Donnie ScrollerAnd by tortuous means we ended up at the above on Sunday. Solid Entertainments promote a series of live presentations in what aren’t normally the trendiest of locations, often as mini-festival type packages and very good value they are too if you fancy a day of live and 80% original music.

The day started around 2PM with a young band called Southbound. A bunch of schoolmates aged 18, you get a bunch of original songs in a covers-free set presented by a handy two guitar attack, a tight and well rehearsed rhythm section and a great Lighthouse Family-style vocal which had more warmth than the usual bruiser blueser. What they lacked in conviction and confidence on occasion they certainly had in quality playing and some very serviceable, if on occasion derivative songs. Enjoyable. One To Watch.

Two’s up, The Rainbreakers. From their gig sheet you can see they’ve pretty much played everywhere over the last year or so and it showed. You can absolutely expect a competent, square-jawed bluesy rock band. They started with a few of their own songs, including an OK ballad which might have been a cut above with a bit more of a soul twist in the vocal department. These were followed by the first covers of the day, a melange of Hendrix and Albert Collins, but they really weren’t looking like the time of day / week was doing much for them. A couple more fairly so-so songs and then Free’s “Fire and Water”, which was probably standout tune of the set along with set finisher “Nothing Going On”. They were OK, extremely good musicians, a safe pair of hands. And that was the crux of the problem really.

Rebecca Downes and her band have that sort of swagger that suggests they feel like they’re on their way and on the strength of this they have every reason to do so. The band have an elastic, Steely Danesque keyboard player who adds an extra dimension to what they can do and this meant their set had an interesting range. It took her a couple of songs to get into her stride vocally – by her own admission her throat was in a bad way, but hey, a trouper’s a trouper – but once she got to the cover of Erma Franklin’s “Another Piece Of My Heart” you knew it was going to be alright. Don’t know about the etiquette of playing “Rather Go Blind” when Chicken Shack were due on later but let us not dwell on that. Own stuff was interesting and well worth a listen. They done good and earned a decent reception.

Now then, now then. The Brew. Let me start by saying they got the best response of the whole day from the rather dour crowd and impressed all and sundry including me with their spectacular guitar trickery, and the amazing drum solo, which the drummer completed in barnstorming fashion with his bare hands. They were due off to mainland Europe the following day and if they can get the kit to hold together (repeated problems with the bass lapsing into acoustic mode and the bass player’s mic sounding simply dreadful) they will undoubtedly do well Over There. For me, though, it was a strange kaleidoscope of 21st century prog rock meets power trio. They are undoubtedly Onto Something and all three of them are ridiculously talented and if I had to pick one band from the line-up that was likely to Do Very Well In Future, it’d be these lads. Not for me though. It was a bit like going to see an early round of the FA Cup and instead being treated to a virtuoso display of keepy-uppy. Impressive but somehow unsatisfying. And I feel a bit churlish saying it as they didn’t half put a shift in and undoubtedly won the audience award.

So by the time Stan Webb ambled onto the stage with Chicken Shack it all had a slightly ‘after the Lord Mayor’s Show’ feel to proceedings.

Stan Webb has been in with them all, seen it, done most of it and remains one of the genuine British Blues legends who has a string of hit albums and hit singles, even, to his name. Generally regarded as a guitarist of rare ability and touch, what tends to be relatively overlooked is his extraordinary voice, a sort of high – intensity fog horn which even past the first flush of youth can hold a note which can break glass. He has a waspish sense of humour onstage and as the set started off slightly creakily (sound all over the place, some band members seeming to pick tempo or key more or less at random) his mood blackened and he took to introducing songs off mic as it was easier to be heard! Whereas many of us did find this highly amusing he did receive some choice Yorkshire vernacular, especially when he claimed it was like playing Batley Variety Club (at which point a punter who accused him of never having been there got both barrels and a glowing tribute to Ken Dodd for his pains). Never heckle an old ‘un. They HAVE heard it all before.

As things settled he ran through a series of Chicken Shack latest and greatest and during “Rather Go Blind” he went walkabout and ordered a pint of Carling from the bar, chatted up the young barmaid and did a sort of mid-gig soundcheck whilst the guitar tech faffed around with his guitar. Well, as he correctly observed, what else to do?

Given a diffident and rather tired audience, they went down well by the end of the set, the crowd won over by the sheer class on display, but he and his band will play better gigs and consequently they are – still – well worth catching.

Well done, Solid Ents – a brave and hopefully worthwhile enterprise with more of these shows in the pipeline. Catch one or stay in and watch the telly and the whole thing eventually falls over.


Chris WalkerSo; first gig of the year and let’s see what’s changed and what hasn’t. Well, the problems with transport haven’t changed; because of engineering work and a late start by the headliners, Southbound, I only caught the first three songs of what was shaping up to be a storming set of funky Southern rock and boogie. Sorry guys, I’ll make up for it next time. The other thing that hasn’t changed is people talking over artists at gigs. Why do you pay to see bands, completely ignore them and spend all night having your own conversations? I could ask why the sound engineer doesn’t bump the volume up a bit as well.

So with two acoustic singer-songwriters as the first acts on stage, things didn’t look too good. Hannah Jackson coped pretty well, mainly because of her incredibly powerful voice with jazz and soul inflexions, playing a set which combined her own songs with some covers, including a great version of The Killers’ “All these Things that I‘ve Done” and the Johnny Cash classic, “Folsom Prison Blues”. I think we might hear more from Hannah. Second up, Saraswati, wasn’t quite so lucky. Her delicate songs, including her debut single “Bad Habits”, and her delicate, breathy voice (maybe a hint of Sade there) were all but drowned out by the braying crowd. At times like this, I’m grateful we have strict gun laws.

No such problems for The Likks, though. Their brand of noisy riff-based rock, funky melodic basslines (a hint of The Black Crowes) and Jordan Jay Kennedy’s big voice didn’t stop the talking, but it made it really difficult to carry on a conversation. Within each song there were tempo changes and rhythmic shifts which added variety but also a bit of disorientation. You certainly didn’t know what was coming next; raw but interesting. And so, on to the reason I was out in south-west London on a freezing winter night.

It’s been a bit of a turbulent year for Little Devils (“The Storm Inside”, indeed); following a cabinet reshuffle, they now have a new singer and guitar player, Magda Supel and Chris Walker respectively. I never need an excuse to go and watch Little Devils, but I particularly wanted to see how the new line-up was gelling. It’s all good news; despite having limited time to rework the songs for the Devils Nouveaux, the band sounded great. The rhythm section of Sara and Graeme powered the band along while Magda sung with soul and power (despite being really ill) and Chris looked and sounded like he was having the time of his life; he’s a quality guitar player. They powered through a half-hour set that included Devils favourites “Pay the Waiter”, “My Perfect You”, “Good Times” and Graeme’s growled version of “A Long Time Ago”. The newest diabolical incarnation sounds absolutely fine to me.

And, apart from a few songs from Southbound, that was the end of my first gig of the year. Four stars for the performers, one star for most of the audience.