogoing along to tracks that cover all eras of the bands four decade career.

However, it’s the bands first three albums that made up the bulk of the set – ‘Tin Soldiers’, ‘Nobody’s Hero’, ‘Roots, Radicals, Rockers & Reggae’, ‘Safe as Houses’ and ‘Barbed Wire Love’ from that era are all given a blast.

As with Ruts DC, reggae is also an influence on the band and there’s a nod to that with cover versions of Bob Marley and the Wailer’s ‘Johnny Was’ and ‘Doesn’t Make it Alright’ by The Specials.

Completing the night with a finale of ‘Alternate Ulster’ the band walk off to triumphant applause from an adoring crowd that will already be planning to see them again next year, whatever the venue.

Mar 202018
 

Piratefest 2018 @ The Garage, Aberdeen. Review and photos by Craig Chisholm.

Lead singer Captain Yarrface (possibly not his real name) is front and centre on stage

In the myriad world of Heavy Metal sub-genres it might come as a surprise to learn that not only is Pirate Metal ‘a thing’ but that it can also sell out a venue in Aberdeen on an otherwise normal Tuesday night in February.

The Piratefest 2018 tour didn’t, unfortunately, sail into town on a Spanish galleon but rolled in on tour buses carrying three of the premier bands on the scene.

Scottish band Alestorm arrived in the company of San Diego’s The Dread Crew of Oddwood and, from the fishing village of Ocracoke, North Carolina, Rumahoy.

Rumahoy open Pireatefest with a short, but energetic and thrashy, set that includes songs such as ‘AHOY!’, ‘Hoffman The Pirate King’, and ‘The Triumph of Piracy’.

They’ve taken the theme to its extreme in not only song titles but in their look.

Dressed head to toe in pirate clothes is striking enough but the black masks that cover their faces make them even more scary and intimidating.

Lead singer Captain Yarrface (possibly not his real name) is front and centre on stage – a giant of a man, as tall as he is wide, as much NFL Line-backer as he is Caribbean Pirate or rock singer.

They are by far the heaviest of the three bands with a sound that owes much more to Slayer or Pantera than it does to the more traditional pirate sea shanties.

The next band on stage are a slightly less intimidating but no less intense proposition.

The Dread Crew of Odd Wood play – no surprise here – pirate themed heavy rock but, this time, on acoustic instruments. A style they refer to as ‘mahogany metal’.

Using accordions, stand-up bass, mandolins and bouzouki their music is a combination of folk music, traditional Celtic jigs and, of course, Heavy Metal.

Again, they are dressed for the part – looking like buccaneers that have just raided a port in the West Indies rather than a modern rock band.

Again, the songs are nautically themed with titles such as ‘Dead Man’s Medley’ and ‘When I Sail’d’.

Drinking is also a common lyrical theme through night with the Dread Crew’s contribution called ‘Raise Your Pints’.

And pints are raised for what is, by far, the most popular band of the evening – Perth’s very own Alestorm.

I’m not sure if the River Tay was ever a hotbed of swashbuckling and pillaging but even if not, Alestorm will make you believe it was.

The band romp through a mesmerising 18 song that never lets up in energy and enthusiasm.

The crowd go wild for them – from opener ‘Keelhauld’ to final encore, the dubiously titled ‘Fucked With an Anchor’ there’s a steady stream of crowd surfers being (keel-?) hauled over the barrier.

Many of them have dressed for the occasion too.

Who ever sells pirate clothing and paraphernalia in the Granite City must have a seen a jump in sales lately, judging by the number of pirate hats on show in the audience.

Alestorm themselves aren’t dressed as pirates – instead there’s a mix and match of styles on show with lead singer Christopher Bowes an arresting sight in Alestorm-branded kilt, baseball cap and a t-shirt bearing the slogan ‘I Got Lost in The Gay Dolphin’.

Strangest of all is his instrument of choice – the much-maligned keytar, a keyboard that’s played like a guitar and more associated with 80s soft rock bands than on the high seas.

Visuals aside, the band, lyrically at least, don’t stray far from pirate theme’s – ‘No Grave but the Sea’, ‘Nancy the Tavern Wench’, ‘Pegleg Potion’, ‘Shipwrecked’ and the magnificently named ‘Captain Morgan’s Revenge’ (a song that ticks both pirate and alcohol themes) are given an airing tonight.

Pirate Metal may not be to everyone’s tastes but it’s a triumph tonight as the sold-out crowd testify – it’s safe to say that inhibitions were lost, drinks were raised, and a good time was had by all that attended.

Mar 022018
 

Morrissey at Aberdeen BGHE Arena, 16 February 2018. Review and pictures by Craig Chisholm.

It may be hard to believe but the Aberdeen Exhibition Centre has actually a place in rock n’ roll folklore for both Morrissey and David Bowie fans.

It was here, over 20 years ago that the ex-Smiths frontman was due to support the late Thin White Duke on tour but, mysteriously, walked out mere minutes before he was due on stage leaving his band, Bowie and his fans in the lurch.

As to the whys and whats of this action we might never know but here, over two decades later, amends are finally made to fans as he eventually makes the AECC stage in triumphant, if not also intriguing, fashion.

There’s no chance of support bands doing a runner on this occasion as there isn’t one. Instead the 3000 strong crowd are treated to a half hour video of Morrisey’s favourite bands and old film footage.

In between the Morrissey favourites such as the New York Dolls, Sex Pistols, Ramones and 60s girl groups is footage of Russian, faux-lesbian, Eurovision winners Tatu performing The Smiths classic ‘How Soon Is Now?’ on Top of The Tops. This is the sort of intriguing but contrary thing that his fans have come to expect of Morrissey over the years.

At the end of the video, at exactly 9pm, Morrissey and band walk onto the stage. Opening with a cover version of Elvis Presley’s ‘You’ll be Gone’ they then proceed to power through a 22 song set that lasts nearly 2 hours.

The stage is lit by lights in the shape of shields as the backdrop displays footage of recurring Morrisey themes – 60s B&W groups, old film stars, an erotic pulp fiction novel, a bullfighter during, obviously, ‘The Bullfighter Dies’, and footage of police brutality during ‘Who Will Protect Us From The Police?’ .

He delights his long time fans by playing a couple of tracks by his former band The Smiths – ‘I Started Something I Couldn’t Finish’ is played early on, as is ‘How Soon Is Now?’.

But that’s all – five songs into the set and he has already abandoned any attempt at crowd pleasing and living off nostalgia.

Instead, latest album ‘Low In High School’ makes up the bulk of the show with no less than nine of its twelve tracks given an airing. Three of these tracks – ‘Israel’, ‘I Bury The Living’ and ‘The Girl From Tel Aviv’ are being performed for their first time ever to a live audience.

In another contrary Morrissey move he plays a cover version of The Pretenders’ ‘Back In The Chain Gang’.

The crowd are noticeably more subdued during some of the deeper cuts from ‘Low In High School’ but this gives everyone a chance to listen to Morrissey and to appreciate his voice – it has matured into a warm and luxurious sound, somewhat underrated in the pantheon of great rock vocalists.

Also, it’s a chance to listen to his band – tight and musically together throughout the set. Clad in white t-shirts that with ‘No one likes us, we don’t care’ emblazoned on them, it’s the sort of message that Morrissey revels in and pretty much defines his entire ethos.

More than an hour and a half after starting, the main set ends with the band walking off stage in a haze of smoke to rapturous applause.

They return for a triumphant encore of Morrissey solo classics ‘Everyday is like Sunday’ and ‘Irish Blood, English Heart’.

Overall, it’s an intriguing set that should have left the real fans happy. The lack of Smiths classics and early Morrissey singles may not have pleased the more casual fans but, ultimately, it’s never been his style to play to the crowd and take the easy option.

Aug 252017
 

Wolf Alice @ The Garage. Review and photographs by Craig Chisholm.

It’s not often a band that has played Glastonbury’s pyramid stage go on to play such an intimate in Aberdeen such as The Garage, it must be said.

But tonight, it is happening and the sold out, 600-odd crowd are enjoying every second of that band – Wolf
Alice.

This date is part of a small low-key warm up tour to promote forthcoming second album ‘Visions of Life’ and to get them road-ready for a tour in October and November that will see them head to Japan and Europe before returning to the UK to play larger venues such as London’s Alexandra Palace and two nights at the Barrowlands Ballroom in Glasgow.

It’s safe to say that tonight’s show will be the last we of see them in a local, small venue for a long, long time.

The London four-piece play type of rock music that would be more familiar to an older generation raised on the grunge of Dinosaur Jr or Hole; or the shoegaze dreaminess of Slowdive or early Lush rather than to the band’s own generation’s heroes.

They’re a band that are putting a bit of angst and noise back into guitar music whilst their contemporaries are currently more likely to be programming a sequencer on the PC to create pop-infused beats.

Kicking off their set with new track ‘Don’t Delete the Kisses’ the band power through an hour long set that’s received rapturously by their adoring audience.

Bassist Theo Elllis is stripped down to his vest in the intense heat after only a couple of songs as he bounds around the stage and into the pit to interact with fans.

Guitarist Joff Oddie wields his guitar like Sonic Youth’s Thurston Moore or Radiohead’s Johnny Greenwood – utilising noise as melody and not descending into clichéd ‘rawk’ poses.

Drummer Joel Amey maintains a steady and powerful beat behind the kit, driving the bands songs along, staying calm in the eye of the storm.

But it is singer/guitarist Ellie Rowsell that’s the focal point of the band – her vocals and guitar playing recalling hints of PJ Harvey, Mazzy Star and The Breeders all at their 90s-imperial phase.

She doesn’t say much between songs though – a few hellos here and thank yous there but no in-depth conversations and none of the arena rock crowd pleasing shout outs that a band of their size would be forgiven for doing.

But this is a good thing – it allows the music to the talking.

The lyrics talk of small town alienation and frustration such as in ‘Fluffy’ with its lines of “Searching for cheap thrills and we don’t know how” and “I got nothing in this dead-end town”, a theme that would resonate anyone that grew up in that particular environment, and one that would especially appeal to a teenager in the North East of Scotland on rainy, cold summer days such as this.

And that’s the x factor that makes Wolf Alice’s appeal clear to see.

They provide a noisy, dreamy escape for everyday life, an escape from the mundane.

There’s beauty in their noise; clarity in the chaos; tender melodies in their guitar maelstrom.

And as encore ‘Giant Peach’ ends with its ‘My dark and pretty town’ refrain that’s exactly where their fans head out to, into their dark and pretty town, after witnessing thrills that were anything but cheap.

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