Terrorvision/The Bar Stool Preachers – Project House, Leeds – 24th September 2024

Terrorvision/The Bar Stool Preachers – Project House, Leeds – 24th September 2024

Hands up who’s ever seen Terrorvision do a bad show? Didn’t think so, but can anyone tell me the last time they gave less than 100% live? I’m waiting….

Bradford’s finest export are the only band I’ve seen share a stage with The Wildhearts and come off the better band on the night, and I’m a big Wildhearts fan. Well, the Brit Rock survivors are back with their first album in a decade, it’s called ‘We Are Not Robots’, and it’s a bit of a banger. The band are rolling into Leeds for a (sort of) hometown show in celebration. Did I fancy it? Well, it’s certainly worth braving the shitty Leeds traffic on a damp and dreary Tuesday evening that’s for sure.

I’ve never been to Project House before. Run by the guys of The Brudenell apparently, it’s a bigger venue to cater for bigger bands, I guess. A 1000-capacity venue that has the feel of a warehouse gig. It’s spacious and has a cool vibe, perfect for RPM faves The Bar Stool Preachers to warm things up. Opening with a killer one-two of ‘Call Me On The Way Home’ and ‘All Turned Blue’ from last year’s ‘Above The Static’ album is a masterstroke, and frontman Tom McFaul has the Terrorvision crowd eating out of the palm of his hand from the off. The whole band are energetic from the first note until the last chord rings out. Tim especially, makes full use of the stage space and gets the crowd involved as much as possible. The room is pretty full by the time they hit ‘Flatlined’, and getting the crowd to chant the “woah woah” refrain is the perfect way to win over those who are not yet converted.

An exceptional live band flying the flag high and defiantly for British live rock music, proving that there is more to live music in the UK than Oasis and Coldplay stadium shows.

The last time I saw these two bands together was at Bradford St George’s Hall last year. That night I was in the rafters, tonight I’m four rows deep from the front of the stage. For me it makes such a difference to the feel of a gig. To be ‘in it’, to see the smiles on the band’s faces as they play, to see the sweat drip from their skin and just witness how they interact with each other on stage, this is my happy place.

Terrorvision have a strong greatest hits set that flows into double figures and they play them all and more tonight. As guitarist Mark Yates plays that opening riff to ‘Discotheque Wreck’ the place prepares to erupt, and erupt we do. Frontman Tony Wright, is all over the stage like a ball of energy, to his left bassist Leigh Marklew sports sportwear & shades and gurns like a loon for the entire set, to his right the effortlessly cool Mark flexes his tattooed and toned frame as he pulls all the cool guitar hero poses. With the addition of Milly Evans on keys, Chris Bussey on drums and a 2-piece horn section, the band are now bolstered to a 7-piece. Last time out they were all dressed in pink and black, tonight the theme is powder blue and white to match the album art.

Talking of the new album, there are new songs to be played, and punked-up single ‘The Night That Lemmy Died’ is next up, while a bit of a departure for the band it fits nicely and goes down well, not as well as the following ‘Alice. What’s The Matter?’ though, which sounds phenomenal. They then take us right back in time with ‘My House’, to great cheers. I remember first hearing this song in a club in Swansea when it was released, not knowing who the band was, and it always takes me back to that night when I hear it, that’s the power of music folks! Four high energy songs in, and Tony is sweating like a smackhead with a giro, you wonder whether he’ll make it through the set, but the boys only getting started.

You would be forgiven if you forgot how good ‘Still The Rhythm’ and ‘New Policy One’ are, or how ‘Josephine’, with its killer spaghetti western riff shoulda been the big hit off of ‘Shaving Peaches’, but the Terrorvision massive haven’t and show their appreciation in spades.

Newbies ‘Baby Blue’ and ‘You Gotta Want To Be Happy’ prove the band still have a knack for penning a catchy tune or two and they stand up well against the likes of ‘Middleman’, ‘Perserverance’ and ‘Celebrity Hit List’ tonight.

Set closer ‘Pretend Best Friend’ has the trumpets to the fore, the guitars to 11 and the energy levels off the scale, the band then return for a one song encore. It’s here where I’m thinking wtf haven’t they played? They’ve surely played all their aces, but then that iconic “doo-wop” refrain leads us into rock n’ roll ‘Oblivion ‘one more time, and those who feel they haven’t quite sweated enough get to do it one more time before the band bid farewell to Carly Simon’s ‘Nobody Does It Better’. And that is quite a fitting exit.

Author: Ben Hughes

The Lemon Twigs/Tchotchke – Brudenell Social Club, Leeds – 11th September 2024

The Lemon Twigs/Tchotchke – Brudenell Social Club, Leeds – 11th September 2024

I think it was a certain Ginger Wildheart who first bought The Lemon Twigs to my attention, and it was not long before their 3rd studio album ‘Songs For The General Public’ was in my hands and on my turntable. There’s been two more studio albums since then and the Long Island power pop band, led by brothers Michael and Brian D’Addario have been top of my “bands I wanna see live” list for quite some time.

On the road promoting their latest long player ‘A Dream Is All We Know’, tickets were purchased the minute I spied a Leeds date at my favourite venue.

The Brudenell date has been long sold out, and it is already busy as the unpronounceable Tchotchke take to the stage. A 3 piece, all girl band with a drummer who happens to be the lead singer. With their 3-part harmonies, pop sensibilities and cool song dynamics they fit the bill like a glove. I’m sold after just a couple of tunes to be honest.

Thye have one album out, it happens to be produced by the D’Addario brothers and their melancholy and dreamy pop music comes across like a mix of The Shangri-Las meets Sleeper. Yep, 60’s girl group meets Brit Pop, its all jangly guitars, lush vocals and laid-back melodies that stick in your brain.

I don’t know any of their songs but I’ll tell you one thing, I don’t think a support band has ever left such an impression on me before. Their album has got to be my next purchase.

I’ve been looking forward to seeing The Lemon Twigs for what seems like an age. They open with ‘Golden Years’ and it’s all jangly guitars, lush vocals and smiles from the off. With skinny t shirts, perfect hair and even more perfect harmonies, the D’Addario brothers are on it from the word go. Leaning heavily on the latest album and its predecessor ‘Everything Harmony’, it’s pretty much a dream set with a few obscure covers thrown in for good measure. The first highlight follows a version of ‘Transparent Day’ by The West Coast Pop Art Experimental Band. My two favourite tunes from the new album are played together: ‘Church Bells’ is a glorious power pop ode that could’ve been penned by McCartney in the early 70’s, and the following ‘If You And I Are Not Wise’ sounds more like the Byrds than anything in recent history. Emotive, transcendent and fulfilling, I could go home happy right now, but there’s more to come.

The boys switch instruments throughout the set and take lead vocals on the songs they have written. ‘I Wanna Prove To You’ is another highlight, with Brian playing bass and Michael bashing the kit like Keith Moon, drummer Reza Matin takes on guitar duties and bassist Danny Ayala plays keyboards. It just goes a long way to show what accomplished musicians this whole band are.

The atmosphere is electric in the room tonight as we witness magic on the stage. ‘They  Don’t Know How To Fall In Place’ is killer and ‘Peppermint Roses’ is a new album favourite that is just as good live. The main set ends with the Beach Boys-esque ‘How Can I Love Her More’ before Brian returns with just an acoustic guitar to play 3 songs solo. His beautiful rendition of ‘Corner Of My Eye’ captivates the whole room, did I actually hear a pin drop? New song ‘Joy’ gets an airing, and ‘When Winter Comes Around’ is as emotive and possibly even more beautiful than the album version.

The full band return for a run through of The Beach Boys ‘You’re So Good To Me’ before ending on a high with a rocker. ‘Rock On Over and Over’ is as 70’s glam rock as you can get, T Rex meets Elton John for the win! What a finale.

I knew The Lemon Twigs were going to be good, but I wasn’t expecting them to be this good. The combination of perfectly executed pop songs delivered with an energetic performance, mixed with great sound and lights, by a band who are tight and look like they are really enjoying themselves. The benchmark gig of the year by far.

Author: Ben Hughes

Alabama 3 – Brudenell Social Club, Leeds – 19th November 2023

<strong>Alabama 3 – Brudenell Social Club, Leeds – 19th November 2023</strong>

For many years I would tell anyone with ears that Brixton based collective Alabama 3 were one of the best live bands on the planet. Their unique brand of “sweet pretty muthafuckin’ country acid house music” and incendiary, unforgettable live shows were legendary in my circles. But I must admit a run of less than spectacular albums and a few less than professional live shows saw (me at least) lose interest a few years back. The tragic death of co-founder Jake Black (aka The Very Reverend Dr.D Wayne Love) in 2019 seemed to seal the deal that it was all over for the Alabama 3.

But then something strange happened…Alabama 3 got their mojo back! Call it triumph over adversity, a rejuvenation even, but Larry Love and the boys unified, licked their wounds and released their 13th album ‘Step 13’ in 2021. A tribute to a fallen friend, the title referred to the next phase after death as quoted by A. Ron Hubbard, and was a return to past glories.

Now in 2013, with a new album (Cold War Classics Vol 2) on the shelves and the return of vocalist Devlin Love to the live outfit, it’s time to see if Alabama 3 can still deliver the goods live.

9 o’clock sharp and Alabama 3 hit the stage at the sold out Brudenell in style to newbie ‘North Korea’. Dressed in military jacket and shades, the ever cool Larry Love commands his audience from the off. Stage right is Devlin Love, the diminutive lady with a larger than life voice. She looks even cooler in a black fur coat, figure hugging dress and stack heels. Her vocals and her stage presence gives a different dynamic to the band now that Jake is gone. 

But the ghost of the Very Reverend D Wayne is all over this show and he even makes an appearance, albeit a taped one on the overly cool set highlight ‘Hypo Full Of Love (12 Step Plan)’, which is a nice touch.

The set is a great mix of old and new, enough to satiate old fans and new recruits alike. It’s a very dance orientated show, the dub heavy bass throbs from the speakers and you can’t help but move to the groove. New tunes like ‘Petronella Says’ and ‘Whacked’ sound good, I mean really good, like they are A3 classics already after just a couple of years, maybe it’s just a testament as to how strong an album ‘Step 13’ is.

The pair of singers work the crowd like pros, inciting the crowd to get on their dancing feet and sing along to the choruses. 

Long time core members keyboard player The Spirit looks suitably miserable all night and Nick Reynolds is always cool, switching between harmonica, backing vocals and sax all night. Larry informs us it’s his birthday and he takes lead vocals on the song the band wrote about his great train robbing old man ‘Have You Seen Bruce Richard Reynolds’. The harmonica induced countrified blues is a killer set highlight for me from one of my favourite A3 albums.

I must admit I’ve not seen them this good in many, many years. Other highlights like the awesome ‘Up Above My Head’, the countrified ‘Hello, I’m Johnny Cash’ and the obligatory ’Woke Up This Morning’ prove that Alabama 3 have the tunes and are an underground alternative institution we should be proud of.

The welcome return of singer Devlin Love seems to be what the band needed at the right time. While no one could ever fill Jake’s cowboy boots, her bluesy, soulful vocals and presence adds sex appeal and spice to the countrified, dance tunes tonight.

Her lead vocals on ‘U Don’t Dans 2 Tekno Anymore’  are frankly stunning, she rules that stage. Encore time sees her return with an acapella ‘Mercedes Benz’ before the full band return dedicating Aslan’s ‘How Can I Protect You’ to the ailing Shane McGowan. 

I’ve seen Alabama 3 a bunch of times over the past 20 years, but this show was one of the best. Larry Love and his band have redeemed themselves in my eyes and take their rightful place as one of UK’s most exciting live bands currently doing the rounds. Long may they  rule. 

Author: Ben Hughes

Philip Seth Campbell – Brudenell Social Club, Leeds – 12th October 2023

Philip Seth Campbell – Brudenell Social Club, Leeds – 12<sup>th</sup> October 2023

Phil Campbell has seemingly come full circle since leaving both The Temperance Movement and The Byson Family, by continuing on the singer/songwriter solo journey he started before joining one of the UK’s new breed of bluesy classic rock artists back in 2011.

While it’s a shame The Temperance Movement never reached the dizzy heights their early material and magical live gigs promised, the singer seems comfortable and content with his current status, and the release of his first solo album under the name Philip Seth Campbell.

Playing more intimate venues than he has been used to for many years, Philip is promoting ‘City Lights’ with a series of low-key dates, just the man and his guitar, with just a bassist and a keyboard player backing him.

Taking to the stage of the smaller community room at The Brudenell Social club, on this the second date of a UK tour, you would be forgiven for thinking the Glaswegian singer had come straight from a do. Wearing an open dress shirt, trousers and trainers Philip Seth Campbell looks like the dishevelled, cool uncle at a family wedding. He and his band then proceed to run through a selection of choice cuts from the new album, older solo material and a couple of tracks each from his former bands.

Opener ‘Magical West’ was the euphoric first single released, and it loses none of its power in this stripped back format. The ever-animated Campbell may be restricted in his movements with a guitar strapped on, but his voice is on point, full of vigour and soul as he rasps his way through each high energy chorus. By the time the trio hit the gospel-tinged third track ‘Revelation’ his voice and the sound mix has certainly hit the sweet spot.

Yet there’s a sense that the singer must work for it tonight, he is certainly not going through the motions. Starting fresh, playing new songs to an audience who may be unfamiliar with the material can be a trial by fire, and while the meagre and polite audience need some well-spirited goading from the singer into breaking the unnerving silence between songs, the whole thing seems to go swimmingly well. He certainly has the stagecraft, the songs and the voice to carry them. But it is nice to see a performer who is nervous and doesn’t know what to expect, deliver in spades.

The anthemic Springsteen vibes of ‘Hasta Luego’ shine strong in a live environment, and the slower soulful moments such as the autobiographical ‘Sober Boy’ sound great. The new songs all fit well with the older material whether that be The Temperance Movement, The Byson Family or older solo stuff such as the sweet ‘Wrecking Ball Nights’, a song he introduces while strumming the opening chords

“Sometimes there’s nothing else for it but to get fucked up!” he declares. He may be a sober and happier boy these days, but he reminds us that things can easily change.

It was a bit of a surprise to hear him break into ‘Chinese Lanterns’. To be fair, I wasn’t really expecting that. It’s always been a favourite TM track since those early shows where Philip would sing it acapella, off-mic to a stunned crowd. Tonight, with an acoustic guitar as accompaniment it is just as special. Another TM classic ‘Lovers & Fighters’ closes a sweet set that satisfies fans both old and new.

I saw The Temperance Movement in this very same venue 10 years ago on their way up, and now it seems quite fitting to see their ex-singer continue his musical journey in fine form. A mesmerising and rewarding set from one of the best singer/songwriters we have to offer and one of the best gigs of the year for me. This could be the start of something special.

Author: Ben Hughes

Philip Seth Campbell – ‘City Lights’ (Assai Records)

Philip Seth Campbell – ‘City Lights’ (Assai Records)

The former frontman of The Temperance Movement returns after a tumultuous period in his life with a solo album that has been decades in the making. Musical differences and personal issues saw the gravelly-throated singer leave not only The Temperance Movement in 2020, but also last year he parted ways with The Byson Family, the band he left to form and concentrate on.

But following a series of acoustic shows and a recent EP release, Philip has exorcised whatever demons he was carrying and is back stronger than ever with his debut long player.

Seeking redemption and filled with retrospection ‘City Lights’ is a journey of a storyteller who explores new territories while tipping his worn and tattered hat towards his past glories throughout its 12-track length. There’s a self-assured confidence and a sense of rejuvenation to leading track and first single ‘Magical West’ that sees Philip shed the heavy rock and americana leanings of his previous bands and embrace a more commercial and eclectic direction. Upbeat and euphoric in equal measures, it has a Springsteen style power and delivery with a rousing chorus that will excite the listener and induce goosebumps as well as repeated plays.

‘City Lights’ is an album filled with unexpected directions that take you on a definite journey. The liberating ‘Hasta Luego’ is a tale of eloping to Mexico, and you are with him on the road as he invites you to “get away through LA and San Diego”. Sound wise, with urgent beats and stabs of keys it builds like Hothouse Flowers to a rousing chorus worthy of Butch Walker.

The mellower, more soulful moments such as ‘Revelation’ and ‘Break The Curse’ nod their heads to Van Morrison with gospel-tinged backing vocals, brass and stabs of piano to accompany the stunning vocal delivery.

The needle drops on side two for the funky title track with a blast of horns, crisp drum beats and gospel harmonies, coming on like an outtake from The Black Crowes sophomore long player meets Paolo Nutini, and that ain’t a bad place to be. But if there is any one song that would be a showcase for Phil’s vocal prowess on this album, I would probably go for the celebration that is ‘Soul Fire’. The performance here exudes confidence, power and depth and just seems to flow perfectly. A killer guitar solo adds some fire. It’s worth noting that considering he plays most of the instruments and self-produced this album, it has a very ‘live in the studio’, full band sound.

Elsewhere, ‘Silent Symphony’ mixes up americana and soul with sweeping strings and gospel backing to create a heart-wrenching, cinematic soundscape. And that is something that continues on the honest and confessional ‘Sober Boy’.

He may have left TTM to get away from the screamers, but closer ‘Gut City Blues’ leaves us with a reminder of his past. Killer riffs and even more killer vocals give us a whiff of AC/DC meets Ike & Tina goodness, plus the addition of founding TTM guitarist Luke Potashnick, who turns of to lay down a tasty solo. A glorious rocker that is sure to be a live favourite when he hits the road later this year.

While I was saddened when he left TTM and The Byson Family, Philip Seth Campbell has risen like a phoenix from the flames and delivered an album that exceeds all expectations. ‘City Lights’ is an instantly familiar album that is hard to not fall in love with from the very first listen. With enough rockers, ballads and ravers to satiate his fanbase, it exudes the confidence and charisma of a songwriter who has been around the block and has lived to tell the tale.

Buy Here

Author: Ben Hughes

Diamond Dogs – ‘About The Hardest Nut To Crack’ (Wild Kingdom)

Diamond Dogs – ‘About The Hardest Nut To Crack’ (Wild Kingdom)

Sweden’s finest purveyors of honky tonk flavoured rock n’ roll return with a new long player, just over 18 months after the luscious double album offering ‘Slap Bang Blue Rendezvous’ hit the shelves.

It seems nothing can keep Sulo and the boys from delivering good time rock n’ roll like the last 6 decades of musical innovation never happened. The Faces meets The Stones is a good rut to be stuck in and we wouldn’t want it any other way, not when the songs are this good.

Written and recorded over an 8-day period and recorded in old school analogue, ‘About The Hardest Nut To Crack’ sees the Swedish band in fine form from the word go.

12 bar boogie blues is the name of the game with opener ‘Get A Rock n Roll Record’ and the message is as simple as the three-chord progression it rides on.

Next up ‘Blight The Life’ is one of those life affirming, instantly familiar Sulo melodies. You’ve know you’ve heard it before, but you’re not quite sure where. Was it Rod, Jagger or Monroe? Who knows, or even cares as a mournful fiddle leads us down an emotive road, one we love to frequent again and again.

The low-slung rock n’ roll of ‘Wring It Out’ has plenty of Faces swagger and it’s a raucous party that Sulo and the boys are jamming, with gospel-tinged backing vocals, stabs of keys and a certain boogie-woogie swagger.

There are earworms aplenty on offer. The likes of ‘Gurus and Gangsters’ and ‘Desiree, Yet Another Lonely Mile’ are pure euphoric nostalgia, and about as 70’s as listening to the top 40 run down whilst scoffing a Sunday roast. Songs that groove in a certain way and insist you turn up that dial and dance like no one is watching. 

Sulo’s reflective lyricism recalls the good times and the tight musicianship but loose delivery backs it all up in just the right way. The banjo action on ‘Old Timer’ gives a rustic, partisan feel that sits well with the low-slung guitars and gravelly vocals. The sloppy, but perfectly delivered solo as worn and weathered as the vintage gear it is played on.

The glam slam, foot-stomping closer ‘Rising From The Ruins Of Rock n Roll’ sees the band sign off by telling us to spin them records one more time and not to forget the reason they (and we) do this thing they call rock n’ roll anyway.

A new Diamond Dogs record is always cause for a celebration, and ‘The Hardest Nut To Crack’ does exactly what you would expect. Naysayers may argue that Sulo and the boys are doing nothing new and shock horror, may even be classed as ‘generic’, but you know what? Sometimes I want something familiar, something that doesn’t stray from the path and delivers exactly what I expect it to, and the Diamond Dogs do it every time. Get this rock n’ roll record, play it loud and spread the word. 

PRE-ORDER: https://orcd.co/hardest-nut-to-crack

Author: Ben Hughes

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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?  

Buy Here

Author: Ben Hughes

Tyla’s Dogs D’amour/Boss Caine – York, The Fulford Arms – 8th April 2023

Tyla’s Dogs D’amour/Boss Caine – York, The Fulford Arms – 8<sup>th</sup> April 2023

It’s been a few years since Tyla has graced us with his presence here at The Fulford Arms, what with lockdowns, ill health and all that jazz. Still, here we are celebrating 40 years of The Dogs D’amour with a few low-key shows at independent venues across the country. The first weekender is a couple of ‘spiritual home’ gigs for the band, and following last night’s tour opener at Bannerman’s in Edinburgh, Tyla and the gang roll into York for a sold-out show that will probably be tinged with sadness following the announcement of Quireboys original guitarist Guy Bailey’s passing just the day before.

Up first we have local troubadour Daniel Lucas aka Boss Caine. The last time I saw him live was probably supporting The Dogs here actually. Covid times don’t seem to have changed the man too much, the hair is shorter and the cowboy hat has been replaced by a flat cap, but the song remains the same.

Opening with ‘Ghosts And Drunks’ sets the scene nicely with mournful chords and sandpaper vocals that sit somewhere on the nicer side of Tom Waits. His storytelling and observations of life, whether his or those around him are captivating, and he has a way of drawing you in and paying attention. Just a man and his acoustic guitar with a bunch of tales of love, loss and addiction seems quite a fitting match for the main attraction and the growing crowd seem to think so too by the response. 

I’m sure most live reviews of The Dogs D’amour could start with the sentence “Tyla looks like he has a had a few bevvies already as he takes to the stage”, and tonight is one of those nights. Dressed in an oversized suit, sporting a big, shaggy beard and his dyed black hair longer than I can ever remember him wearing it, the Wolverhampton Wanderer looks like Lemmy meets Fagin and he is in good spirits tonight, or should I say is full of good spirits tonight!

You cannot dislike the gloriously ramshackle sound that The Dogs D’amour create in any guise, and they are always entertaining live. Tyla has written many songs that soundtrack my youth, from those very early days up until the early 2000’s anyway. And as the band are celebrating 40 years of The Dogs D’amour, they are doing things a bit differently tonight. Not only is it a set of just classic songs, but it is also played chronologically, with stories and anecdotes in-between each song from the main man and songwriter himself. Whether half of these stories are true, only one man knows, but its comedy gold all the same.

As Tyla picks the opening notes to ‘Heroine’ those who are witnessing things for the first time may wonder whether he’ll make it through the first song without fucking it up, of course he does! Between songs Tyla explains the origin of each song he is about to play, usually with the words “anyway, and so the next day…” or something similar. And what transpires is possibly a dream set list for any fan of classic Dogs material. None are actually introduced by name, but he doesn’t need to do that, we know them all anyway. From early obscurities like ‘The State I’m In’ and ‘How Do You Fall In Love Again’ to chart bothering singles (“we were on Top Of The Pops you know!”) such as ‘How Come It Never Rains’ and ‘Satellite Kid’, to personal favourites such as ‘Last Bandit’ (dedicated to Guy), ‘Firework Girl’ and ‘Billy Two Rivers’ it is all delivered with passion.

Backed as ever by guitarist Gaz Pennick and fellow Balladmongrel Matty James Cassidy on bass, the band are suitably ramshackle, yet never on the verge of falling apart. Props to drummer Dave Cumming who stood in for the much-missed Simon Hanson for these shows.

Tyla sips from a pint of Guinness between songs and performs several songs sat on a chair. His banter is comedy gold and the stories are informative. Who ever knew that ‘Angel’ was inspired by a guy in a bowler hat who narrowly missed getting squashed by a falling fridge freezer, but Tyla changed it to a piano as it sounded cooler? Did Bukowski have such inspiration to draw from I wonder?

When Gaz informs Tyla they only have time for 3 more songs, he calls Matty over to take lead vocals for the latest Balladmongrels single ‘How The Beautiful Fall’ before ending the set with a killer singalong of ‘Drunk Like Me’.

Armed with the most sentimental of melodies and the most poetic lyrics, The Dogs D’amour came to celebrate 40 years of debauchery and York came with their loudest voices to sing every chorus back to them. A good time, no a great time.

Author: Ben Hughes

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Ferocious Dog/Mark Chadwick – York, The Barbican – 1st April 2023

Ferocious Dog/Mark Chadwick – York, The Barbican – 1<sup>st</sup> April 2023

Celebrating the release of a 10th anniversary edition of their debut album, Nottingham based Celtic punks Ferocious Dog announced a special one-off gig at The Barbican in York following their appearance at the Scarborough Punk Festival. This unique event would see the band play a 2-hour show including a performance of the whole of the debut album with a full orchestra.

Being veterans of the festival circuit and with a formidable, energetic live reputation, it would seem to be a no brainer to witness this event.

Not only are Ferocious Dog influenced by the Levellers, but they can also call them friends. Both bands have toured together extensively and shared festival stages over the years, so it seems fitting that Levellers frontman Mark Chadwick has offered his services to warm up an already slightly inebriated and rowdy crowd.

Armed with just an acoustic guitar and with a full house watching his every move, he proceeds to have the whole place in the palm of his hands as he plays a 40-minute set of Levellers hits and deep cuts. You could literally hear a pin drop during the opening ‘Liberty Song’, and what follows is not just mini greatest hits set, but also a masterclass in how to work a crowd with ease, not only proving what a charismatic frontman Mark is, but what a great discography the Levellers have.

Having captured the band’s recent acoustic tour I know these songs work well in an acoustic setting, but what I didn’t realise is, stripped of a band and laid bare, how good Mark Chadwick is.

The fluttery folk of ‘The Boatman’ is perfect, ‘Julie’ is as beautiful as the studio version and even the usually upbeat and powerful ‘15 Years’ sounds magnificent given the stripped-back acoustic arrangement.

“Is anyone drunk yet?” Mark hollers to great cheers, he has the crowd where he wants them and they sing every chorus back to him. Classic singles like ‘Just The One’, ‘Beautiful Day’ and ‘One Way’ were always going to go down well tonight, but it was the rousing and emotive ‘Carry Me’ that sent shivers down my spine and got possibly the biggest reaction from a crowd that were on his side before he even played a note. Mesmerising stuff indeed.

With the orchestra in their seats, Ferocious Dog take to the stage to massive cheers, and frontman Ken Bonsall, looking all Peaky Blinders in his white shirt, waistcoat and flat cap, takes to the mic to sing the poetic ‘Verse For Lee’ before blasting into album opener ‘The Glass’. A sense of euphoria is evident from the off, as the whole crowd sings as one. Ferocious Dog class their fans as family and the Hell Hounds, as they are affectionately known, are in fine voice tonight, as the band deliver a high energy set that never falters. The album is played through in sequence and while the orchestra adds an expanse to the sound, this ain’t no laid-back affair. But then you can’t really give the mellow treatment to a song as dancey and upbeat as the instrumental ‘Lee’s Song’, can you?

The band seem to be loving it as much as their fans, bassist Nick Wragg is all over the stage mouthing the words, as is recently reinstated guitarist Kyle Peters, who shares lead vocals on a few songs tonight. Shout out to multi-instrumentalist Sam Wood who shines on banjo and mandolin all night and all so brings a comedy element to the show.

Recently re-recorded single ‘Too Late’ is a live anthem for sure and gets the rowdy down the front dancing. There is no let up in the energy levels from start to finish, except maybe the dub reggae vibes of ‘Freeborn John, and even that erupts into a dancefloor skank.  It’s all killer no filler for an hour.

After a short break the band return to the stage, minus the orchestra, to play another hour set of their standards. Like Chadwick before him, Ken is no stranger to working a crowd and getting audience participation. The likes of ‘Spin’, ‘Broken Soldier’ and closer ‘Slow Motion Suicide’ are crowd favourites that the audience devour like old friends. 

Both artists bought the festival vibes to the Barbican tonight with a special event that will probably never be repeated. The drinks did flow, the songs were sung and there will be a few sore heads and throats in the morning. But you what? It was all worth it. 

Author: Ben Hughes

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