I admit it; I’ve been really lucky this year. I’ve been to loads of gigs featuring bands and artists across a range of musical styles and I haven’t seen a bad one; fifty-two weeks of great gigs and now I have to pick out my five favourites. It was never going to be easy and the gigs that made this list were truly special for many different reasons. So, in no particular order, here we go.
Little Steven and the Disciples of Soul – Indig02 October 2016
Little Steven, Steven van Zandt, Miami Steve, Silvio from The Sopranos. This is someone who’s had a huge impact on popular culture as an Asbury Juke, an E-Streeter, an actor and the man who wrote the anti-apartheid anthem “Sun City”. If you grew up loving The Boss and Southside Johnny (and I did) you knew and loved this man. When I heard about this gig, part of the BluesFest at the O2, my only concern was to get a photo pass. Despite pulling every string I could, there was no joy, but I wasn’t giving up, so I borrowed my wife’s camera (a Nikon Coolpix P530 for the record) to try to grab one good shot of the main man. The thirteen-piece band (with horn charts written by fellow E-Streeter and Juke Ed Manion) was stunningly good as Steven ran through a set of his own songs, blues covers and old soul classics. There wasn’t a second’s respite and there was even a guest appearance from Richie Sambora. And I got the photo. What a night.
Underhill Rose @ Green Note
I’d been looking forward to this one for months, ever since I missed them at the same venue in April because of other commitments. After a lovely meal with Plus One, we made our way to the venue a fashionable fifteen minutes after doors open, only to find that the doors were still firmly closed and there were no lights. Power failure? Not a problem; the Green Note team lit up the venue with dozens of candles and Eleanor Underhill, Molly Rose Reed and Salley Williamson decided to play a genuinely unplugged set. The setting was perfect for the band’s beautiful melodies and glorious tight harmonies and created a level of intimacy that even Green Note doesn’t achieve very often. During the interval the power was restored, but Eleanor, Molly and Salley decided to carry on with a second completely acoustic set. A magical night.
Pete Wylie/The Mighty Wah @Water Rats 09/11/16
As memorable as the previous gig but for very different reasons. I was a big fan of Pete Wylie in the eighties, but somehow managed to avoid seeing him live. This was the chance to find out what I’d been missing. Water Rats is a room at the back of a pub in Kings Cross; cosy but with a great atmosphere. The last time I was there, there were three people watching a band; me, the band’s manager and the sound engineer. This was different; ten minutes after the doors opened, it was rammed; not only that, but rammed with fans, people who wanted to see Pete Wylie. In that atmosphere, failure wasn’t an option. Pete has put together another powerful incarnation of The Mighty Wah! and their playing throughout was spot on; subtle when necessary and thunderous for the anthems; and there were plenty of those. It was a night of passion, humour and power with a performer who knows his worth and an audience who know their music. It wasn’t just a nostalgia trip either. He featured a stunning new anthem, “I Still Believe”, from his upcoming album titled, with typical Wylie moxie, “Pete Sounds”. The will to survive’s come back.
Martin Harley & Daniel Kimbro @St Pancras Old Church
Rewind to the beginning of the year as musicians start to emerge after their short hibernation and the lovely St Pancras Old Church (lovely if you aren’t a photographer). It was gloves, woolly hat and brass monkeys looking for welders weather, but inside the church a full house was waiting for Martin Harley and Daniel Kimbro. This was one of those intimate gigs where two incredibly accomplished musicians play material they love to play with a passion that the audience taps into, leaving everyone with a warm glow. Playing mainly Weissenborn (Martin) and upright bass (Daniel) the two wove complex textures that sometimes had you wondering where all of the other musicians were hidden. The two voices worked perfectly together and the interplay between songs was sometimes hilarious with Martin’s ‘Englishman Abroad’ persona as the subject of Daniel’s dry observations. Good news is they’ll be back next year. This was the only gig this year where I actually wanted to hear a bass solo (and I wasn’t disappointed).
Michael McDermott @Twickfolk, The Cabbage Patch, Twickenham 04/12/16
I waited until seeing this gig before selecting my five favourites of the year. After hearing Michael’s two superb albums released this year (the “Willow Springs” solo and “Six on the Out” by his band The Westies), I wasn’t going to miss this performance. It was a solo show, using guitar and keyboard (and the inevitable harmonica) to create different textures and settings for the songs. Stripping away the full-band arrangements allowed the audience to focus on the quality of the writing and the raw emotional roar of Michael’s voice. The first half of the show, featuring songs taken mainly from the 2016 albums was an intense experience, emotional, sometimes harrowing and primal, songs punctuated by monologues which were surreal, often hilarious and sometimes tinged with sorrow. The second half was less of a roller-coaster but still packed with great songs. Michael McDermott provokes the same sensation I had when I listened to early Springsteen for the first time; there’s poetry, passion and a grim and gritty reality in his work that grabs you by the lapels and stares you straight in the eyes; you know that he’s lived the life. This is for real.
There’s a couple of interesting tours coming up in late November/early December that we really thought we should share with you. First up is a tour by the absolute legend Ronnie Spector with her “Ronnie Spector Sings the Fabulous Ronettes” tour, featuring the greatest Ronettes hits, including “Me My Baby”, “Baby I Love You”, “Do I Love You” and “Wallking in the Rain”, plus Jeff Barry/Ellie Greenwich/Phil Spector originals that became hits as covers, such as “I Can Hear Music” (Beach Boys) and “Chapel of Love” (Dixie Cups). The tour follows the release earlier this month of “The Very Best of Ronnie Spector” on Sony Music.
As if that wasn’t enough, Ronnie’s also working on her new album “English Heart”, a set of covers of songs by the sixties British invasion bands including The Beatles, The Stones, Gerry and the Pacemakers and The Animals which is scheduled for release in April 2016 on 429 Records. If you want to see the greatest hits tour, Ronnie’s doing the following dates:
November 28 Philharmonic Hall Liverpool
November 29 Royal Concert Hall Glasgow
November 30 The Sage Gateshead
December 1 Town Hall Birmingham
December 3 The Barbican London
December 4 Colston Hall Bristol
In early December, the European leg of the Light of Day tour comes to the UK. The Light of Day Foundation is a charity raising funds for research into Parkinson’s and related degenerative diseases, which originated in New Jersey in November 2000 and has been supported by many performers including Bruce Springsteen (whose song gave the Foundation its name), Michael J Fox, Southside Johnny, Darlene Love, Willie Nile, Jakob Dylan, Lucinda Williams, Badly Drawn Boy and Gary ‘US’ Bonds.
The headline band for the UK tour this year is Joe D’Urso, Vini ‘Mad Dog’ Lopez, Eric Bazilian, Ed Manion and Jake Clemons. If you want to see some incredible musicians and donate some cash to a very good cause, then you can catch the Light of Day tour on the following four UK dates:
December 4 Oran Mor Glasgow
December 5 TAPE Arts Centre Colwyn Bay
December 6 The Musician Leicester
December 8 The Half Moon, Putney London
You should catch both of these tours if you can, and maybe we’ll see you at The Half Moon for the Light of Day gig.
Last Friday I had the opportunity to spend some time with the legendary Southside Johnny before the final show of his UK tour, featuring Gary “US” Bonds, at Shepherds Bush Empire. He was entertaining and engaging (as always):
AM – We did an interview here three and a half years ago and at that time you spoke to me about this acoustic thing that you might or might not be doing, which was really big news at the time and that’s happened now, so how’s that going?
SJ – It’s really good, it’s a fun thing. It’s really stripped down; we travel in a van together, we have breakfast in the morning as a band (there’s only six of us, with the road manager) and we set up our own equipment and tear it down and it really feels like the old days when you used to have to do that. It was a complete commitment to the whole day of travel, set up, play, tear down and travel again and even though I’m kinda long in the tooth I really enjoy it because it seems so organic and basic; there’s no star turns at all. I love playing acoustic music and it gives us a chance to play George Jones and Emmylou Harris and Bob Dylan and Tom Waits and some Bruce in a different format.
AM – You mentioned a few country artists there; you’ve always been a country fan haven’t you?
SJ – Yes I liked country when I was very young. What I didn’t know is that my mother, way back in the thirties when the ukulele was the big thing, she bought a ukulele from Sears Roebuck and she would sit on the porch with her father (her mother had died young) and some neighbours, and they would sing country songs, so I guess it’s in my blood, it’s the Irish part of me.
AM – I’ve heard you play “He’ll Have to Go” (country classic made popular by Jim Reeves) at The Astoria, I think.
SJ – Well, Soozie Tyrell, who plays violin with Bruce, she has a country band in New York City, and I would go up and do lots of songs with her because they’re real singer’s songs, they’re story songs with great melodies so it’s fun to make that kind of music.
AM – The old Jukes revolving door seems to have slowed down a little…
SJ – Not too much. We’ve got a new saxophone player, John Isley; I think (drummer)Tom Seguso’s been over here.
AM – At the time of the last interview, Joey (Stann, tenor sax) and Ed (Manion, baritone sax) were still with you but they’re obviously off doing other things now. There seems to be lots of side projects going on as well now that the New York Horns have made a record.
SJ – These days it’s a lot easier to make a record for a little money and it’s also easier to manufacture; for a buck apiece you can make as many CDs as you want and there’s a profit margin once you’ve paid for the studio time and the musicians and all the rest of it. I’m lucky that Jon Bon Jovi lets me use his studio but, even if he didn’t, studio time’s not as expensive as it used to be, home recording’s easier and the internet makes it easy to get distribution to all your fans round the world. It’s a good time to be a musician because you can do all the little things you want to do without incurring great expense.
AM – Did the side projects always happen to a certain extent; do we just hear about them more because of social media?
SJ – We’ve always done those things; Bobby (Bandiera, guitar, now playing with Bon Jovi) and I went out for months, here and there, doing a lot of charity gigs and they put us on a plane, in business class, just him and me and a guitar and harmonicas. We went all over and played charity things and it was just a chance to play in hotels and every little place you could find and it was a lot of fun because it was no stress.
AM – I saw you at Sheffield City Hall in 1995, I think, just the two of you doing the stripped back thing and it was a great night.
SJ – Well, if you have confidence in what you’re doing and you have material you think you can accomplish with just a guitar and a harmonica it’s a chance to explore all that too. Years ago Bobby, Rusty Cloud, David Hayes and I played in Paris at the Chesterfield Club. We did a two-week stint there with very little publicity and we rode the Métro and that was a lot of fun too. We all stayed in the same hotel, this funky little place and it was two weeks in Paris. I’m lucky I’ve had the chance to do those things and just explore what making music means other than pedal-to-the-metal trying to earn a living. I can do just about anything I want now. I’m never going to be rich, I’ve known that from the very beginning so there’s not a great stress to be a big star and make a lot of money; I make a living and that’s all I want. I just want to be allowed to do whatever kind of music I want to make.
AM – I was going through some of my very old Jukes records today and it struck me that after Billy Rush left, you got much more involved in the songwriting process; there’s not a lot of your songs on the early albums.
SJ – I was a writer back then but I would write certain things with certain people but the bulk of the song would be theirs and I’d say “forget it, I don’t want to have anything to do with it”. I wrote with Billy but I don’t have the kind of ego that I need to see my name on the album, but now with Jeff and Bobby the songwriting is really a collaboration so I get to write a lot of lyrics that I find interesting like “Into the Harbour” and “Winter in Yellowknife” and stuff like that which is not the norm for romantic love songs.
AM – On “Pills and Ammo”, it struck me that your name’s on every track as a writer. Do you have a certain way of working; do you do the lyrics and Jeff does the music?
SJ – It’s pretty much that way except that if I come up with a musical idea we’ll explore it and he helps me with lyrics; it’s a real collaboration in other words. I’ll come with an idea, a whole lyric and I’ll say “I think it sounds like this” and he’ll find a way to make it sound like what I want, but then he’ll say “what about this…” and we really try to bounce ideas off each other.
AM – I know Jeff’s a big fan of Squeeze and Difford and Tilbrook wrote in that way as well.
SJ – I’m a big Squeeze fan too.
AM – About your audiences; you’ve retained a very loyal audience in the UK. In the US, are the audiences different?
SJ – Well, they speak English. There’s people who come and see us a million times and there’s people who come and see us for the first time and usually we can win people over. It’s the energy and a lot of the music is made to lift you up so it’s not some shoegazer and it’s not some egomaniac, it’s really just music. I think one of the things that keeps people coming back is that it’s never the same night after night and I don’t know where it’s going to go and tonight’s going to be like that too because we’ve got Gary Bonds and we know what we’re going to do but when we get on stage, that may change.
AM – I’ve been watching Billy Walton live for a while and I’ve noticed that his crowd seems to be getting younger. I’ve seen teenagers at his shows but I’ve also seen people in their twenties who know all of the songs. I just wondered if that was happening with The Jukes.
SJ – We do get a lot of younger people; we had a bunch last night in Holmfirth, but we have our loyal fans and they’re the ones that usually get the first tickets and they’re older, but they bring their kids and some of them bring their grand-kids but anybody who’s willing to give us a shot we’re willing to play for as long as they come and have a good time and just enjoy themselves.
AM – November used to be the traditional time for a Jukes tour but the last couple of years you’ve been over during the summer. I’m guessing that’s because of festivals.
SJ – Yes. This year especially, because we had the Cornbury Festival to start it and we’re ending with Bospop in Holland so we had two festivals and we put a bunch of gigs in between and those get to be the anchor gigs. Unfortunately there’s new taxes in England, Foreigner Entertainer Tax (FET) and Hood, who settles everything got hit with it the other night and they wanted £1,400 for FET. Nobody knew exactly what it was but it’s legitimate and all that does is it makes it harder for bands like me to come over here; you can only lose so much money. On the one hand I guess they need the tax money but if they really need that, they should get all those people who hide their money offshore and let us poor bands try to play a little music.
AM – And a lot of musicians are hiding money offshore.
SJ – Well I’m not hiding any money; my money comes and goes and I get to see it as it goes past and that’s about it.
AM – Going back to the festivals, what’s the biggest gig you’ve ever played?
SJ – Probably Knebworth with Led Zeppelin. We did two shows; we did the first one, flew home and did a show in Washington DC, flew back and did the second show at Knebworth and flew home again, if I remember rightly, so it was a lot of flights. And we played about forty minutes but it was fun, it was a unique experience and we met some good people over here.
AM – As far as I can remember, and I was a long way away from the stage, it seemed like you got a pretty good response that day.
SJ – It seemed like that; of course we didn’t the full power that the headline act got (we don’t do that, if somebody opens up for us they get full power, but I’m not ever worried about a band opening up for us, I hope they do well). But I thought Led Zeppelin was terrible; there was no bass in the mix in the audience.
AM – That’s all the serious stuff but I’ve got couple of other questions for you. You’ve now got a huge body of work to choose from when you play; is there anything you feel can’t be left out?
SJ – Well, there’s nothing that can’t be left out, but I’m not there to just indulge myself, I’m there to give people what they want too and you split the difference. I know they want to hear “I Don’t Want to Go Home” and “The Fever” and “Trapped Again” or “Talk to Me” or “This Time It’s for Real” or “Love on the Wrong Side of Town” or whatever and you try to include those but when you twenty-two, twenty-three songs, there’s plenty of room for you to do what you want too. There are times when I say “I’m sick of this song, I’m not doing it” and it lasts for few months then it’s back in.
AM – Here’s one from my sister, who’s a big fan. Is there a song that makes you cry?
SJ – There’s a lot I guess. I’ve got some that I’ve written but Alison Krauss does a song called “I Can Let Go Now” which I think was written by Michael McDonald and it just kills me because I relate it to my mother. I don’t think that’s what it’s really about but for me it is and I just can’t listen to that song. There’s a lot; there are things that really touch me. I wouldn’t be doing if I didn’t get emotionally involved. When I was young and heard certain songs, I either got happy or excited or even felt sexy or touched, and to be part of that tradition is an amazing thing, but I’ve never really lost the idea that if someone sings a great song and really means it then I can get lost in the emotion.
AM – I find it really difficult to listen to “Many Rivers to Cross” after the version Jeff did here in 2010.
SJ – He really puts his heart and soul into it.
AM – Finally, hoping for another scoop, have you get anything in the pipeline?
SJ – Well, Jeff and I have written most of the songs for the next Jukes album; when we get it finished, I don’t know. We’re hoping to get in the studio, perhaps this winter and get it out some time next year. I’d love to get it out by Christmas but that’s just not gonna happen, and I’ve written some songs for a new Poor Fools acoustic thing and I’ve got a couple of other projects in mind too. I could retire if I wanted to, but then what would I do? I’d sit around the house, get fat and drink myself to death, and I can do that on the road.
AM – Johnny, many thanks for making the time for the interview.
SJ – My pleasure, any time.
You have to wonder what was in Jon Landau’s mind when he made this statement in a 1974 article in The Real Paper: “I saw rock and roll’s future, and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time.” At that time Bruce had released two critically-acclaimed but commercially unsuccessful albums (“Greetings from Asbury Park, N.J.” and “The Wild, the Innocent and the E Street Shuffle”) and “Born to Run” was just a twinkle in his eye; either Jon Landau was incredibly prescient or he made a very lucky guess. Whichever way you look at it, surely even Landau wouldn’t have predicted that The Boss would still be playing stadia and arenas forty years later. The band on Springsteen’s “Wrecking Ball” tour, now in its second year, includes five musicians (Max Weinberg, Gary Tallent, Roy Bittan, Steve van Zandt and The Boss himself) from the “Born to Run” album which was released in August 1975. However unlikely it is, that’s why I’m in the Olympic Park in Stratford to watch the E Street Band for the first time as part of the Hard Rock Calling festival on a rare sunny summer day in London.
The Boss is one of those artists I’ve loved since the very early days but always avoided seeing live. I know this sounds weird but there are artists whose work I love so much I didn’t want to see them live and possibly be disappointed. You have to admit there’s a kind of twisted logic to it. Anyway, call it the bucket list if you like but I finally saw sense this year and decided to go to the Hard Rock Calling gig.
The support line-up of the Zac Brown Band (great country music throwing in “Kashmir” and “The Devil Went Down to Georgia” towards the end of the set), Alabama Shakes and Black Crowes who dropped a Georgia medley of “Hard to Handle” and the wonderful Joe South song “Hush”. And then it was time for the The Boss.
The E Street Band hit the stage slightly early with a high-powered version of the “Wrecking Ball” song “Shackled and Drawn” which slid straight in to “Badlands” and the audience were hooked from the start. As usual, Bruce picked request placards from the audience, walked back up to the stage, showed the band the card and immediately launched into the song. The first song to get this treatment was “Johnny 99”, transformed from the stripped-back album original to a full-on band arrangement with horns and fiddle from Soozie Tyrell which was followed by a rock version of “Reason to Believe” driven by Steve van Zandt’s guitar riff. The two audience requests obviously had The Boss in a “Nebraska” mood because “Atlantic City” completed a run of three songs from the album before rousing versions of “Wrecking Ball” and “Death to my Hometown” brought the first part of the show to a close.
The band has been playing entire albums throughout this tour and tonight it was “Born in the USA”. If “Born to Run” was the album which made Springsteen famous, “Born in the USA” was the one which made him a global phenomenon with its crowd-pleasing anthems. It’s easy to forget how many classic songs come from the album until you hear it all live. With such a huge amount of great songs to choose from, it’s obvious (even with a three hour set) that some fans won’t get to hear their favourite song. I would have loved to hear “Highway Patrolman” or “Factory”, but I did get to hear “Bobby Jean”, so I’m pretty happy with that.
As if we hadn’t heard enough anthems, after a relatively low-key close to the set, the encores kicked off with “Jungleland”, “Born to Run” and “Tenth Avenue Freeze-Out” and “American Land” before closing with the downbeat but very moving acoustic rendition of “My Lucky Day”.
As a bit of break from forcing my opinions on you, I decided to get some feedback from Faye and Alice who came from Birmingham for the gig. Alice (who’s been going to Springsteen gigs since before she was born) loved the gig (not surprisingly) bouncing about and singing along to all the songs while Faye (who was seeing The Boss for the first time) was amazed at how good the show was and loved the idea of the band playing songs chosen by the audience. So, a big thumbs up from Faye and Alice. I hope you both had a safe journey home.
Bruce Springsteen and the E Street Band are a live phenomenon; they can play for three hours without even scratching the surface of their repertoire and drop immediately into any song called by The Boss without missing a beat, but it’s not just the musicianship I admire. The E Street Band (and Southside Johnny, Gary Bonds, Bon Jovi and Billy Walton) are all part of a Jersey shore tradition of bands that give a hundred per cent and want to play all night because they love playing and they understand that a mainly blue-collar audience wants their favourite bands to give them everything they have; you work hard to earn your dollar and you expect bands to work just as hard to earn it from you.
But there’s more to it than that. The Jersey shore bands are part of a family, literally and metaphorically. The Boss demonstrated that at Stratford by bringing his mother on for “Dancing in the Dark” and his sister Pam to accompany him at the close of the set. And don’t forget Clarence Clemons’ nephew Jake playing tenor sax. I’m convinced that “We Take Care of Our Own” from “Wrecking Ball” isn’t flag-waving patriotism, it’s about all the players, singers and songwriters whose spiritual home is The Stone Pony. It doesn’t matter how successful you become, you’re still just one of the Jersey crew; for every Bruce, Steve van Zandt and Jon Bon Jovi, there’s a Soozie Tyrell, Ed Manion and Bobby Bandiera and they all have a huge amount of mutual respect.
If you can still get tickets for Springsteen gigs in the UK or Europe, then you should really give it a try; you won’t be disappointed.
I don’t want to alarm you but, this summer, our gig venues (large and small) are about to be invaded by bands from New Jersey. There are 4 bands from the area touring our sceptred isle over the next few months, so here’s a quick rundown on who’s touring when.
Southside Johnny & the Asbury Jukes, veterans of the 70s Stone Pony scene, and an incredible live experience, will be making a very brief visit at the beginning of May:
Thursday 02/05/13 City Hall, Salisbury
Friday 03/05/13 The Apex Arts Centre, Bury St Edmunds
Saturday 04/05/13 Burnley International Rock & Blues Festival
The Billy Walton Band (whose frontman Billy Walton has toured the UK a couple of times as guitar player with Southside Johnny) form the second wave of the onslaught when they arrive in mid-May. A night with BWB is guaranteed to be a great night of rock, blues and soul as Billy and sax player Richie Taz front up while William Paris and John D’Angelo keep the show rock solid. The dates are:
Thursday 16/05/13 Beaverwood Music Club, Chiselhurst, Kent
Friday 17/05/13 The Cluny, Ouseburn, Newcastle upon Tyne
Saturday 18/05/13 Calva Bar, University of Cumbria, Carlisle
Sunday 19/05/13 Kings Arms, St Mary Street, Bedford
Monday 20/05/13 Yardbirds, Church Street, Grimsby
Tuesday 21/05/13 The Fishpond, Matlock Bath
Wednesday 22/05/13 The Greyhound, Beeston, Nottingham
Thursday 23/05/13 The Cellars, Cromwell Road, Eastney
Friday 24/05/13 Blakeney Harbour Room, Blakeney, Norfolk
Saturday 25/05/13 Saint Bonaventure’s Club, Barkeley Road, Bristol
Sunday 26/05/13 Barnet FC (Underhill Stadium), Barnet
Monday 27/05/13 The Pavilion, Broadstairs, Kent
Thursday 30/05/13 The Flower Pot, Derby
Friday 31/05/13 Travellers Rest Club, Barrow-in-Furness
Saturday 01/06/13 Boom Boom Club/Sutton Utd. Football Club, Sutton, Surrey
In early June, the venue sizes move a few notches as the Bon Jovi “Because We Can” tour comes to the UK. Despite the controversy surrounding Richie Sambora’s sudden departure from the tour a couple of weeks ago, the show goes on. The additional musicians on the live shows include guitar player Bobby Bandiera, who spent a few years as Southside Johnny’s head honcho with the Jukes. The dates are:
Saturday 08/06/13 Etihad Stadium, Manchester
Sunday 09/06/13 Villa Park, Birmingham
Wednesday 12/06/13 City Stadium, Cardiff
Thursday 13/06/13 Stadium of Light, Sunderland
Sunday 16/06/13 Isle of Wight Festival
The final wave of the invasion overlaps slightly with the Bon Jovi tour when Bruce Springsteen’s Wrecking Ball tour rolls back into the UK in mid-June. It probably won’t come as a surprise to you now to hear that there’s an ex-member of the Asbury Jukes in the E Street Band. Ed “Kingfish” Manion (baritone sax) joined the horn section for the “Wrecking Ball” tour after many years of touring and recording with Southside Johnny. You can see The Boss here:
Saturday 15/06/13 Wembley Stadium, London
Tuesday 18/06/13 Hampden Park, Glasgow
Thursday 20/06/13 Ricoh Stadium, Coventry
Sunday 30/06/13 Queen Elizabeth Olympic Park, London
Just in case I need a sledgehammer to get this message home, some great music has come out of New Jersey (and I haven’t even got on to Patti Smith, Gary Bonds and The Four Seasons). Some bands have been incredibly successful over a long period of time and some haven’t; what the bands touring the UK this summer have in common is mutual respect and shared personnel. You can probably still get tickets for The Boss and Bon Jovi but, if they’re playing anywhere near you, try to get out and see Southside Johnny and Billy Walton; you won’t regret it.