The Primevals – ‘The Dividing Line’ (Heavy Medication Records/Ghost Highway Records/Triple Wide Records)

The Primevals – ‘The Dividing Line’ (Heavy Medication Records/Ghost Highway Records/Triple Wide Records)

This year marks the 40th anniversary of Glasgow’s garage-rockers The Primevals, ‘so we’re excited to be releasing their 12th album “The Dividing Line” in conjunction with Ghost Highway Recordings (Spain) and the band’s own Triple Wide imprint.’The Dividing Line’ is the band’s twelfth album believe it or not. With their soulful traditionally bluesy garage rock style ‘The Drop’ oozes class sounding like a cool North of the Border Lords Of Altamont without the Leather jackets and long hair this is the work of a gritty Glasgow gang and it is a very decent opener.

The harmonica honking ‘Sonic Pathway’ with its organ stabs and smouldering feedback is a howling good time giving the fantastic Fuzztones a run for their farfisa money. I must admit this is my first foray into the bands material and most enjoyable it is too. God knows how I’ve never crossed paths with them before now but its better late than never right? Right! I do wonder how even as an avid underground hipster I’ve not heard them before seeing as the Garage Rock scene in the UK isn’t exactly huge.

The recording is crystal clear and gives the band the space to show us what they’ve got ‘Drifting Away’ has more than a melodic kissing cousin to ‘Brown Eyed Girl’ on the verses but I like the ragged glory of the riff and the keyboard swirl on the pre-chorus. I’m sure some of the bands I’ve already associated them with are influences and the excellent ‘Don’t Cry’ is an uptempo rocker with some cool guitar breaks and confident stomp, much the same mantra for most of the album to be fair. Of course, these guys know what they’re doing and they are more than capable of turning in some cool tunes throughout even when they kick back like ‘High Street’ its engaging and theres a warmth about the songwriting.

The ultra fuzzed ‘WTFHTU’ is a wheeze from that speaker bothering bass to the organ whirling layer its a top tune and I can imagine a lot of fun live. Things get dark on ‘Sucking On Nothing Sweet’ with its Doors like intro before heading uptown its got a driving tempo and a decent arrangement.

‘The Dividing Line’ shows there’s still plenty of Rock and Roll left in this old dog and be it uptempo ‘Grit And Grime’ or signing this album off with a couple o frockers mixed withtheir more soulful garage style The Primevals do Rock and Roll really well and although they’re not here to reinvent the wheel this bad boy rolls nicely. Check em out Brothers And Sisters you might just dig their sound and get onto the right side of the dividing line.

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Author: Dom Daley

Duncan Reid & The Big Heads – ‘And It’s Goodbye From Him’ (Little Big Head Records)

Duncan Reid & The Big Heads – ‘And It’s Goodbye From Him’ (Little Big Head Records)

The first thing that struck me about this farewell was the striking artwork. I must admit that a small lump in my throat was quickly cleared with the thought that they all say T’ra but then head back out on tour or do a covers album or a duet or some form of return but I also had thoughts of none of us are getting any younger and an end to recording and touring is inevitable for all of our pop stars but that artwork and that title is a tough one, especially for someone like Duncan Reid. It’s been some journey from that last show with The Boys to the exciting news that he was putting a band together to releasing a record that was pretty bloody good (like we didn’t know it) but it lit a fire inside Duncan and he went on to write, record and release better records over the next decade up to this point where we get to hear his Swan Song and what a swan song it is.

The album opens with a classic Reid song with a punchy New Wave synth but it’s soon caught up by a rollicking rocker – uptempo music whilst the lyrics are thoughtful and reflective but yet another classic Reid opener – grabbing your attention in an instant and before you know it you’re lost in the music. ‘Funageddon Time’ kicks off on a ‘Personal Jesus’ guitar lick before heading off down a glam stomping route. Not content with being one of the nicest people in music he writes songs titled ‘Just Try To Be Kind’ and it’s like a little ray of sunshine backbeat rock n roll with lush bv’s and a tidy melody – of course it’s bloody nice. Inevitable lyrics and songs about the dreadful lockdowns are a global topic for connecting with audiences and Duncan has ‘Can I Go Out Now Please’ with its fine arrangment with McCartney piano stabs sitting nestled nicely amongst those great guitar riffs. Theres even time here to branch out with the strings on ‘It’s Going So Well’ thats the best World Party song Wallinger never wrote.

Of course there are bouncy rock songs here – take ‘Oh My My’ just rolling with the punches. The new wave rocker thats ‘Real Good Time’ and ‘Everybody Knows Its True’ driven on by the piano had this been thirty years ago we’d have seen these loons on TOTP knocking songs like this out every other week leadign the charge for guitar driven pop and doing it better than most.

They also push the envelope on this album with some of the arrangments like the Who inspired ‘Bill Gates’ with some nice Synth fills and a fantastic arrangement topped off with a punchy dirty guitar riff. Hold on handbrake turn as we get some Urban Voodoo umpapa parlour music with some sweet viloin soloing on ‘Would I Lie To You’. As we head towards the curtain call theres time for one of the albums finest songs ‘It Rains On The Good’ reach for those tissues as ‘The Guilded Cage’ is the final lockdown song from Reid before he signs off with ‘Singing With The Beach Boys’ which is pure Duncan Reid & The Big Heads and thats it done, finito, the end, uno mass. Good vibrations indeed its been the best and Duncan Reid has saved the best til last with his most accomplished album of the lot and its been a very impressive collection.

Mr Reid it’s been a pleasure, our chats, the live shows and of course the fantastic music it’s one hell of a legacy you leave in this murky business of Rock and Roll but one that people will remember lots of them. The smiling frontman who climbed to the top of the hill and took his time coming down, making people happy and smiling on the way – Duncan Reid we salute you now piss off and put your towel on that lounger you’ve earned it. Oh, when you’re fed up with root veg and doing nothing I’ll look forward to the comeback album and tour in a couple of years see ya! Until then nos da i chi Duncan bob amser yn bleser byth yn orchest

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Phil Campbell & the Bastard Sons – ‘Live in the North’ (Nuclear Blast Records)

Phil Campbell & the Bastard Sons – ‘Live in the North’ (Nuclear Blast Records)

When Motorhead folded after Lemmy’s death in 2015, everyone wondered what would become of guitarist Phil Campbell and drummer Mikkey Dee. Would they stay together and form another band? As it turns out, that wasn’t to be, these days Mikkey sits on the drum throne for German metal titans the Scorpions, and Phil Campbell turned his side project while he was in Motorhead; Phil Campbell’s All Starr Band into something permanent and changed the name of the band to Phil Campbell and the Bastard Sons. The Bastard Sons in question are of course Phil’s actual sons Todd, Tyla and Dane on guitar, bass, and drums respectively.

 A self-titled EP was released in 2016 and they released their debut album ‘The Age of Absurdity’ in 2018 on Nuclear Blast records. The album was well received, winning best album at the 2018 Metal Hammer awards. The band succeeded in salvaging some of the Motorhead swagger with a modern edge that helped them fit in to the NWOCR movement.

 Their second album ‘We’re the Bastards’ which was released in the autumn of 2020, followed on nicely from the debut with more fist pumping anthems. In 2021 the band parted ways with vocalist Neil Starr. Andrew Hunt from Buffalo Summer/Valhalla Awaits filled in for some live dates including a headline spot at 2021’s Steelhouse Festival while the band looked for a full time replacement for Starr.

In January 2022 the band announced Bootyard Bandits front man Joel Peters as their new vocalist after completing a UK tour with PCATBS. The band have always been a force to be reckoned with live and with this latest release ‘Live in the North’ we have been given a great insight into just how good they are as a live unit. I have been lucky enough to have seen the band live numerous times now, and they never disappoint. The album was recorded in 2021 at the Independent in Sunderland and the track listing has a dusting of both studio albums as well as some Motorhead classics and material from Phil’s solo album ‘Old Lions Still Roar’.

Kicking off with a rousing rendition of ‘We’re the Bastards’ the band are on fire throughout the set. Joel Peters sounds like he’s always been there fronting the band, he really is a fine front man, engaging the crowd and singing his heart out. The Bastard Sons themselves are all fine musicians and play a blinder here as always. Drummer Dane is world class and shows his fine-tuned chops here driving the band all the way. Todd and Tyla sound great, Todd’s crunching guitar sound works perfectly and Tyla has that rumbling bass sound that’s worthy of every Lemmy lick he plays. Then we have Papa Campbell himself, still playing like his life depended on it every night, he really is an inspiration. ‘Bite My Tongue’ swaggers along nicely, ‘Rock Out’ sounds revitalised here with a little more pace than the Motorhead original. ‘Spiders’ grooves along with a riff that Tony Iommi would be proud of. ‘Son of a Gun’ is an absolute belter of a track that sounds so much better live. Motorhead anthem ‘Born to Raise Hell’ is full of rock n roll boogie and is a guaranteed crowd pleaser. ‘High Rule’ is another track that sounds better live with its double time chorus that Dane has a ball with. ‘These Old Boots’ pumps along nicely with Peters taking on the vocals that Dee Snider of Twisted Sister provided on ‘Old Lions Still Roar’ with ease.

We are then treated to a breakneck speed version of ‘Ace of Spades’ which rolls into a clap along rendition of Hawkwind classic ‘Silver Machine’. ‘Ringleader’ brings us back to the band’s original material with a bang before we are ‘Going to Brazil’. ‘Dark Days’ does what it says on the tin, a brooding chug fest that comes into its own in a live setting. ‘Big Mouth’ from the bands debut EP is a mainstay in the bands set and always goes down a storm. The album closes with a fantastic execution of Motorhead’s ‘Killed by Death’.  

‘Live in the North’ is a solid representation of Phil Campbell and the Bastard Sons in a live setting. A great listen from start to finish, and with 15 songs and just under an hour’s duration, you get plenty of bang for your buck. As I write this, the band are taking pre orders for a signed CD version or a T shirt and CD bundle. Get on it quick people! Oh, and fuck you Tyla Campbell!!

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Author: Kenny Kendrick

Black Sabbath – ‘Live Evil’ (BMG Records)

Black Sabbath – ‘Live Evil’ (BMG Records)

We’ve reached ‘Live Evil’ in the super deluxe reissues from Black Sabbath and whilst the box sets have been of the highest standards the last few Dio year’s releases have been something else. from the quality of the packaging and what in the sets for Sabbath fans it’s been the ultimate treat as far as reissues and remastered packages go they’ve truly gone the extra mile for the fans. So ‘Live Evil’ might get its critics for featuring the remastered vinyl and the original but I guess it would be live evil overload to include an extra live show as part of this set anyway seeing as the original was culled from various live recordings as part of the tour.

In this box, you have a hard case with superb artwork from the original as well as the heavyweight records but the cream of this package is the lavish 40-page hardback book depicting the Dio era of Sabbath which had its critics but it also took the band in a different direction of creativity and threw up the two mightily impressive studio albums that provide the majority of the material on this live album. As you’d expect BMG has done a pretty amazing job on the remaster as they have done on all the Sabbath box sets thus far and the inclusion of the book to muse through whilst revelling in the remaster is a beautiful thing.

Stop moaning about having a pristine 180gm version of the original and marvel at yet another top-tier Sabbath box to add to your collection. Adding Dio to the ranks of Sabbath was always contentious due to the shadow cast by Ozzy but Dio committed 100% to the task at hand and with one of the most amazing vocals in metal he delivered on all fronts holding his own in such an iconic role. The myths and stories about the recording of this record have never gone away but the one thing I can say is his vocals stand tall and are incredible after all these years and Wyn Davies has done a brilliant job on the remastering ‘Neon Nights’, ‘Mob Rules’, ‘Heaven And Hell’ easily stand up to the interpretations of Sabbath classics such as ‘War Pigs’ and ‘Paranoid’ and the monster version of ‘The Sign Of The Southern Cross’ is still a magical highlight from any of the band’s output.

With this being the band’s first live album it stands as a true testament to the awesomeness of Ronnie James Dio’s vocals and live presence. A masterpiece in live albums for many many people and on the evidence of this box set BMG and Camp Sabbath have done yet another truly awesome job. Add live Evil to your collection as a matter of urgency. Sabbath mark ii was truly a giant and rightly so. What next? ‘Born Again’ please and give some kudos to the Gillan mark iii era of Sabbath. Buy it!

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Author: Dom Daley

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The Bellwether Syndicate – ‘Vestige & Vigil’ (Nexilis)

The Bellwether Syndicate – ‘Vestige & Vigil’ (Nexilis)

I don’t really use social media for much these days, other than checking out what mates have been listening to, and to spot anything that might have passed me by and maybe not been sent to RPM towers for us to review. One such album, released back in April of this year, is ‘Vestige & Vigil’ the debut album from American goth rockers The Bellwether Syndicate. So, I’d like to take the opportunity to thank the Gothfinder General, Mister Midnight himself, Jason Creighton, for bringing this album into my life, because it is one that deserves to be heard by everyone with a love of the dark side of music.

Sitting somewhere between the hyper intensity of mid ‘80s chart bothering Killing Joke, the metallic edge of ‘Vision Thing’ era Sister Of Mercy and the ‘Mechanical Animal’ stomp of Marilyn Manson, The Bellwether Syndicate are the brainchild of William Faith (formerly of Faith and the Muse, Christian Death, Mephisto Walz, Shadow Project and The March Violets) and Sarah Rose Faith (aka DJ Scary Lady Sarah) and in spite of being together for over a decade ‘Vestige & Vigil’ is their first long player (available on vinyl and CD along with download from the Bandcamp below, along with other online retailers like Amazon).

To give you an idea of just how impressive this album is it took me just one Bandcamp listen before I was ordering a copy on vinyl, as songs like ‘Beacon’, ‘Dystopian Mirror’ and ‘Republik’ simply steamroller your senses into BUY NOW submission, and if I were to single out one band that The Bellwether Syndicate remind me of most, then it is Janne Jarvis’ post Warrior Soul tour de force Hate Gallery. Which for those of us who know, is very high praise indeed, and for those of you who don’t, get Googling now.

If you like some glam with your goth then there’s the fantastic ‘Noir Thing’, which really is something else (ouch), and if its towering anthems you want then check out the Pete Murphy-like croon of ‘We All Rise’ that then literally explodes inside your head as the colossal chorus kicks in. Epic stuff!

There are some (slightly) lighter moments too hidden amongst all the darkness and these happen to coincide with Sarah Rose Faith taking over vocal duties for the sweeping ‘Clarion’ and then providing a wonderful almost whispered vocal counterpart to another great Faith melody line on ‘Golden Age’, a track that also reminds me of the band’s labelmates, Then Comes Silence. Now can someone please get The Bellwether Syndicate added to their Swedish counterparts 2024 UK tour…thank you.

2023 has so far been a great year for gothic tinged music, perhaps one of its finest since its 80s heyday, and ‘Vestige & Vigil’ is right up there as one of its true highlights.

Buy this album, it deserves to be HUGE!

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Author: Johnny Hayward

Rainy Days And Mondays – Grande Royale

Rainy Days And Mondays – Grande Royale

Sweden’s GRANDE ROYALE have unveiled a music video for “Status Doom”, taken from their new album ‘Welcome to Grime Town’ released via The Sign Records. They turn the amps up to 11 and get their boogie on.

‘Status Doom’ is taken from the sixth studio album ‘Welcome to Grime Town’. ‘Status Doom’ perfectly represents the melodic, energetic, guitar driven rock soundscapes always present on the album. The band has a history of collaborating with artists as Nicke Andersson and Dregen and the new album is mixed by Robert Pehrsson.

Dead Express – ‘Game Changer’ (DXS)

Dead Express – ‘Game Changer’ (DXS)

Action Rock or Scandi Rock call it what you like – it’s alive and kicking (and screaming) as Dead Express will testify. With this album of loud guitars with some Garage punk rockin’ attitude Dead Express sing from the same Hymn sheet as the likes of Hellacopters and Gluecifer for starters and to be fair they do it really well.

‘Game Changer’ is the bands fourth album and I’d suggest you pull up a chez lounge and a couple of cold beers and get ready to sing along. Formed in  Nyköping, Sweden. they’ve certainly not let the grass grow around their feet having produced albums consistantly with a sound DIY ethic the production is crisp and packs a punch.

The songs that come across the best are the ones with the big hooks either a riff or the gang vocals the opener ‘Roky’ has a good riff and the melody grabs your attention no doubt about it. ‘Hang Em High’ is one of the albums strongest songs. ‘Stinkin Rich’ is a badass tip of the hat to Angus and DC with a crisp riff. To be fair the Riffola is pretty relentless as the songs roll by and by the time you hit ‘Road Trippin’ with its fucked with ‘All The Day’ melody nicked from the Kinks and dragged through the dirt on the back of a drag car no doubt whist the band chug beers all the way. I dread to ask what ‘The Swamp Incident’ might be all about.

As the album screeches to a halt, there’s a track entitled ‘Method To My Madness’ – They couldn’t could they? Hell no is the answer to that, few some songs are sacrosanct and that might just be one of them. Their song of the Lord’s name is pretty decent as it wipes its snotty nose all over the song from the choppy riff to the punky melody and sing a long chorus it’s one of the best songs on offer.

This steaming rockin and rollin machine grinds to a halt with a balls to the wall all out rocker ‘The Naked Truth’ and then no doubt they all exploded into oblivion due to rockin so hard. If you want a full tilt sleazy Action Rock experience then Dead Express might just be the band you’re looking for otherwise step aside sucker because these cats aren’t stopping for anyone – they’re hellbound and outta control.

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Author: Dom Daley

Homicide Idols – ‘Homicide Idols’ (Helvete’s Kitchen)

Homicide Idols – ‘Homicide Idols’ (Helvete’s Kitchen)

Short, stabbing blasts of lo-fi punk, recorded in the red, and unearthed after some years, Homicide Idols is an abrasive yet extremely satisfying listen. Get over the Lo-Fi sound (it hides a multitude of sins) it shows attitude and challenges the listener whether you like it or not. oh, and I guess it’s the ultimate punk rock sacrifice (just think endless nameless – everyone whose ever played that would love to hear it clean and not fucked). Influenced by the Germs to the mighty Dead Boys to the Reatards, this album has it covered with fuzzed-out, catchy guitar riffs and gravel-spitting vocals.

From the opening punk as fuck ‘Nothing To Me’ is like the Gaggers on 78 played through a biscuit tin. Choppy abrasive riff with a melody buried deep in the mix. I guess thats the bands modus operandi because ‘young, sick And Pissed’ is more of the same just played a little faster. If someone uncovered some Dee Dee Ramone demos under his bed then this is what they might just sound like.

I do love a bit of Lo-Fi and from the rattling snare intro of ‘Terminal Weekend’ I’m all in. I’ve invested my time in this and love it, The Johnyn Thunders guitar breaks are a joy and the fact it slams straight into ‘Dead End Life’ is a bonus. furious and fucked up – crack on gentlemen you’ve got your fingers on the pulse right here.

theres nothign original on offer here but some of these Riffs are sweet – take ‘I Want Blood’ it’s got energy and sounds like a speeding runaway train heading for the buffers and nobody gives a shit because we’re living in the moment and its rockin hard. The fact its barely fifteen minutes is no time at all and certainly not enough time to get bored of the thrashing about or low vocal. Hell on ‘you Got The Leather’ they even have time for a cool yet brief break down.

The album closer starts with a rapid Bass and drum workout (yup there is a bass guitar adding low end – I think) before thrashing off into oblivion covering the listener in gob and sweat whilst wearing a shit-eating grin. That album was a fuckin blast of unadulterated energy and fun and it just leaves time for me to say get on it and fuck them all this shit is da bomb!

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Author: Dom Daley

Ryan Hamilton – ‘Haunted By The Holy Ghost’ (Wicked Cool Records)

Ryan Hamilton – ‘Haunted By The Holy Ghost’ (Wicked Cool Records)

We’ve been banging on about Texas singer/songwriter Ryan Hamilton since before RPM was even a thing, and for good reason. Ryan is an artist who always seems to be on the verge of breaking through with every new album, before some personal tragedy scuppers his plans and he’s back to square one.

They say what doesn’t kill you makes you stronger, well that all depends on what is trying to kill you, I guess. In Ryan’s case it could be a cheating first wife, addiction, divorce, online abuse, the record business, cancelled tours and most recently…a delayed album due to manufacturing errors. All the above have happened in the last decade and you really couldn’t make it up, but Ryan is still soldiering on, and thank your lucky stars he is.

‘Haunted By the Holy Ghost’ follows his 2020 break up album ‘Nowhere To Go But Everywhere’ and the following lockdown album ‘1221’. Produced by go-to-guy Dave Draper who also plays bass, along with Ben Marsden on guitar and Carol Hodge and Emily Ewing on backing vocals. It was recorded at Draper’s studio The Old Cider Press and Ryan’s home studio in Texas, making the whole album a transatlantic power pop affair.

The opening song ‘Asshole’ shows Ryan’s current attitude towards the music business. It was released on Valentine’s Day as an act of self-sabotage guaranteeing zero radio airplay, which is maybe a silly idea if you are a struggling artist wanting airplay, but I’m sure he knows what he’s doing…. but its ok, because this album is choc-a-bloc with singles!

The title track is classic Ryan power pop, a radio-friendly earworm inspired by his Catholic upbringing. With an infectious hook and a euphoric feel, it is an early highlight. ‘Paper Planes’ again, is the sort of song Ryan first showed promise with on ‘Hell Of A Day’, full of quirky, power pop goodness and a euphoric middle section that takes it up a notch.

Ryan is never shy to pen an 80’s style power ballad or two, and for this album he has outdone himself. There are two ‘lighter in the air’ moments that could end up on future teen lovers’ mixtapes. The first ‘Overdose’ is not about drug addiction, but about falling madly and deeply, like ‘first love’ deep or ‘marriage material’ deep. You know, right? We’ve all been there. Elsewhere the emotive ‘Absence Of Love’, lyrically is the complete opposite to the aforementioned ‘Overdose, while full of heartbreak and yearning, it is still as emotive though.

A cover of Splender’s ‘Yeah, Whatever’ is given a lick of aural magic by Ryan and Dave Draper. Indie beats and those quirky vocals give the turn of the century alternative hit a new lease of life, as they do with George Strait’s ‘All My Exes Live In Texas’. This fun run through was a past single but shows its face here as a hidden track (it’s a homage to the CD era, kids!) after the closing song of the album.

‘Sad Bastard Song’ officially closes the 12-track album, and it is the best song here for several reasons. For one, I just love the countrified acoustics and pedal steel guitar vibes, and secondly the tongue-in-cheek lyrics may on the surface make it seem like a throwaway, comedic song for losers, but the stark reality is that these lyrics are from the heart and probably ring truer than you would think, and it’s probably my favourite song on the goddamn record.

It’s a sad fact that some of my favourite artist from the last 30 years will never get the commercial success or the critical acclaim they so rightly deserve. Times are tougher than ever for the underdog, but only one thing can make a difference…you, the music buying public. It would be a tragedy for an album this good to slip under the radar when it should be up there with the Adele’s and the Tayor Swift’s of the world, but how can Ryan compete with those big guns? Who knows, but maybe if when you finish reading these words, you were to click a link and buy this album, that would help just a little. I mean, c’mon, it’s worth it just for that cover art of Jesus in shades, right?  

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Author: Ben Hughes

The Mission – ‘Razzmatazz’ – Barcalona, Spain. 25.04.23

The Mission – ‘Razzmatazz’ – Barcalona, Spain. 25.04.23

The sun is still blazing in the sky over a hot and sweaty Barcelona evening as a line of people zigzags up a metal staircase to Club Razzmatazz where a packed out room is bathed in dry ice as the PA creaks to ‘Tadeusz (1912-1988)’ and the already sweaty audience breaks out into a heaving mass of football sing-a-long excitement before the band walks on for one last hurrah around Europe on the Deja Vu tour.

The few times I caught The Mission last year they were on fine form breaking in the new drummer just ahead of the UK tour post covid lockdowns and they were (pardon the pun) on a Mission and full of energy. Barca expects and as the band winds up ‘Beyond The Pail’ the club is jumping and with hardly any room to breath its a heaving mass of swathing bodies singing along and I’m imediately taken back to the early days where packed clubs like Bristol Studio or New Ocean Club in Cardiff would see you carried along in a sea of bodies well this was like that. ‘Tomorrow Never Knows’ was played early doors before the band lashed out ‘Serpent’s Kiss’ and an enthusiastic ‘Over The Hills’ this was warming up to be something special.

The sound was good and the band sounded well rehearsed and full of energy. With a great mix of songs from way back to more recent offerings, it was ‘Within The Deepest Darkness (fearful)’ when we could take a breather and take in just how bloody good a band the Mission are. The show was taking shape in manageable chunks as the audience sang back every word from the epic ‘Kingdom Come’ and ‘Stay With Me’ it was ‘Butterfly On A Wheel’ where Wayne let the audience sing back to him and I think he was impressed how loud and in tune it was. the main set was brought to an end with an energetic ‘Wasteland’ before ‘Deliverance’ saw the band leave the stage for the first time. A dozen songs had just flown by and I’d found myself in a pocket of air towards the front as the band returned for a trio of songs culminating in an exhilarating ‘Crystal Ocean’ that was the highlight of the set for me. How or why I don’t know but tonight I was moved by this song even though I’d heard it live dozens and dozens of times the whole experience was uplifting and life affirming and I love that Rock and Roll can do that even in a sea of top tunes one will stand tall.

The band left the stage for a second time before Wayne returned alone to announce that one of the band needed a toilet break but would say who so it was left for a welcome return of ‘Love Me To Death’ which only left an epic rendition of ‘Tower Of Strength’ before it was done leaving only Wayne and Simon to twist out a feedback soaked ‘You’ll Never Walk Alone’ and then it was done. Off to Madrid for one last time as we filed out into the warm night air happy I’d once again seen The Mission deliver the goods and cement their place as one of the best live bands still treading the boards.

I know they’ve alluded to this possibly being their last foray into Europe but I’d ask they reconsider that and maybe do it one last time next year or the year after and I’ll be there and by the looks of it so will a lot of others. Another night of Deja Vu with the awesome Mission. Gracias amigos.

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Author: Dom Daley