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Macbeth 13th Feb 2014 Aeroplane Flies High may still be an up and coming band, but they already show great promise and have their image and sound well taped. Taking their name from a Smashing Pumpkins album, there are no surprised where the Liverpool Trio draw their influence from, but they also have developed their Thrash and Grunge sound too which makes them a pretty heavy band. Their fuzzy guitar sound matched with fun pop like vocals also gives them a distinctive sound. Their raw sound is powerful and their lyrics are witty and well developed for a young band. Dressed in blood stained hospital gowns in homage to the video for their latest single Growing, shows that the band are willing to have a bit of a laugh and don't take themselves too seriously. Although testing some new material live is always a challenge, especially for those in the audience new to the bands work, the crowd responded well and I'm sure the band came away with plenty more followers. Jack Evans (Guitar/Vocals) is a mellow front man who's voice is showcased best in the Grunge influenced songs, but can certainly add a good rock scream in for good measure too! Roanne Wood (Guitar) adds to the power of the thrashing guitar sound and Lewis O'neill (Drums) is certainly a talented rock drummer and makes up for lack of bass guitar in the band. Thrashing about on his drum kit dressed in a hospital gown was reminiscent of Keith Moon's classic visual madcap drum style. The band were supported at the Macbeth by Red House Glory and This Be The Verse but it was AFH who really stole the show this evening.

You wait over ten years for a new Deacon Blue album and six years for a tour and both come along at once. Yes you heard correctly the iconic 80s band that gave us such fantastic songs as Real Gone Kid, Dignity and Chocolate Girl are back with a new album called The Hipsters (out Sept 24) and are touring the UK later in the year as part of a 25 Anniversary celebration. The band have been working on a part time basis since they reformed in 1999. I spoke to the bands front man Ricky Ross to ask him what on earth took them so long to get back in the studio! “We didn’t have any plans to go in there (the studio). It wasn’t that we were putting anything off, we were kind of just happy playing gigs occasionally.” Whilst they were happy playing live the band was finding its feet again in terms of its line up after reforming. Original bass player Ewen Vernal left in 1994 and sadly guitarist Graeme Kelling passed away in 2004. Having gone through various session players since then, it seems that Ross has found some good 'helpers'. “Two new players (Gregor Philip on guitar and Lewis Gordon on bass) came in and made a big big difference at the time and we started to really enjoy playing live. Then we thought, wouldn't be great to get these two in the studio. It was a chain of events really.” That chain of events has led to The Hipsters, their brand new studio album which has been a labour of love for Ricky for a year and a half. The album was recorded in the organic old fashioned way as if the band were playing live. “I think if you are in a band you have to be a band. It's got to feel like a group and not something that's programmed and could have been done anywhere.” The practice of just mixing demos is all too common nowadays and takes away the creative freedom and enjoyment of working on a project. Ricky says that to make the album that way “would have been depressing” He tells me about a producer who wanted to make the record in that soulless way, his objection to it is clear. “I wanted to record these from scratch. That's the whole joy... that's what this project is about.Homesick (their last album a decade ago) was a bit of a burden and it wasn't a good record to make, it wasn't right. This one felt different.” Ricky has always had a great affinity with music from a young age, from singing Beatles songs and pretending to be one of the Fab Four to being gripped by the witty lyrics of the late Hal David at a young age. “The reason I'm such a big fan of Hal is that I have a memory of walking down the road in Dundee with my sister who was going on about what a brilliant song that was (I'll never fall in love again) and her quoting the lyrics 'you get enough germs to catch pneumonia,' I remember thinking that's clever, and it must have stuck.” Has this experience as a young lad influenced his writing? “I'd love to think so. I'm not sure I ever got as economical an idea as Hal. I don't write like that. I wish I could.” He reflects on the question not wanting to box himself into a corner. “I'm probably more like Neil Young where I'm just trying to articulate something.” It was this gift of articulating 'something' that led to his love of song writing. “All that I ever felt was that I had this bug about writing songs. I was just trying to write songs and be a recording artist, that was what motivated me.” Fate took a turn when he actually did become a songwriter. He was told that his songs were good, but unless he knew who would record them they had little market. The answer was simple, he would record them. What finally came of his endeavours as a singer/songwriter wasRaintown. Deacon Blue's début album thatpropelled the band into the public eye, and Ricky into the world of professional songwriter. The album is full of meaningful and thoughtful songs about struggle and hope, something that resonated with the public at the time. Ironically now 25 years on those songs of unemployment and struggle are still so true today. Also the struggle as a musician to break through into the big time Ricky feels is a lot harder now than it was all those years ago.“Back then it seemed so straight forward we got a band, phoned round record companies and told them to come and see us and it emerged that we got a record deal and on it went. Now it seems a lot more difficult, how do you make any money when nobody buys any records. It's not a problem I have to face. I'm grateful for that.” He goes on to talk about the irony of being put in a situation where he had to record his own material to have any chance of success, to going back to being a songwriter for others. “It's weird because my life’s gone full circle in the last 10 years since I've been writing stuff for other people.” This is something that he has head a lot of success with during Deacon Blue’s hiatus. “I was really chuffed to work with Nancy Griffith, I've been a big fan of hers. I wrote a song with Nanci (Still Life about her anger with George W Bush's administration) and Jamie Cullum because he's such a great musician... It's always a challenge to work with someone whose really talented in their own field.” But it was the song High which he co wrote with James Blunt, with which he has had the most success. The song was released as a single and was a track on the album Back To Bedlam; an album that went on to be the biggest selling album of the 00's decade selling 3.2 million copies! The albums runaway success was a little unexpected, Ross explains. “It was was amazing, at a time when you're thinking when am I going to get a good cut and suddenly I got that one and no-one really thought it was going to go anywhere and it turned out it was the biggest selling album in the world at the time. You put heart and soul into other songs and spend hours on the demo’s and not much happens to them, it's funny.” With the success of that record firmly under his belt, he went on to work with his fellow band member and wife Lorraine. The project entitled McIntosh/Ross, led to an album and tour in 2009. “It gave her a chance to write and do lead vocal... It was a 50/50 project that was the way we wanted to do it, it was great fun.” Lorraine also co-wrote the ballad Is There No Way Back to You on the new album. Will we see any more of their collaboration? “We were going to do another one and this project (The Hipsters) took up so much energy and time... I think we'll come back and do it. I don't know when, but I'm sure it will happen.” And he also has a new solo project ready to roll in the near future! In this 25 anniversary year not only is their new album out, but also a reissue of their entire back catalogue as well as their tour which kicks off in October starting in Ross' home town of Dundee and finishes at London's Roundhouse. I am sure that even though this tour is primarily an anniversary tour we will be able to hear some of the new songs. The pending release of The Hipsters is also in part what prompted a tour. “It wouldn't be possible to go out and play again without having some new material to play. It's great to play the new stuff, but also the new stuff makes the old stuff sound different, so there’s a nice pay off there.” So will there be any changes to the way the old stuff sounds, will they change it live? “Sometimes we do, sometimes it's just with a piano and vocal. I'm torn.... I think there's something good about the Roy Orbison method, just playing the songs the way people hear them on the record and then I like the Bob Dylan method too where you rip them apart.” 'What's next for Deacon Blue?' I hear you cry, will we see more of them after the tour is over? I ask Ricky. “I would like to think so... By the time people get to hear about the new Deacon Blue record and think 'oh great we'll go and see them', the tickets are gone. I'd like to think we can come back and do more stuff.” I really do hope so, they are worth waiting for. Just don't leave it so long next time! #pop

No one would disagree that Fleetwood Mac are a hard act to replicate, after all they were the original super-group. Fleetwood Mac are musically diverse and their music spans a good forty years: From their inception in the mid sixties as an essentially male dominated blues based rock band with Peter Green at the helm; to the up tempo female vocal incarnation we have come to know and love. Rumours Of Fleetwood Mac are not simply another covers band, but group of hugely talented musicians who are able to creatively replicate the enormous body of work that has become synonymous with rock music. RFM pulled off the bands evolution with their superb tribute to the great rock band with aplomb. From the moment RFM set foot on stage to perform their Rumours 35 year anniversary show they encapsulated the essence of Fleetwood Mac; and the essence of the whole 70's era when the air was infused with the smell of patchouli oil. Louise Rogan performing as Stevie Nicks stared the set with Gold Dust Woman. With her stunning vocals and that very distinctive drum beat you can see the audience are immediately transfixed.She manages to capture Nicks' haunting vibrato seemingly effortlessly. Amanda Kostadinov performing as Christine McVie, also deserves a mention for a stunningly beautiful rendition of Songbird. RFM continue to play through Rumours in its entirety from You Make Loving Fun and Rhiannon to Dreams and the anthemic Go Your Own Way and The Chain, giving lead guitarist Alan Hughes a chance to shine as he takes on the Lindsay Buckingham role. Seeing the album performed live, it is easy to see why it has had such longevity, selling over 40 million copies worldwide and is frequently sited as one of the best albums of the 70s and of all time. Midway through the evening, RFM show they versatility by going back to the Peter Green era and wowing the audience with versions of Oh Well (part 1) and Green Manalishi. It is here thatDave Goldberg shows his skills as a keyboard player and strong vocalist. Despite this sudden change in musical direction, the previously subdued St Albans audience are thoroughly enjoying these great musicians and equally brilliant songs. Ben Hughes and James Harrison (Danny Kirwin and John Mcvie) may not have been around in the 60's and 70's but they both certainly stepped up to the mark when it came to the Fleetwood Mac back catalogue. And of course the band would not be complete without the quintessential powerhouse drumming of Cos as Mick Fleetwood: His tribal drumbeats of Tusk brought the night to a close. Great stuff! With the original Fleetwood Mac touring again later in the year, this is the opportunity for all FM fans to wet their appetite before seeing the real deal (but could they tell the difference....?)

Alban Arena Avid rock fans braved the snow and cold to come to the Alban Arena in St Albans to see the brilliant Classic Rock Show. Tonight was the first gig of their current tour and was a great success with an appreciative audience who were a little slow to warm up. This must have been because of the weather as there was nothing cool about the performances given by this talented bunch of musicians who took to the stage to perform their new show which featured iconic songs from the ten best selling rock albums, featuring tracks by Led Zeppelin, Elton John, Pink Floyd and Bruce Springsteen to name a few. The show opened with a track from Fleetwood Mac's Rumours album, The Chain, which having been know to millions of racing fans as the theme for F1, really did kick start the first half of this evenings show. With full rock belt versions of You Shook Me All Night Long and Bat Out Of Hell it is easy to see why The Classic Rock Show has been so popular. The show made great use of the Arenas newly installed sound and lighting system by having the album covers from each of the tracks projected onto a screen, helping the audience relive those classic rock days. The lighting laser effects used were really at their best during the Pink Floyd numbers; this is hardly surprising as talented guitarist and musical director for the band, Damian Darlington has worked with the legendary Australian Pink Floyd Show and was recently touring with Brit Floyd around Europe. This is a man who certainly knows his (green) onions. His guitar solo during an excellent version of Comfortably Numb was a highlight of the evening and closed the first half. The second half concentrated on other tracks from the 70s classic rock period and started with Hotel California. After the interval the audience started to really get into the feel of the music, and the band responded accordingly. The second half also featured popular classic tracks likeLong Train Running,The Logical Song, Mr Bluesky and a soulful version of Dire Straits' Romeo and Juliet. These versatile musicians met the diverse vocal demands needed during the show by taking turns to perform songs, as required. This proved to be highly effective and gave a theatricality to the 'show' making it more than just a tribute act. By the time the raunchy vocals of Andy Gibson and Carl Sentence ushered in the end of the evening with performances of With A Little Help From My Friendsand a stonking version of Freebird. At this point the once tepid audience were on their feet giving the Classic Rock Show a standing ovation and begging for more! After a customary hiatus, the band took to the stage again and finished with The Who's anthemic Won't Get Fooled Again. For rock fans or just people who love good music, The Classic Rock show is an enjoyable and fun evening. It's also a great chance to hear these timeless tunes played live by a great band and in a big venue – just how they should be!

Ali Campbell is known to millions around the world as the front man of reggae group UB40. His distinctive voice and ability to imbue the spirit of Jamaican music helped propel the band from the Birmingham dole lines to international recording artists. Their identity with the working class community and political ideals meant that their music was the voice of a generation growing up in the 80s, UB40's song One In Ten became a modern British protest song when it was released. Over the next 30 years the band would have a string of hits including Don't Break My Heart, I Got You Babe and Kingston Town. Although the bands line up remained unchanged for that time, Ali left the band in 2008 due to internal politics and launched a solo career. Now with fellow UB40 alumni Astro and Mickey Virtue he is finishing a new album and they are going on a world tour including headlining at this years Flashback Festival. A must for any music fan, this years two day Flashback Festival is taking place at the beautiful Nostell Priory. With stunning 18 century architecture and gardens it is the perfect place to hold a two day music festival this summer. Ali and the band will also be appearing alongside Jason Donovan, T'Pau, Heather Small, Heaven 17, The Doctor (Doctor and The Medics) and Go West! Ali refers to the other remaining members as The Dark Side and says “they are destroying the legacy of UB40.” He continues, “the final straw was the country album. UB40 were the biggest selling reggae band in the world and then they come out with a country album!” He tells me, “I want to reclaim UB40.” UB40s 2013 album Getting Over The Storm had a strong country influence and failed to set the charts alight. The radical genre shift also prompted Astro to leave the band and join with Ali and Mickey. Ali really believes that it was the wrong choice for the remaining members to depart so radically from their roots. “ I started UB40 to promote reggae music and dub, that album was a slap in the face to me and all the fans.” Ali is confidant that with the new album which has the working title Rhythm Method, he can redress the balance with the fans. “We're going to carry the flag for reggae and continue the mission we started all those years ago...Our new album is a perfect example of where reggae has come to today.” During the life of UB40 reggae as a genre has evolved from being a fairly dominant sound in the charts with the likes of Althea and Donna, Aswad, Pato Banton and Bob Marley to the evolution of hip hop, dub-step and R & B. “The golden age of reggae was the 70s and 80s but it's cyclical. We've had the Sean Paul and Shaggy period now we're going through Tarras Riley and Mavado period. It's reinventing itself all the time and growing, but it's the influence that's important.” He continues, “all of the contemporary dance music you listen to is all massively influenced by reggae and dub.” You only need to turn on the radio to hear Rhianna, Beyonce, Kesha, Jason Derulo and even Lilly Allen to hear how reggae has informed modern popular music. Having a father who was a folk musician I ask Ali if he was ever felt compelled to go into folk music? He laughs, “there was never enough bass in folk for me.” #reggae #pop

When I caught up with a very busy and energetic Andy Fraser in North London, there was one question I had to ask: what he had been up to since virtually disappearing from the music scene? The former Free bassist, singer and songwriter replied. "Life has taken me by surprise. I've been retired for a couple of decades, during which time I had to come to terms with being gay, after marrying a great woman and having the most fantastic daughters. Then having AIDS and surviving.” Andy was one T cell away from being dead and on more than one occasion came back from the brink. “The doctors were climbing the walls. I've made it through thirty-two bouts of cancer (Andy suffered from Kaposi's Sarcoma) I had three years of that...Now I'm strutting around feeling like a teenager. Life is good.” For Andy Fraser life is good indeed. He looks fit, healthy, and vibrant. Andy is insightful and inspirational. He talks with complete honesty and is seemingly without ego. By his own admission he was a cocky young man but says that when you have been through what he has, it changes your values. He has undergone a personal metamorphosis, prioritised what is important to him and become a much more spiritual person. “I do feel like I've been given a second chance and I don't want to waste a minute.” He is certainly making the most of his personal awakening. He is making movies and music, with his latest album On Assignment released last year. A new EP, Beautiful, has been released to coincide with the current tour of The Andy Fraser Band. Andy is also producing and signing artists to his McTrax label including young London-based guitarist and singer-songwriter Tobi Earnshaw who is also touring with the band. Andy says Tobi is one of the best guitarists he has played with and that is saying something considering he's played with some of the biggest names in the business. On Assignment is a very different album from his last, the acclaimed Naked and Finally Free. Andy defines the introspective album as a 'very personal coming out.' For Andy this cathartic process wasn't just about his sexuality, but also a 'coming out' spiritually and discovering God in the process. He says that when you are going through a personal hell of serious illness and also struggling with sexuality you realise “no amount of fame, fortune, or fast cars have any value. When that is stripped away what is there left apart from God? You have to allow your spiritual side to grow. If there is no God there is no point to anything.” He is very clear to make the distinction that this is a spiritual realisation rather than a religious one saying “we need to separate God from religion. God has always been, religion is something that has evolved on this planet. If you separate the two that's where the good stuff is.” Paradoxically he relishes being controversial and saying that he found God when he accepted he was gay. “I like the in-your-face religious aspects of putting those two concepts together.” For Andy Fraser, pushing the boundaries of convention and not being constrained by others is something he has carried with him since childhood. He was expelled from school for refusing to cut his hair short. “I thought you are not going to turn me into a bank clerk, I will retain my individuality! They did me the biggest favour in the world, the next week I was on tour with John Mayall's Bluesbreakers." On Assignment is a perfect artistic example of how Andy refuses to be pigeon-holed. Musically it combines rock, blues, reggae and soul but has also been motivated by world issues like oppression and climate change. After the emotionally charged content of Naked and Finally Free Andy says “I feel I can look more outward and be socially and politically conscious...My job is to understand it and bring awareness...The artists job is to look inside, allow yourself to be vulnerable, express yourself and encourage the listener to do likewise.” The deep social conscience and self-awareness that Andy possesses really adds gravitas to his music and does indeed make the listener reflect. During our informative and fascinating conversation, one thing becomes clear, Andy has had a varied life with a wealth of experience that has informed his creativity. He is a sensitive soul, who has been affected by what life has thrown at him. One such event was the death of guitarist Paul Kossoff which touched him deeply. “It was one of the reasons I had to leave England... When I first met him he had the greatest sense of humour. He could have had his own comedy show. He was so loveable and to go to a junkie from that...” Andy breaks off, it is easy to see that this is something still painful for him. “We even kidnapped him, took him in the car to my house in Surrey and kept him there for three days to try and reach him. And we failed. It was one of the biggest failures of my life.” Last year Free were due to reunite for a performance at the Olympics but sadly it never quite got off the ground. “Paul Rogers (the lead singer of Free) and I are polar opposites as personalities. He wanted to remain in the classic rock vain and I wanted to look to the horizon. I didn't want to be caught going over the same thing and become a cover band of my own material...Last year we had agreed to get together to open the Olympics., all we had to do we find a guitarist.” This can't have been easy considering the guitarist in question would have to fit the shoes of the inimitable late Paul Kossoff. “Paul (Rogers) was going for people like Keith Richards, Pete Townsend, Jimmy Page and those people had already turned it down. I was suggesting David Gilmour or Mark Knopfler and it never came together.” He continues to say with great humility “We never got on the same page. Whenever we talk we clash, it's probably both our faults.” So back to new horizons. Many young people wouldn't necessarily have been aware of Andy's lineage but Tobi has had a good musical education. " I had a guitar teacher/mentor and his band was called The Stealers after the song by Free. So the first song I ever learned was Stealer and Fire and Water, which we are playing with the band at the moment. I didn't know Andy wrote for Frankie Millar, Robert Palmer or any of that stuff... but I knew of Free. I knew of Paul Kossoff but I didn't know Paul Rogers, It's funny how that works." It is clear from Andy's new collaboration with Tobi that he has bounced back against the odds. #rock

Shane Beales has been surrounded by music his entire life. Shane was born in the UK but moved to Australia before the age of one, but continued to spend time in both countries while he was growing up. His Grandfather was an organist and conductor as well as being a music master at Harrow. His Grandmother was a violinist with the Sydney Symphony Orchestra, his siblings and his Mum are also musical too. “It's in the blood, honestly! I think when I was growing up, I wanted to emulate my family.” He has certainly followed in their footsteps, having written his first song aged 8, Shane started playing the drums when he was 12 and has never looked back. As a teenager he moved from Melbourne to Colchester and it was this experience which really cemented his passion for song writing. Whilst awaiting his beloved drum kit to be shipped from Australia Shane began to play his Grandmas piano and started to write songs as a means of coping with his new life in the UK. Shane tells me “having that time without friends and the isolation gave me the chance to delve quite deep, play some guitar, some piano and really discover that it was something I really enjoyed and wanted to pursue.” After leaving school he studied at LIPA (Liverpool Institute of Performing Arts) specialising in song writing and performance. During this time he was lucky enough to have a one to one master class with Paul McCartney who Shane says “gave some positive feedback and has been really supportive.” I ask Shane what he enjoys most about writing, he explains - “I have a real strong love for creativity. The quest to create is what is most inspiring. To keep innovating and creating.” Part of this creative process involved the ambitious Project 52 which Shane embarked on after graduating. He set himself a challenge of writing and recording a song a week for a year. Project 52 forced him to think outside the box with his writing. “The challenge of keeping it fresh and keeping it going made me experiment with different ways of writing.” Shane has considered writing for other artists too citing collaboration as very important to him. Having listened to his work, this is a very exciting prospect! A New Year is an uplifting song that could have easily been recorded by the likes of The Killers or The Stereophonics. The Crunch from the EP Heavy Clouds is an indie rock anthem which deserves some serious airplay for its great riffs and powerful rock vocals. By refusing to compromise his creativity Shane has been able to draw on inspirations from life and society to write in different styles and genres. His current EP Time was inspired by “contemplating relationships that have passed or people that we had in our lives for a period of time but who are no longer there. There are things that have happened personally but also broad themes that people can connect with as well.” Time is a beautifully crafted song that is intimate and understated “its the song that the whole EP is built around. It didn't belong on an album it needed it's own project because it's quite a weighty song it needed it's own space.” Signal demonstrates a rockier edge and is a great contrast to the more sensitive tracks on the EP like Blackbird which is an original and moving song. Like much of Shane’s work Time is multi-layered and requires more than one listen to really un-pick the musical and lyrical elements that are present. Shane grew up listening to alternative music such as Radiohead and more recently Bon Ivor. He has absorbed this alternative sound when making Time. He explains,“what was important for me when doing the EP was going for quite an organic sound, so we did it live in one take playing all the instruments together in the studio.” Of course this is quite a brave and risky strategy in the modern hi-tech world, but something that was standard practice for older artists. He continues, “we were looking for an overall feel, an atmosphere rather than being too precise and digitised, because nowadays everything is very controlled and measured, even to the millisecond, which can be really good but you can also forget what it is like to just play some music.” Playing music is what Shane does best. He writes songs like all the best songwriters do, from the heart. His music can be both melancholic and beautifully uplifting. His truthful lyrics are reminiscent of traditional songwriters who have a message to convey and an art to express. I caught up with Shane again in London at the launch of Time and am reminded of his similarity to Neil Young, Rufus Wainwright and Snow Patrol in the use of unusual time signatures and chord progressions. Just when you expect the music to go one way, it shifts to another level. His voice has a raw but melodic unsanitised sound, indicative of the indie genre. He has good range as a singer which he uses to great effect: When he hits the high notes he has the ability to rip your heart out and quickly mend it again. When he sings in his softer lower register it feels as though he is singing just for you, which is an amazing quality for a singer. He pours his heart and soul into his music and when he performs on-stage he becomes the music. Like all good songwriters they are profound storytellers through music and lyrics, this is something that Shane Beales has mastered with his mature song writing. A true talent. www.shanebeales.com

Hard Rock Calling 'Let me hear you scream!' was Chris Cornell's war cry to the pumped audience on Friday night at Hard Rock Calling. The downpours did nothing to deter these fans from seeing the band they have waited 15 years to see back on stage, Soundgarden fans are made of stronger metal! Seeing these originators of grunge back together did not disappoint. For those that missed their UK reunion gig at Download, Hard Rock was the place to be. Their appearance on-stage for Searching With My Good Eye Open was met with a roar from the crowd. It took a few numbers for the band to easy into the performance, perhaps due to a slight reservation about how they would be received after such a long period of absence. But once they got going these accomplished musicians gave an unrelenting set, they were playing like their life depended on it. When their most well know chart hit Black Hole Sun followed on from crowd favourite Jesus Christ Pose, I heard some fans saying that it was 'too soon' to play these songs in the set but they revelled in hearing them just the same. If Jimmy Page was still around for their set (he was watching Iggy Pop earlier in the day) he must have given a smile to see the Zeppelin influences has rubbed off on these Seattleites. Exceptional lead guitarist Kim Thayil and powerhouse drummer Matt Cameron, help give songs such as Rusty Cage (the band's first encore number) their driving force. Lead singer Cornell still has his extraordinary range allowing him to rank alongside Ian Gillan and Robert Plant as one of the most powerful rock voices ever. Also playing on Friday were Iggy And The Stooges who managed to escape most of the rain for their set. Iggy at 65 is still working the stage and the crowd just as much as he did back in his youth. His performance of I Want To Be Your dog was one of the high points of the sadly short set. Iggy was jumping in the pit so much to connect with the crowd that you almost wish that the security were not there so he could have done his trademark stage dive. That would have added something to brighten up the very wet Friday afternoon.

O2 ACADEMY SHEPHERDS BUSH 17TH FEBRUARY 2012 American Rock star Melissa Etheridge has sold over 27 million albums, won two Grammy's, an Oscar, had 10 albums, raised 4 kids and survived cancer. The last time this inspirational rock chick played the UK was in 2010 after the release of her 10 studio album Fearless Love. The enthusiastic and very excited audience,(some coming from the USA, Europe and South Africa,) were desperate for Melissa to take to the stage, chanting her name in anticipation. Once Etheridge and her fantastic band took to the stage of the Shepherds Bush Empire they did not disappoint and kicked off the evening with a fiery performance of the title song from that album. Despite her huge success in America she has yet to have a hit single in the UK, but still retains a fairly large following here. Melissa talked openly about that fact and the irony that when she was struggling to be signed to a label back in the 80's, it took an Englishman by the name of Chris Blackwell from Island Records to sign her and another Englishman producer Hugh Padgham, to give her the big breakthrough in the US, she used this introduction to lead into the brilliant song about love, lust and obsession 'Come to My Window'. During the evening Etheridge played some songs from the recent album along with some old favourites including the anthemic 'I Want to Come Over' and I loved the unexpected segue into Peggy Lee's 'Fever' during 'Nervous'. Although I was still a little disappointed that the the last two times I've seen her, she has yet to play one of my favourites, 'Angels Will Fall'. But to those who are new to Etheridge's music any of the above songs would serve as a good starting point. She finished off the evening with an extended version of 'Bring me some water' another classic Etheridge song, which included duelling guitars and guitar sex...(think Barberella meets the Lawnmower man) it works well as a crowd pleaser and fits into the song well. As is fairly customary her show ends with an encore of the equally lengthened 'Like the Way I Do' which she sings with such fire and passion you cant help think there is some autobiographical element to the song. This aggressive, angst ridden, string breaking rock song is a fan favourite and leaves the audience screaming for more. Melissa Etheridge is a rare breed of female guitar toting,singer songwriters who can stand their own ground alongside the men in the rock world. Her gravely voice is instantly recognisable as are her honest and brave lyrics and catchy melodies. She has the ability to play to the gallery and get the audience worked up while at the same time making you feel like you are the only person in room and she is singing just for you. I thoroughly recommend any music fan who hasn't discovered her to check out her music.

17th Oct 2013 Deep Purple have been around in one incarnation or other since 1968. Which let's face it is a lot longer than most bands these days, who seem to split after a few albums. It seems that there is no stopping the Fathers of heavy metal who along with Black Sabbath, just keep on going. Indeed, the Sons of Purple and Sabbath – Iron Maiden and Metallica are more popular now than they have ever been. Perhaps it is something about the energy of the music, but this does seem to be a genre that thankfully gives bands longevity. After releasing their first album in eight years Now What!? to positive reviews, a tour was perhaps inevitable. Two sell out shows at London's Roundhouse indicates that there has been no waning in their Popularity. Mars, The Bringer Of War shakes the Roundhouse into a rousing battle-cryas the curtain is torn down from the stage, as if an enemy flag was being ripped down. The growl of the guitar, the pummelling of Don Airey's keyboards and the machine gun attack of Ian Paice's drums sound the end of the war. Deep Purple triumphantly take to the stage for Après Vous with Ian Gillan as their victorious leader. Sure the long hair is long gone as are some of the trademark screams but this is Ian Gillan! Tonight his voice is punchy and his vocals are strong and on form, and he still manages to knock out the tracks with zeal. Moving around the stage with the swagger of somebody who is totally at ease with and is not afraid to have a bit of fun too; ever the showman, he even dons a mask during the heavy Vincent Price. The set list comprises of old and new songs which blend so seamlessly that they sounded as fresh as they did nearly 40 years ago. New song Uncommon Manand Hell To Pay have a classic Purple feel to them and Above and Beyond is a moving tribute to the late Jon Lord. Don Airey's keyboard work throughout is outstanding and proves that even though Jon Lord is a impossibly hard act to follow, he is a more than worthy successor. Steven Morse is the bands other relative newbie, despite joining nearly ten years ago and being their longest serving guitarist. His gutsy guitar playing is powerful and his solos pack one hell of a punch. It was great to hear tracks such as Hard Loving Man, The Mule which featured a wicked drum solo by Ian Paice. His fellow rhythm stalwart Roger Glover on bass guitar is still as solid as ever and drives the band along with Paice with a formidable bass sound which resonates around the Roundhouse. Even though the new songs are well received it is old favourites like Perfect Strangers and Space Truckin which really get the crowd fired up towards the end of the set. Smoke On The Water is one the most over played songs in rock. Perhaps we are so used to hearing substandard versions but it is refreshing to hear the song in the hands of the guys who first performed it sounding somehow fresh and new. The encore consisting of a Green Onions,Hush and a stonking version of their biggest hit single Black Night. Critics may say that they should give it up and sit back in their rocking chairs, they are past their best. To them I say they are stronger than ever because they have accepted the limitations that come with age. They have moved on to develop a Deep Purple for 2013 and beyond which they can grow with. If you want to see endless note for note renditions of Purple's tracks as they were circa 1973 go and see a covers band. To see these guys live is awe inspiring because of their heritage and enduring legacy. The question beacons, what now!?

23rd August 2013 Kenwood House It's been 20 years since Suede burst onto the music scene with their own brand of dandy melancholic, New Romantic Brit pop. After being dubbed the best new band in Britain, they took the music world by storm. They indulged in the excesses of rock and roll before band politics and artistic frustrations prompted them to call it a day. Since reforming in 2010 after nearly a decade away, they finally have their mojo back and they've brought with them Bloodsports their best album since Coming Up. On a lazy summer night at Kenwood House some 3500, mostly thirty somethings (apart from a couple of oh So Young whippersnappers running around wearing Suede t shirts) take solace in the dreamy, mournful vocals of Brett Anderson and Richard Oakes fuzzy guitar. I heard some whispers that there didn't seem to be much of an atmosphere from the crowd. Personally I felt that audience were appreciative for the most part, but maybe a tad quieter than one would expect. Although after consideration I imagined that in the picturesque surroundings they had been transported back to their teenage years when they first related to Suede's angst filled seedy and forbidden lyrics. A time where screaming at concerts was for Take That fans and huh, come on, Suede are too cool for that (do people still say cool?)! Whatever the audience were feeling, the band were on form with Anderson working the stage and flaying his microphone around in true theatrical style. The set started with Oakes' out of faze guitar on The Big Time before shifting it up a gear for a song from Bloodsports, the almost commercial Barriers followed by another new song It Starts And Ends With You. Just in case the crowd thought that the band were going soft in their musical style they return to the 90s with a stonking rendition of Trash followed by Animal Nitrate. There are some real gems in the set tonight including the stunningly movingShe's Not Dead, Electricity and The Killing Of Flashboy andthe fantastic bitter sweet Sabotage. Support was by British Sea Power – complete with dancing polar bear – and Indie band Telemen who are also supporting Suede on their current UK tour. Their crazy days of chasing the dragon may be behind them, but Brett Anderson proves that he is still able to write tormented and honest lyrics and give a knock out performance that put Suede back on top.

St George's Day has become a traditional gig day for British heavy metal band Saxon. 2013's concert took the band to the Ritz in Manchester and the show has now been preserved for all time on a live double CD.As the concert has been recorded in it's entirety, (including the chit chat in between songs) you can close your eyes and imagine you are stood amongst the crowd, rocking out and playing air guitar in your room to Power And The Glory, Wheels Of Steel and 747 (Strangers In The Night). Make no mistake, this CD gives you the full Saxon live experience. The set is a mixture of old classics and 6 new songs from their Sacrifice album including Wheels of Terror andGuardians Of The Tomb. The set also features some great rarities like Broken Heroes and Conquistador. Although some fans grumbled that Motorcycle Man was absent from the show, this 2 hour plus concert gives us Saxon at their best and demonstrates their lasting legacy on the genre. The new tracks sitting so well alongside the classics only goes to show how these guys continue to fly the flag for British metal. One of the best things about this album is that the tracks have not been sanitised by excessive studio mixing, so they maintain their glorious live raw edge. You can really feel the atmosphere and taste the sweat in this recording as Biff Byford and the band demonstrate that they still have the energy and punch of a great metal band. It's a shame that there is no live DVD or video highlights added to this package (at least not at the time of writing), but hopefully they will follow up with this addition in the future. St George's Day Sacrifice is a great album for fans who were at the Ritz and for fans who wish they could have been. This fantastic live offering is perfect for getting you in the mood for some old school head banging.