review here: Deep Purple
and some nice pictures here: Live pictures

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Review (in german) and images here: Blues Caravan

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FIRST NIGHT REVIEW
Pop: Rumer at Cadogan Hall, SW1
When the British vocalist went through the easy-listening songbook she was untouchable, but it didn’t work so well with her own material

Will Hodgkinson
October 19 2016, 12:01am,
The Times

★★★☆☆
It takes a high tolerance of schmaltz to include a slide show of wedding photographs at your concert, but that’s Rumer. Since the release of her 2010 debut album, Seasons of My Soul, this British singer has become a modern Karen Carpenter, heading fearlessly towards the middle of the road and making the kind of mid-1970s-style easy listening that goes well with a cocktail, an evening dress and a prescription of tranquillisers. Now living in Arkansas and married to Rob Shirakbari, who is also her pianist, Rumer returned to the UK to present a show that was the musical equivalent of a relaxing back massage.

“This is one from the new CD,” said Rumer, managing to make a CD sound like something that had just been invented, before singing Bacharach and David’s Balance of Nature. When Rumer went through the easy listening songbook she was untouchable; there’s something about not just her voice but her very being that makes her the perfect vehicle for smooth standards such as Walk On By and Jimmy Webb’s PF Sloan.

It didn’t work so well with her own material. Pizzas and Pinball was a portrait of an American childhood that listed such pursuits as eating candyfloss and slurping on a Slurpee; not quite up there with Hal David’s way of evoking deep emotional truth through everyday language.

Nevertheless, Rumer is a likeable performer and, in her long black gown, a convincing chanteuse. “Look at him. He’s so small,” she said of her husband, pointing to a photograph of Shirakbari with Dionne Warwick. Backed by an orchestra as well as a band, she brought soporific charm to the best of her own material, such as the peerlessly sad Aretha, and to an encore of What the World Needs Now Is Love. It was anything but challenging, and therein lay the appeal.

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Ry X - very melancholy with a voice like Coldplay's Chris Martin

Louise Goffin - country rock, voice like her mama's in places!

Michael Kiwanuka - soul and a bit of rock

Don Henley - stuck in an 80s time-warp

Carole King - unimpeachably brilliant!!!

:happy:

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Provided I got the right year I was surprized at how quiet this gig was? A couple years later I saw the original Quo here and again it was quiet, not a great venue if you want hear it without fighting your way to the front.

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As i remember DMR'S came out with their dungarees inside out. At one point Kevin Rowland wanted silence from the audience so he could deliver some kind of sermon. That didn't go down well with some of the crowd jeering the band.
i kind of remember a comedian double act as the support. could have been Hale & pace.
was a good night though

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Enjoyed Dirt Flower, absolutely brilliant, if I can get the vid onto disc I will upload

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This gig was cancelled - it was supposed to be Electric Light Orchestra/Colin Blunstone/Fishbaugh, Fishbaugh and Zorn. I had a ticket but it was cancelled on the day.
Their next Newcastle gig was cancelled also - May 16 1976 at the Theatre Royal

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A great one-off concert and in a smaller venue, making every seat a "good seat".
We had Gloria singing with the 2 "On Your Feet" leads, and daughter, Emily perform on
keyboards with Gloria joining her, while Miami Sound Machine, took a breather.

A classic show with older Miami Sound Machine hits. Gloria performed a track written for
Jennifer Lopez. Emilio joined on timbalas,on the last songs performed.

When I saw "Miami Sound Machine" got credit, I expected that Gloria had rounded up
many of the original members, from the mid-80s, but it was the line up that included
Jorge Casas (musical director/bass) and Clay Ostwald (assistant musical director/piano
and keyboards).

Overall, an enjoyable 2 hours!

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One of the best, if not THE best tribute bands to honour Fleetwood Mac.

This is confirmed by the fact that Mick Fleetwood, co-founder of the original Fleetwood Mac with John McVie, begins each of their concerts with a filmed introduction to the band. What more could you wish for as an endorsement to a tribute band?

This concert was an absolute masterclass in musicianship made especially poignant by a solo performance of Songbird as a tribute to Christine McVie who had died the previous November.

Pure enjoyment for somebody who appreciates great music.

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I did not have high expectations for this concert having heard all the horror stories about the delayed opening of the Co-Op Live venue.

But boy, were they shattered when we actually heard both bands playing live. I have seen many live concerts and this has to be in my Top 10 of all-time best. The visuals and sound were outstanding.

It was like sitting in your living room in front of the biggest, highest quality screen with the best Surround Sound system in the world.

Both bands were outstanding and even though I would have liked to have seen Steely Dan, the Doobie Brothers were the perfect support act for the Eagles.

Awesome concert, one of the best.

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A fun night and great to hear a full orchestra playing the silky music of Mancini, Bacharach, Les Baxter and Esquivel

The highlight was probably hearing an Ondioline being played live (Very early kind of proto-synthesiser from France)

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THE MISSION hatten gerade eine richtige Schmachtplatte (mit u.a. „Butterfly on a wheel“) abgeliefert, überhaupt waren die Leute um Wayne Hussey gerade dabei, den Rivalen der Sisters of Mercy den Rang abzulaufen, wenigstens ein bisschen. Schon 1987 war ich mal im „Linientreu“ in Berlin gewesen und stand auf Songs wie „Wasteland“ und auch die folgenden LPs waren kontinuierlich gut. Das Hamburger Kongresszentrum bot zwar nicht gerade eine passende Kulisse für die ganzen Fans mit Schwarzkittel und Nietengürtel, aber zumindest war’s dort auf Klo hell genug, um die schwarzen Haare der Gruftiemädels noch mal gründlich in die Höhe zu toupieren. Die Band hat dann auch sehr gut abgeliefert. Vom Support Act THE WONDERSTUFF kannte ich nicht wirklich viel, aber auch sie landeten später des öfteren auf Indie-Samplern der beginnenden 90er Jahre.

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Zu MOTÖRHEAD geht man aus Kultgründen, soviel ist eh klar. Daher war es auf jeden Fall gut, nochmal dabeigewesen zu sein. Lemmy’s Kräfte schwinden, auch sein Gesang ist manchmal nur noch bruchstückartig oder sehr leise zu vernehmen, oft beschert das Mikro Rückkopplungen, er nuschelt noch mehr als sonst und hört sich redend an wie ein 95-Jähriger, ich verstehe kaum, was er zu sagen hat, auch er äußert sich zum Terroranschlag vor 2 Wochen. Mir schwant, dass sein Haltbarkeitsdatum langsam überschritten ist, trotzdem wird er sich durchbeißen und niemals als „last man standing“ aufgeben. Soviel steht fest. Und dafür lieben alle den (bedenklich abgemagerten) Haudegen. Vielen Leuten im Publikum sieht man die „ich-fürchte-der-macht’s-nicht-mehr-lang“-Miene an. Kein einziger Crowddiver ist zu sehen, noch nicht mal bei „Ace of Spades“, kein Moshpit, und das in einer ausverkauften Halle. Lemmy bewegt sich ebenfalls nicht von der Stelle. Es gibt sicher gute Gründe, warum der Drummer auf einem erhöhten Podest angestrahlt wird und ackert wie ein Tier. Nicht erst als er von Lemmy als „The best drummer in the world“ angesagt wird. Qualität ist Qualität, er wird mit spektakulärem Lichtgewitter angestrahlt und das Drumsolo ausgereizt. Und auch der Bomber, der hat’s rausgerissen! Gute Idee mit der Lichttraverse, die zum beweglichen Flugzeug umfunktioniert ist und mit Motoren- und Schußgeräuschen & Nebelschwaden begleitet wird. Der Opener ist natürlich ebenfalls „Bomber“. Großes Gejohle und viele Fotos. Die Fans lieben ihre Band, keine Frage und das darf man auch. Wir haben jedenfalls in der Gruppe allemal Spaß. Und Bier. Am heutigen Abend gibt’s jedenfalls das Phänomen Männer-gehen-aufs-Frauenklo, weil die Schlange nicht so lang ist! Als Zugabe gibt’s akustisch den „Whorehouse Blues“ und dann reißt der Bomber (hoffentlich knallt der nicht irgendwann mal runter) nochmal soundtechnisch die Hütte ab und lässt uns mit fiesem Fiepen&Dröhnen zurück. Der Satz „We are Motörhead and we play Rock’n’Roll!“ kam diesmal fast wie „ups, vergessen“ erst ganz am Schluß. Aber Rituale müssen sein ;-)
Ich hatte mich außerdem so gefreut auf ein Double-Feature zusammen mit GIRLSCHOOL, sie hätten doch endlich den gemeinsamen Hit „Please don’t touch“ zusammen singen können! Haben sie aber nicht. Die Gelegenheit gibt’s sicher nicht noch mal. Zu schade. Als Opener rocken GIRLSCHOOL ganz gut los, fast in Urbesetzung der Anfang-80er, eine von ihnen lebt nicht mehr. Der Sound ist nicht besonders, das große Schlagzeug dürfen sie nicht benutzen. Das „999 Emergency“ gegen Ende hat Wiedererkennungswert.

Bei SAXON als 2. Vorband sieht das schon etwas anders aus, die haben mich positiv überrascht. Auch wenn ich nicht zur Spacken-Metal-Fraktion gehöre, es macht tatsächlich Spaß, die alten Recken mit den Jodelstimmen und häßlichen Klampfen in Heavy-Metal-Thunder Rauchsäulen aufgehen zu sehen. Sänger Biff ist von der begeisterten Menge sehr erfreut „This is a fucking big venue, feels like Wacken!“ und lässt uns am Ende über die noch zu spielenden Songs mit Applausometer „abstimmen“. Allerdings sicherlich nur aus Show, denn woanders gewinnt komischerweise auch das lahmere „Crusader“ gegenüber anderen Hits wie zB „The band played on“. Egal. The kids had fun. Und die Stimme hat der Herr mit dem Namen eines Badreinigers bei weitem noch nicht verloren.
Ich wünsche Lemmy und den Schmökern, dass sie so lange durchhalten, wie sie es möchten. Nach der kleinen gesundheitlichen Einbruchsphase im letzten Jahr war nicht unbedingt zu erwarten, dass sie so schnell wieder Leistung bringen. Davor muss man schon den (Cowboy-)Hut ziehen.

Update: Einen Monat später ist Lemmy gestorben. Rest in Rock.

Playlist Motörhead:
• Intro • Bomber • Stay Clean • Metropolis • When the Sky Comes Looking for You • Over the Top • The Chase Is Better Than the Catch • Lost Woman Blues • Rock It • Orgasmatron • Doctor Rock 
(With drum solo) • Just 'Cos You Got the Power • No Class • Ace of Spades • 
Encore: • Whorehouse Blues (Acoustic + band introductions) • Overkill (Featuring the Bomber plane)

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HipHop/Crossover war 1991 das Ding der Zeit. Die Chili Peppers, Living Colour und so einige andere hatten es vorgemacht, aber diesmal kam die Innovation aus Holland. Ein paar Multikulti-Dopeheads brachten den gesamten Saal zum tanzen - mit ganz viel Hendrix-Gitarre, ein bisschen Psychedelia und ganz viel Wumms. Die Hamburger Markthalle war voll. Und ich habe noch NIE (!) vorher (und auch nicht hinterher) so eine homogene Masse gleichmässig im großen Saal hüpfen sehen! Zeitweise hab ich mir wirklich Sorgen um die tragende Bauweise der Markthalle gemacht, denn schließlich lag der Saal etwas erhöht... am Ende ging aber doch alles gut. Die neue Scheibe „Life’n’perspectives of a genuine crossover“ hatte mit „Bureaucrat of Flaccostreet“ sogar ein paar orientalische Anklänge, der Erstling war schon extrem abwechslungsreich geraten, das ganze war ein knatterbunter Mix aus allen Spielarten von mellow über groovy „Deeper shade of soul“ bis extrem schnell „Fast lane“. Witzige Texte „Hitchhike Heidi“ & diverse Samples machten das Süppchen ächt legger. Hü-hüpf.....

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Yo, das waren noch gruftige Zeiten. Mit 18 auf’s allererste Cure-Konzert zur „Kiss me kiss me“-Tour. Meine Lieblingsscheibe dudelte auf Klassenfahrt aus allen Kassettenrecordern, die Texte waren z.T. auswendig gelernt, also musste zum Konzert auch eine selbstgeschneiderte schwarze Kutte her und die gerade erworbenen sauteuren schwarzen Schnallenschuhe mit Extremspitzen aus einem Schuh-Kultladen in Berlin passten prima dazu. Auf meiner Konzertkarte stand auch noch eine 666 - strike! – was konnte schiefgehen? Der Kulturschock folgte auf dem Fuße: The Cure kamen auf die Bühne in orange-buntgemusterten Blumenhemden und riesengroßen weißen offenen Turnschuhen!! Das Intro-Video war dabei noch so passend gruftig gewesen: ein rotverschmierter Lippenstiftmund im close-up mit ohrenbetäubendem Lärm, danach der direkte Übergang in „The kiss“. Perfekt! Das Konzert war natürlich klasse trotz der anfänglich etwas peinlichen Situation sich kostümtechnisch voll in die Nesseln gesetzt zu haben und wir alle schwelgten in den Liedern der gleichnamigen Scheibe, die für mich persönlich immer noch zu ihren besten, zumindest zu den klanglich dichtesten gehört.

Intro: video-art
the kiss

torture

all i want

a japanese dream

catch

just like heaven

hot hot hot!!!

if only tonight we could sleep

like cockatoos

the walk

in between days
how beautiful you are

the perfect girl

the snakepit

a forest

fight
+
close to me

let's go to bed
+
one more time

charlotte sometimes

shiver and shake
+
three imaginary boys

primary

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Setlist available here https://www.setlist.fm/setlist/bruce-springsteen/2023/autodromo-nazionale-di-monza-monza-italy-2ba4f46e.html

First up I’ll say that Bruce and the band were fantastic as ever but…this is the first time I’ve ever left a Springsteen show early due to the chaos of getting to and out of the venue.

Half a dozen shuttle buses to ferry thousands of people to and from a venue from the train station was not nearly enough…one point of access for tens of thousands of people to the arena was an accident waiting to happen…people were still pouring into the arena an hour after the show started…it felt kinda scary at times

We stayed for 90 minutes and left to head back to Milan as we could see getting out of there was going to take hours, as was proved by some friends of ours taking 3 hours (longer than Bruce’s set!) to complete a journey that took us just about an hour.

There was a lot more that was wrong with the whole event but let’s leave it by saying Bruce Springsteen & the E Street band are still one of the greatest live experiences you’ll ever have.

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Don't recall Josh Ritter playing at all (sorry Josh) but then apart from The Boss (obviously) I was just as excited to see Damien Dempsey (DAMO ! DAMO !), Irelands greatest living songwriter. Couldn't wait for Glen Hansard to finish, it had been a long time since I'd seen a set that dull.

Bruce was, of course, his usual incredible self. 3+ plus hours and the greatest little Jersey bar band behind him, how could he fail. Mid-set he played "Born In The USA" (the album) in its entireity.

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Even after an unbelievable timespan of 47 (whaaaaat?!) years, I can still SO vividly remember that fantastic, hot summer evening of live entertainment by two of the best funk groups around at that time; the incredible 'Fatback Band' and their 'warm up' group of the night, the talented, multi-national fledgling band, 'Heatwave'.

Even through the mists of time, I still believe that that hot September night in a memorable summer still ranks as probably the finest gig that I've ever attended in my now-64 years on the planet! Heatwave's Johnnie Wilder Junior was absolutely electric with his superb voice and gymnastic performance, treating the audience to an incredible show of summersaults whilst beating out the vocals......it really was an amazing treat of a gig. Added to that there was also Johnnie's brother Keith Wilder on vocals, a truly international spread of international musicians on their instruments, plus the INCREDIBLE Mr Rod Temperton on keyboards. He would come to the very heights of fame in the years to come, being responsible for not only penning a host of Heatwave tracks but also songs for Michael Jackson and George Benson amongst others.

As you can probably tell, my main reason for being at the gig that night was because Heatwave were performing, however, I should also add that superband The Fatback Band were truly in their element too, running through a super-fast catalogue of their tracks, many of which we can still hear - 'Do The Bus Stop' for instance - turning up in the backing of some adverts currently on British TV!

In size, the now-defunct Californian Ballroom in Dunstable, Bedfordshire, UK, was really quite small, but boy did they have some of the very BIGGEST bands in the world perform there back in the day! To quote The Four Seasons; OH, WHAT A NIGHT!!

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Peter Gabriel always puts on a show and this festival was not different, so good I missed my train back up north and had to use Euston Station as a bed 1* not recommended.


The Thompson Twins were also exceptional, just surpassing The Undertones, though there Teenage Kicks raised the roof

great memory from a long time ago, but finding this site brought it back, thank you :)

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This was a great gig, and my diary entry, written later that night, reads thus:
"As soon as we were let into the venue someone in the crowd started a Genesis chant ('Give me a G, give me an E..', etc) which grew in volume as more people joined in. As we all took our seats Mike Oldfield's Tubular Bells was played over the PA system, and after a while we noticed dry ice starting to come out from under the stage curtain, then the house lights dimmed, blue lights came on around the stage, the curtain lifted and the band were here, the whole scene looking like the sleeve of Genesis Live LP except that now Peter was wearing his bat-wing head piece. The visual effect was stunning and the only motion was Peter's head moving slowly from side to side, before they went into 'Watcher Of The Skies'. Then the band played 'Dancing With The Moonlit Knight', 'I Know What I Like (In Your Wardrobe)' - their latest single - and 'Firth Of Fifth'. Phil stepped out from his drums and was accompanied by Mike Rutherford and sung 'More Fool Me', which was perfect. The next songs were 'The Battle Of Epping Forest', and 'Cinema Show', and after those Peter announced that they would play (quote) 'some antiquated numbers', which were 'Harold The Barrel' and 'The Musical Box' - his performance as the aged Henry was faultless. Then lastly came 'Supper's Ready', which climaxed with a magnesium flare and a bang and Peter's ascension on wires in his reflective suit. Unbelievable! The band left the stage and the audience gave them a 5-minute standing ovation but they did not come back, sadly, despite one guy who had been shouting 'The Knife!' between songs and was still doing so as we filed out of the building! It was an amazing evening."

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I’d had the tickets for this for almost a year, a gig I was really, really looking forward to. Overall…it was hugely disappointing.

The band sounded lifeless and flat, absolutely no swing in what they were doing, almost like they were going through the motions or being held back from cutting loose by something, a very dull performance.

I’m also not much of a fan of fretw@anking, extended guitar solo’s etc. leave me utterly cold. But…I know Isbell is a very talented guitarist and I love his style of playing. Why therefore did I have to watch sideman Sadler Vaden take what seemed like endless, pointless guitar solo’s that added absolutely nothing to the songs ?

Then there was the sound. On the whole the mix was good but the drums were treated in a way that they sounded like a drum machine rather than real drums. Isbell as I’ve said is an incredibly talented guitarist, particularly to my ears on the acoustic guitar, but the mix on his acoustics was shrill and tinny and verging on painful to listen to.

Please bear in mind I’m a huge Jason Isbell fan, I have been since his days in the Drive-By Truckers, so for me to walk out of a gig of his after an hour when I’ve not had the opportunity to see him for 5 years is a big deal to me. It just felt like we were all wasting our time being somewhere none of us wanted to be. A real shame.

Setlist here

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I remember this concert so well, but to my shame, I have no recollection of Richard and Linda Thomson - could I have been in the bar??? I was so pleased to get seats only two or three rows from the front. Gerry was his usual uncommunicative self - "Hallo Aberdeen" and "Good night Aberdeen" but the concert was great. I remember the concert because it coincided with the start of my hearing loss - seats at the front turned out to be a mixed blessing. Gerry had a large and very loud brass section. I recall the 12 minute version of Baker Street - with the sax solo repeated three or four times. When I emerged on to Aberdeen's Union Street I thought someone had pressed th mute button - the traffic was strangely quiet! I had ringing in my ears for a couple of days and my hearing never really recovered. A warning for today's concert goers! Ach well, it was worth it.

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From my diary of 7/May/76 : "Budgie turned out to be crap, just a nasty row ..."

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Buzz Magazine - Monday, April 9, 2018
Roy Orbison: In Dreams
By Stephen Springate
Then all at once he was standing there, so sure of himself, his head in the air’’ goes the Orbison classic Running Scared. Depending on your stance, this is either a triumphant or unfortunate choice of lyrics to watch such a venerable and unmatched musical icon as Orbison sing minutes after rising from the floor, like a background extra in Disney’s Haunted Mansion.

There is no denying that in terms of sheer entertainment quality, tonight could not have been better. It was a unique chance to hear many of Orbison’s best songs (and there are so many of them) amplified at arena-sized volume, cutting cleanly through the mighty live clout of the Royal Philharmonic Orchestra as his backing band. The music is played in the style of 2017’s A Love So Beautiful album which combined Orbison vocal takes with the backing of the orchestra, and in a live setting these versions could not sound better.

The visual spectacle too is certainly impressive. The literature promises that tonight Cardiff is being treated to the first night of a tour which will be a first of it’s kind; taking a long-deceased superstar on a worldwide headline tour in hologram form.

As an orchestral montage of his greatest hits plays to a scrapbook archive, counting down to his appearance on stage, the tension is undeniably palpable and it genuinely sends a shiver down the spine when he pops up out of the floor and stands face to face with the audience. It’s startling how real and solid the hologram feels, with minor details like the tassles on his jacket sleeve swaying in the wind bringing the 4K projection to life.

After the novelty wears off though, the projection starts to feel a bit… well, lifeless. Without the thrill of sharing a room with the actual legend there in front of you, it’s hard to muster much more excitement than you would for a particularly good tribute act. At some point after the shock factor is gone, it does start to feel at best a bit gimmicky, at worse a shameless cash grab. Especially considering that instead of breathing life into archive footage from an old performance, the figure onstage has been created from a number of techniques including CGI to deliver a completely ‘new’ performance, making it feel all the more exploitative.

Had it been left as a recording project marrying up some excellently refurbished vocal tracks with a tasteful contribution from the Royal Philharmonic, it would have felt like a decent contribution to Orbison’s legacy. Instead, the whole tour makes the album seem in retrospect like it was made to serve what amounts to a project that feels like a ghoulish cash-in, trading on gimmickry and shock value to sell copies. It may have been fully approved by his family, but there is something very ethically unsettling about the whole endeavour. Is it an entertaining event worth seeing? Yes, but prepare for it to be interrupted by a constant, nagging uneasiness.

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Review of the gig here: Lucinda at the Fabrik
Actual setlist here: Setlist played

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- review in german Paper: Tom Petty in Hamburg
- another review in german Paper: Tom Petty in Hamburg

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review in german language and some nice images here: Tedeschi Trucks Band in Berlin

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This was the first ever gig I attended. I had all the albums up to this point and was very disappointed. They were so loud (they had recently been billed as the loudest band in the world) that my ears were ringing for days later and, as they were so loud I couldn't actually hear the music, if that makes sense.

I was so put off I didn't listen to them again for years but of course when I did, I instantly became a fan once more.

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Went to show with radio station friends who had comps. Saw Cheap Trick then rushed across Bay Bridge to see Tom Petty at Winterland. Cheap Trick show was good with lead guitar player sending hundreds of guitar picks into audience. If I remember he had like a dispenser, played some licks tossed pick, got another from dispenser, etc. Pretty funny. We figured we could see Doobies again since they were local band. I never did see them live.

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