Peter Hook and The Light - Tramshed - 22/4/23

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As Salford legend Peter Hook left the stage of Cardiff’s Tramshed following an explosive encore culminating in Love Will Tear Us Apart, there was a feeling of pure shared bliss between the sold out crowd. It’s hard to articulate it. Misty-eyed fans of all ages seemed frozen in the moment, trying to process what they had just seen and heard. For all of Joy Division’s reputation as being a gloomy band, the response to Hook’s rendition of the 70s post-punk legends’ 2 albums was nothing short of jubilant.

Peter Hook, best known as the bassist for Joy Division and subsequently New Order, is almost always on the road keeping the works of the two enormously influential bands alive. While New Order themselves continue without him, their overpriced shows are lacking in what Hooky consistently brings to the table - genuine heart, and passion for the music and the bands’ legacies. Currently touring Joy Division: A Celebration, the bulk of the gig is dedicated to complete playthroughs of the band’s two seminal albums - Unknown Pleasures, and Closer. An opening set of New Order material and encores of other Joy Division classics is just the icing on the cake, as the albums are worth the price of admission alone.

Peter Hook, along with long-time band The Light, faithfully capture the unique Joy Division sound with an uncanny raw power. Every single track sounds magnificently faithful and yet far more impactful, with Hooky’s powerful vocals proving perfectly suited for the late Ian Curtis’ songs. With his trademark low-hanging bass, Hooky plays flawlessly. It becomes clear throughout the night that the bass was ever so instrumental (if you’ll pardon the pun) to the two bands’ unique sounds, and to be in the presence of this master is surreal. The Light are all impeccable musicians, too, and aid in these stunning renditions of Joy Division and New Order’s celebrated works.

There isn’t a bad word one can say about a Peter Hook gig. The infectious heart and soul that goes into the performances quickly spill into the crowd, resulting in a loving and celebratory energy throughout - while some of the songs may be dark and distressing, the response to each is always joyous. I would even go so far as to say that you can do no better than a Hooky gig; everything about them is perfect and unlike anything else you’ll find on the live music scene.

Peter Hook cements the iconic reputation and legacy of Joy Division and New Order, and also himself, with his live performances - and there’s still time to catch him on his current tour. Be prepared to beg, barter, or steal, though, as it’s looking pretty sold out across the board…There’s always his October tour!

Upcoming dates and more info: https://peterhookandthelight.live/

Classic Album Review - All Mod Cons - The Jam

The Jam's third studio album is much more subdued when compared to their previous releases but still manages to keep their punk ideologies intact.

In 1978, frontman Paul Weller hit a wall. Notably suffering from writer's block and also struggling with the commercial failure of their previous record, 'This is the Modern World'.

Weller openly admitted to becoming complacent with the song-writing process, causing the album to be re-recorded in its entirety due to the first set of songs reportedly being substandard.

After being put under pressure from record label 'Polydor' to release a hit record, the British trio took this challenge in their stride and created an album that maintained the aggression of their previous outings combined with new-found pop sensibilities that were more widely accessible.

These re-recordings as tedious as they were seemed to pay off. 'All Mods Cons' instantly became a hit and has since been regarded as one of punk's greatest albums.

Despite the altering in their sound, Weller's working class views and left-leaning politics remained prominent throughout his lyrics. Songs like 'Mr Clean' showcase his distaste for the hierarchy and the lavish lifestyles that they lead. Weller's raw and pugnacious delivery confronts the senses, proving that he believes every word that he is saying on this track.

'To Be Someone (Didn't We Have a Nice Time)' continues the theme of the hierarchy. This time Weller criticises society and how fickle they can be in attaching themselves to someone that gains even a small amount of fame; which could possibly be taken from personal experience.

Bruce Foxton remains an integral part of The Jam's sound, with his blistering basslines bringing each track to life as each story unfolds. This can be seen most predominantly in 'Down in the Tube Station at Midnight' where his driving bassline compliments Weller's erratic vocal delivery perfectly. Weller originally discarded 'Tube Station' due to being unhappy with the songs arrangement before Vic Coppersmith was eventually able to convince him otherwise.

Weller shows his versatility throughout the record however; moving away from politically-fuelled punk tracks and showing his vulnerable side on the beautifully simplistic 'English Rose'. The track itself is a lot more stripped back when compared to most of their songs with Weller initially being hesitant to include it on the record due to its romantic nature.

Songs like 'In the Crowd' and 'Fly' show the band experimenting with their sound, taking inspiration from a number of hard rock acts. Both tracks start quietly before exploding into catchy rock classics that overwhelm the senses and are bound to take the listener off guard. 'In the Crowd' also makes a reference to 'Away from the Numbers' from their debut album.

Finally, Weller does go back to his punk sensibilities in snippets throughout the record. 'A Bomb on Wardour Street' and 'Billy Hunt' both share likenesses to songs that would have featured on their previous two efforts. The band notably disliked 'Billy Hunt', opting to replace it with 'The Butterfly Collector' on the US release.

Overall, 'All Mod Cons' is an important record that helped shape British counter-culture and the mod revival scene in the late 70s and early 80s. The album also has glimpses of the transitional period that the band would undertake in the coming years, transforming from angry punks to one of British rocks true giants.

Rating: 8/10

Review - Danny Baker - New Theatre Cardiff - 16/04/2023

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When a true legend of broadcasting Danny Baker starts talking, with that machine gun patter of his, the evening certainly flies by. 3 hours later the house lights are on and theatre staff are desperate to head home, But the great DB is only just starting and barely scratching the surface of a quite amazing career.

From his earliest beginnings living in on an East London council estate to jetting all over the world, meeting some of the greatest musical artistes of the time, whilst working for the World’s biggest selling musical weekly newspaper followed by an incredible transition to TV and radio broadcaster. His story is an hilarious one and equaly fascinating.

Baker’s life as been one of amazing ups and a fair few downs but his infectious good humour and love of life with few, if any regrets, finds a man both content with his life and extremely proud of his achievements.

The current tour is the third in a series of shows that focuses mostly on each of his three books, though very loosely, as Baker is prone to fly off in the opposite direction as he recalls something witty or interesting that he’d forgotten or the current situation prompted.

Starting with a brief (hardly!) refresh, pool cue in hand, Baker was a bundle of energy from the off, constantly on the move, and at times you felt you were at Centre court at Wimbledon watching as he ran up steps on some imaginary Fitbit.

Always prominent in his shows is his father affectionately known to all as Spud. A character that looms large in his life and an obvious influence on the young Danny, brought lovingly back to life in the excellent Cradle To The Grave TV series with comedian Peter Kay playing the larger than life patriarch Spud.

Much of the second half of the show centred on his TV career from Daz commercials to TGI Fridays, where he told the tale of how he sacked the Foo Fighters from one show after the group used their appearance to kick off during their performance. ranting and swearing and coming off stage smug in thinking that their performance would cause outrage, only to be told by Baker that their ‘live’ appearance wasn’t live but just a run through and the actual show wouldn’t be broadcast for another hour. The Foo Fighters were unceremoniously booted out without appearing.

Baker also recalls hilariously his time spent in Australia as a contestant on ITV’s I’m A Celebrity, debunking the myth that they were dumped in some tropical forest but rather a TV set on the outskirts of Sydney surrounded by camera teams, production and catering crews. The disappointment of being the first out of the jungle was tempered by being left to slum it in an extremely plush hotel with everything paid for by the ITV ‘dollar’ with a handsome fee to boot.

Baker rushed through as best he could before the 11pm curfew but touchingly ended the evening with a quite emotional tribute to his wife Wendy as he described their early distant courtship, the despair of finding his soulmate unhappily married and eventually running off together with Baker and Wendy flying to the US where he was to interview Earth Wind and Fire. The rest is history and the happiest of endings.

Tony Woolway

Classic Album Review - After The Gold Rush - Neil Young

One of music's most versatile and prolific songwriters sets his electric guitar to one side and releases a poignant and thought-provoking album that is a staple in his vast discography.

Neil Young has portrayed a number of personas during his career; differing from the insightful poet to the gritty hard rocker. The Canadian-born singer is able to combine these traits into one compelling record that varies from vulnerable melancholy to moral and political disdain.

After the release of his abrasive and visceral second album 'Everybody Knows This Is Nowhere', Young transitions away from this sound and creates and intimate album that relies heavily on the minimalistic sounds of his acoustic guitar and piano.

The simplicity and the subtlety of the record instantly shines through with the opening track 'Tell Me Why'. Young's fragile vocal delivery paired with his complex guitar playing is a notable shift away from his previous work whilst still being able to keep his philosophical lyricism intact.

The title track showcases Young's ability to take real-life trauma and transform them into haunting ballads that are audibly striking and perfectly paint a picture in your head. The song itself is supposedly about a catastrophic flood that swept through California, but Young has since stated that he is unable to recall the true meaning of the song.

Despite the album moving in a more acoustic direction, Young's aggressive guitar riffs still shine through in brief moments throughout the record. The politically charged 'Southern Man' is a particular highlight of the album with Young's raspy vocals perfectly emphasising the importance of the message he is trying to get across. The song was extremely controversial at the time, Young expressing his hatred for the American Deep South and the racism that was prominent throughout much of the 20th century.

There are also moments on the record that hark back to his self-titled debut. The exquisitely dramatic 'Don't Let it Bring You Down' and the infectiously catchy 'When You Dance I Can Really Love' are perfect examples of folk-infused rock tracks with Young putting his own spin on the genre to make them utterly unique.

The album is also able to encapsulate complicated emotions such as melancholy and sorrow without being cringeworthy. The single 'Only Love Can Break Your Heart' is a perfect example of this, with Young dedicating it to band-mate Graham Nash who had recently split up with fellow folk singer Joni Mitchell.

'After the Gold Rush' also includes a cover of the classic Don Gibson track 'Oh, Lonesome Me'. Young was unphased by the popularity of the song and transformed it into a soft yet intimate ballad. The song is full of vulnerability, Young's trembling vocals perfectly complimenting the themes of loneliness and isolation.

Finally, the minimalistic nature of the record causes a couple of the tracks to lack any real substance. 'Cripple Creek Ferry' and 'Till the Morning Comes' are songs that come from the same formula as the rest of the album but are ultimately filler that fall short of the mark when compared to the other songs.

Overall, 'After the Gold Rush' is a quintessential Neil Young album that is a perfect blend of his hard rock sensibilities and his love of traditional folk music. However, it is not a particularly accessible record due to Young opting for a more subdued album when compared to his previous work up to that point.

Rating: 8.1/10

Razorlight - Great Hall - 7/4/2023

The support act were Afflecks Palace a four-piece band from Manchester. They played an entertaining set showcasing their debut album "Only Light in this Tunnel is the Oncoming Train" Set highlights were "Dancing is not a Crime" and "Shut up". They have been dubbed in the press as Nu-Manchester. They were joined on stage by members of the Indie band Pastel whose song "Soho" proved popular with the crowd.

I had not seen Razorlight since 2005 when they supported Oasis, From the outset of Razorlight as a band they have been known for their high-energy live shows. Lead singer Johnny Borrell is a charismatic frontman with a commanding stage performance. They instantly captured the crowd’s attention with a mixture of swagger and enthusiasm. They started the set with "Rip it Up". The set highlights were "Stumble and Fall", "In the Morning", "Wire to Wire" and the classic "Golden Touch". The high-energy set finished with the slower "America".

The set only lasted 80 minutes but the band complimented each other with their high musicianship, infectious hooks and rhythms.

David Kitt - Clwb - 31/3/2023

David Kitt performed at, Clwb Ifor Bach in Cardiff, on the 31 st of March to showcase his ninth studio album, ‘Idiot Check.’

But before his indie set, support act, Ivan Moult, whose genre is folk, played songs from his 4 th coming album. This is set to be released on the 26th of May. His set list started with “Written On The Wall” which set the tone, as very chilled, and the atmosphere as relaxed.

And as he continued to sing, “Tell Me When” and “Right Now” the relaxed atmosphere continued, which worked well as the song was stripped back with just vocals and guitar. He then finished on “Out Of Time” which he joked ‘hahaha very well timed’ before thanking the crowd and leaving the stage.

David then came to the stage and his set began. The crowd was unfortunately quite small but that didn’t affect David as he joked about it saying, “I was here around 20 years ago, but there were about 20x more of you!” And he continued to start his set with ‘Balances’, ‘Make It Mine’, and ‘Every Little Drop’. His vocals were great, and he put such emphasise on every lyric, which showed how important his songs meant to him.

He then played “Wexford Strawberries” and played his most played song on Spotify, ‘It’s Yours”, and looked up to the crowd and said, “Well looks like not a lot of my listeners are from Cardiff…” But continued, nevertheless.

‘Wishing Well’, ‘All Folly’, ‘Still Don’t know’ and ‘Step Outside In The Morning’ all filled the room as the crowd swayed to the soothing music. It was a really chilled evening which I enjoyed.

And out of all his songs, my favourite was the one he played last. This was called, “There Will Always Be This Love”. It was a little more upbeat and it was a fun song to end on. He then thanked the audience for coming and wished us a good rest of our nights.

I think he worked well on stage with all the instrument and music changes, and like I mentioned his voice was great. He could have been a little chattier with the audience but overall, it was a good night, and his performance went smoothly.

You can catch him on his tour all over the UK, from Bristol, to Belfast, to London to Edinburgh. So go and get tickets because, it has just begun!

A Tale Of Two Cities - Lust For Life/London Calling - Review

Images Copyright Tony Woolway

Lust For Life - Bristol Exchange, London Calling - The Globe, Cardiff

A Tale Of Two Cities. Two gigs, one week, the first over the bridge at Bristol’s Exchange for Lust For Life, a group put together by Iggy Pop and Bowie guitarist Kevin Armstrong to celebrate Iggy Pop’s iconic Lust For Life album released in 1977 and produced by David Bowie.

What was intriguing about the gig, the first night of their short U.K. was the line-up that featured such rock luminaries as former Sex Pistol and Iggy sideman Glen Matlock on bass and Blondie’s powerhouse of a drummer Clem Burke alongside the aforementioned Armstrong. On keyboards was Florence Sabeva, who tours with Heaven 17 and Luis Correia on guitar with vocals by broadcaster and occasional Pet Shop Boys collaborator Katie Puckrik.

Opening with the title track Lust For Life the band punched their way through the entire album at blistering pace halted only for Clem Burke to holler for the stage lights to be turned up as “I haven’t travelled 7,000 miles to play in the fucking dark,”.

The evening provided some real ‘pinch me’ moments with “The Passenger” in particular causing goosebumps whilst the choice of songs that followed the full album featured songs that some of the band had played on like Blondie’s “Rip Her To Shreds” plus other classics from the Iggy Pop collection with “Night Clubbing” and Stooges “ I Wanna Be Your Dog”.

Focal point of the evening, was Puckrik who was quite superb in the Iggy role bounding around and bursting with enthusiasm that proved contagious.

As if all the above wasn’t enough the encore provided a true moment of pleasure as Matlock took over the vocals as the band powered through their version of the Sex Pistols “Pretty Vacant” followed by The Stooges “Search And Destroy,” a quite stunning finish for a exceptional evening at a great venue.

Next up…. London Calling at. The Globe, Cardiff

Another great venue and another nostalgic evening with Bristol band, London Calling, the premier Clash tribute band playing the group’s debut album, also released in 1977, and rightly considered a classic, in its entirety.

The opening drum intro to “Janie Jones” set the tone for a quite brilliant set as the band, resplendently dressed in their punk era attire recreated the early days of Punk with lead singer and Strummer doppelgänger Reg Shaw spitting out vocals to a very enthusiastic crowd who were soon bouncing in unison.

There was certainly no let up in the pace with the only breath being taken was during the bands version of the reggae classic “Police and Thieves.” whilst Dave Devonaid aka Mick Jones stepped up to provide able vocal support and a real Mick Jones sound alike.

Other Clash classics “Tommy Gun” “Safe European Home and “White Man In Hammersmith Palais” sent fans home happy but exhausted such was the pace and the power.

Tony Woolway

Dry Cleaning/DEHD – Tramshed Cardiff - 28/02/2023

Dry Cleaning are a post-punk band from South London made of four, vocalist (Florence Shaw), guitarist (Tom Dowse), bassist (Lewis Maynard), and drummer (Nick Buxton). Their first album ‘NewLong Leg’ was released in 2021 amidst one of the many lockdowns as a result of COVID-19.

The group were quick to gain popularity as they soared to the top of the UK charts and were named Rough Trade’s album of the year. Roughly two years later the four-piece have celebrated the release of their second album ‘Stumpwork’ by embarking on a worldwide tour.

For the first time since Green Man Festival 2022, they have returned to Wales to bring those with a love of art-rock and experimental lyricism together once again, this time at Tramshed, a music and arts venue in Cardiff.

As the doors opened at 7pm, fans gradually started to fill the venue. Prior to their set, there were two opening acts. The first to take the stage was Thus Love, an alternative trio made up of lead singer and guitarist (Echo Marshall), drummer (Lu Racine), and bassist (Nathaniel Van Osdol).

They played multiple songs from their album ‘Memorial’ as well as their new single ‘Centerfield’, followed by a performance by DEHD. The three-piece indie rock band from Chicago played songs from their new album ‘Blue Skies’, including their hit song ‘Bad Love’, which has amassed over four million plays on Spotify.

The quartet played ‘Stumpwork’ in its entirety, opening with ‘Kwenchy Kups’, a song with buoyant and airy instrumentals paired with optimistic spoken-word lyrics inspired by the sights of Bristol.

The upbeat nature of the song made it the perfect choice to open with as it energised the crowd in preparation for what was going to be a fairly long set. The energy remained high throughout the show as they proceeded to play ‘Viking Hair’, a song released as part of an earlier EP in 2019.

It was clear that this was a fan favourite as the crowd were quick to sing along.

In addition to the music itself, the performance was also captivating visually. Florence Shaw combined unusual facial expressions with eccentric hand movements and a lack of eye contact to create a unique atmosphere on stage.

I found this aspect of the performance particularly interesting, primarily because it reinforces the art-rock elements present within the group’s work. Personally, I think that her approach was refreshing as it differentiated from the standard formula vocalists usually go by when performing and the unconventional way she performs paired perfectly with the absurdity of some of their lyrics.

As the night came to an end, fans were still wanting more. ‘Scratchcard Lanyard’ and ‘Anna CallsFrom the Arctic’ were played as the encore, ensuring fans of the band left the venue on a high note.

Dry Cleaning are continuing their world tour and will be heading to Europe this spring.