Maybe you already know that Allan’s a bit of a Southside Johnny fan. Ok, a lot of a Southside Johnny fan. So, we decided to invite Johnny to contribute to the 2017 High Fives. And he did, with not one but four sets of High Fives chosen by our random category generator. That’s the kind of value you get at a Jukes gig. Take it away, Southside…


Steven Van Zandt

5 songwriting heroes

Cole Porter

Tom Waits

Steven Van Zandt

Bob Dylan

Smokey Robinson


5 places he’d play every night 

Paradiso Amsterdam

Paradiso, Amsterdam

Shepherd’s Bush, London

Birchmere, Alexandria, Virginia

Stone Pony Summer Stage, Asbury Park, NJ

Anywhere in Cleveland, Ohio


5 people he’d like to meet 

Mark Twain

Mark Twain

Big Bill Shakespeare

Barack Obama

Willie Dixon

My mother’s father


5 favourite harmonica solos

Little Walter

Big Walter, “Walking By Myself”,

Sonny Boy Williamson “Don’t Start Me Talking”,

Little Walter, “Tell me Mama” and “Lights Out”,

Paul Butterfield, “Born in Chicago” and a thousand others.


5 covers he hasn’t done yet

Way too many to list.  Happy New Year!


As gigs go, music journalism and photography is about as good as it gets for this ‘wee boy fae East Wemyss’. When you do something for over a decade you’re going to have a few frustrating experiences; what you hope for is that the genuine bangers even up the balance, maybe even tip it into the positive. It’s no exaggeration to say that 2017 has been astonishing year with some moments that would have my eighteen-year-old self wondering how on earth all that happened. But even with the volume anchored at ten, there were some moments when it sneaked up to eleven (‘it’s one higher’). In no particular order, these are some of those moments.

Stone Foundation @Islington Assembly Hall – I’ve been a fan of Stone Foundation since the moment I stuck a promo of their album “To Find the Spirit” in the CD player about four years ago. It hit me with that sucker punch of Hammond and horns from the first bell and followed it up with a hit of pure twenty-first century British soul. I’ve watched as the band’s abilities and sheer bloody hard work have steadily moved them up the rankings. I guess it helps that they’re such a great bunch of people as well.

Their latest album “Street Rituals” was recorded at Paul Weller’s Black Barn studios with Mr Weller guesting on a couple of songs and now they can headline at the bigger London venues. So when they announced a tour gig at Islington Assembly Hall, it looked like a reasonably good punt for a Paul Weller guest appearance, the odds shortening when, collecting my photo pass, I discovered that access to the pit was for the entire set. It wasn’t just limited to one Magic Moment either. Not only did PW join the band to take the lead vocal on the gorgeous “Your Balloon is Rising”, he also appeared later for a cracking version of “What’s Goin’ On” (with a hint of “Something in the Air”). Not only two great performances that might never be repeated, but one of my favourite photos of the year (above). More SF to come…

Southside Johnny and the Asbury Jukes @The Forum, Kentish Town – I first heard Southside Johnny and the Asbury Jukes in 1977 and I was hooked instantly. I’ve never fallen out of love with that voice and the sound of that band (Hammond and horns again, with big rock guitars as well), but I could never have imagined the first time I heard “The Fever” it would mean the start of a long-term relationship rather than a one-night stand. Fast-forward to the second decade of the twenty-first century and things get a bit intense – I was asked to do some green room shots of Gilson Lavis presenting Southside with a pen and ink portrait of himself he’d done a few months before. And then I was asked to interview Gilson about his upcoming New York art exhibition and to take some photos of the gig.

I was in the green room with one of my all-time heroes and his incredible band, shooting the breeze and listening as the band arranged a guest performance with Gilson before being thanked by one of the band for a review I’d written of his side project. HTF did that happen? And then they went on to play a storming set with Gilson guesting on “Key to the Highway”. I still can’t believe it.

Stone Foundation @The Empire – This one’s easy; you can get all the background above. No surprises this time, I knew from the off that Graham Parker was the support for this gig. I’ve always been a huge fan and I was at the gig with my old friend and sometime MusicRiot contributor Steve Jenner and his lovely wife Sue. While I was backstage sorting out my accreditation, I bumped in to Neil Sheasby, bass player and co-songwriter with Stone Foundation, who was also having a ‘pinch myself’ moment because Graham Parker had brought along Dave Robinson, former Stiff Records supremo, who was regaling the band with his seventies music business stories.. One of the things I was sorting out backstage was photo pit access. I mentioned earlier that SF had allowed access for the whole gig in Islington; This time they went one better; they highlighted the songs that would feature guest appearances later in the set and ensured that that the photographers had pit access. That’s proper attention to detail.

The real magic moment came towards the end of the evening with a guest vocal by Graham Parker on his old Ann Peebles cover “I’m Gonna Tear Your Playhouse Down”. Magical because of a stunning performance by everyone on stage, but also because GP hasn’t played with a horn section in years and he’s said GP and The Rumour will never play live again. And a big shout to Jalen N’Gonda, the first support act (who was superb in a Marvin Gaye-style) and popped up during “What’s Goin’ On”. These guys know what they’re doing.

Hannah Aldridge & Jetbone @Windlestock – The night after the gig above as it happens with the same audience plus Mrs M, who can go out because it’s not a school night. Anyone who knows me will know that I’m a huge fan of Hannah Aldridge. She writes powerful and moving songs, she has an incredible voice and she has those cheekbones. I never get tired of photographing Hannah; it’s a different visual image every time, but that bone structure is always there. Anyway, this time she’d brought along Jetbone from Sweden to play a support of their blues-inflected Southern boogie and as her backing band.

I love a chance to photograph artists in different environments and this was a great opportunity. Towards the end of the set Hannah put her guitar to one side (got my interest already), picked up a tambourine (camera in hand) and went into full Janis Joplin mode (jeez, never thought I’d see that). It was a night packed with stunningly good performances (including the opening set by Rebecca Reidtmann), but the tambourine thing made my night.

Dana Immanuel & The Stolen Band (private gig) – I had a significant birthday a few days ago and invited a couple of bands, Deep Blue Sea and Dana Immanuel & The Stolen Band to play at the event. They were both superb. I’ve seen Dana a couple of times and the band is great, the original songs are superb and she knows how to deliver a powerful cover. Now these gigs are difficult, because audience chatter (seriously frowned upon I serious music venues, and rightly so) is almost inevitable as people catch and are perhaps introduced for the first time. Dana and the band took it in their stride and won over a crowd that ranged in ages from three (my great-nephew, who was completely smitten) to eighty-one (my mum and mother-in-law).
They took a short break after a storming first set and returned for a second set with an audience that was particularly noisy. With no introduction they launched into an almost a cappella (a little percussion) two-part harmony version of the Janis Joplin classic “Mercedes Benz” which completely silenced the audience and immediately dragged attention back to the stage. Unconventional certainly, but they had the audience eating out of their hands after that. I’ve seen a lot of classic pieces of stagecraft, but that was probably the finest.

If you’ve got any moments like those that you want to share with us, message us on the Facebook page or email And thanks for following us.

You never know where the next review’s coming from; could be the inbox, could be the letterbox, could be backstage at a gig. Yeah, it’s the last one. A couple of weeks ago, Glenn Alexander slipped this album into my greasy mitt backstage at The Forum in Kentish Town. Glenn’s the guitar player for Southside Johnny and the Asbury Jukes (amongst other things) and he released this solo album last year produced by the Jukes saxophonist, John Isley. If you’re a Jukes fan and you look at the credits for the album, you’ll recognise most of the names; when you work with world-class musicians in the day job, why not use those guys when you pursue your own vision?

I’m not giving you a detailed biography of Glenn Alexander; you can find that anywhere. All I’m saying is that this album proves conclusively that Glenn is a lot more than just an incredibly good guitar player. The album opens with the fairly straightforward boogie of “If Your Phone Don’t Ring”; it’s great fun, the horns are every bit as good as you expect the New York Horns to be and it’s a joyous start to the show. Without reading the sleeve notes, it’s obvious that the second song “Earl Erastus” is deeply personal for Glenn. It hints at Jerry Reed’s “Amos Moses” and it’s a tribute to Glenn’s granddad, who raised six kids during the Depression; it has huge emotional power and a lovely New Orleans horn coda of his  favourite hymn (I’m guessing) featuring a vocal from Oria Aspen.

From there on in, it’s a melting-pot of the influences flowing over a teenager growing up in the centre of the USA; there’s the funky soul  and Elvis-referencing “Memphis Soul”, the country feel of “I Picked the Wrong Day (To Stop Drinkin’)”, the horn-fired shuffle of “Get A Life” (featuring Southside on harmonica) and the slow blues of “Blues For Me & You”, a duet with Oria Aspen contrasting Glenn’s rough-hewn blues vocal with Oria’s more pure jazz stylings.

You might think that was enough, but there are still surprises to come. The album’s penultimate song, “The Odds Are Good”, proves that Glenn Alexander’s not just about melody and guitar solos; the lyrics are clever, and in the style of Dylan or early Springsteen. This guy is much more than a great rock guitarist, he’s a very gifted songwriter and a pretty good singer in a Joe Walsh kinda style. There’s no real commercial imperative behind this album, it was created for the sheer joy of making music with stunningly good players. Great songs, Hammond and horns; this is the business, what more do you need?

Glenn Alexander & Shadowland” is out now on Rainbow’s Revenge Records.

Gilson scrollerBy an interesting series of coincidences, I found myself backstage at a Southside Johnny & The Asbury Jukes gig at The Forum in Kentish Town pointing the trusty MusicRiot microphone in the direction of Gilson Lavis. If you have any interest at all in popular music, you must have heard of Gilson in one of his two musical careers; he’s a great and highly respected drummer but I wasn’t there to talk about his music; we don’t do the obvious stuff like that at MusicRiot. I was there to talk to Gilson about art. There’s a reference at the end to Johnny stealing my thunder; he voicebombed the interview about a third of the way in to talk to Gilson about how much he loved Squeeze. 

Allan Hi Gilson. Some of us know you as the drummer in Jools Holland’s Rhythm and Blues Orchestra, The older ones know you as the drummer in Squeeze, but now you’ve got a new career as an artist, so how did that start?

Gilson Well, it started out of boredom really. I lead a pretty clean life these days; I don’t drink or any of the other stuff, thankfully and hanging about on the road or hanging about in hotel rooms, I’ve been doing it for about fifty years now, and it started to get a bit wearing, so I started to doodle and the doodles turned in to sketches and the sketches turned into paintings and now the paintings have turned into exhibitions. So it just sort of grew really and I’m in a very privileged position because with my position in the Rhythm and Blues Orchestra we get to play with some of the world’s best entertainers and performers and I see them close at hand and I try and paint them, and I think I can capture some of the real essence of the person.

Allan You had an art school background didn’t you? Did you continue to draw after you left art school and joined Squeeze?

Gilson No, I went straight into music, the driving force being sex; I wanted to pick up girls. It never really worked, but I got into the music business and I’m still doing that so the art was just put away really. I didn’t pick up a sketch pad or an easel or a paintbrush until about ten years ago, when I started again.

Allan Do you think you choose your subjects or do you think they choose you?

Gilson It’s a mixture of both really. As I said, I tend to sketch and paint people that I work with and sometimes I’ll get inspired by an image I see of somebody and I’ll paint from that, but really it’s working with these people that’s the driving force.

Allan You’re working mainly in acrylic on canvas aren’t you? Do you work in any other media?

Gilson Yeah, I do. I do ink sketches. That’s really what I do on the road, sketch in ink, but when I’m at home, I’ve got a large studio and my own gallery, so I paint at home and sketch on the road.

Allan In the creative process, do you have certain steps that you follow? I’m thinking of the preparation; I saw the Louis Armstrong sketch that you did and obviously you couldn’t do that from life so presumably you researched that online.

Gilson I do actually. A lot of the people I’ve painted or sketched, they’re too busy to sit for me; they’re not going to come round to my house and sit, so I do have to sketch from images. I try to take photographs when I’m working with them and sketch or paint from those, but it’s not always possible, because some of these people like Louis are no longer with us, I have to research them and I look for images that are inspiring and I tend to blend three or four images to get the look that I’m searching for, so it sort of grows.

Allan I’ve met quite a lot of musicians who have other artistic pursuits, painting, photography and so on. Do you think it’s a bit of a release valve?

Gilson I’m sure it is, it absolutely is. Though it’s a real privilege to work with the Rhythm and Blues Orchestra; it’s high profile and we play big venues, but it is quite a restrictive environment. I’m there to make Jools sound good, I’m there to make the big band work, I’m not really cutting loose on what I want to do and the painting really allows me to be creative. 

Allan So the band becomes the day job and your creative outlet is the painting.

Gilson But it’s a very enjoyable day job, I’m in a very privileged position.

Allan I’m fascinated by the paintings and the way they reflect the personalities of the people you’ve portrayed and it struck me that they’re not hyper-realistic, but they’re a long way from caricature, aren’t they? The one that particularly struck me, and I wonder how people will react to it, was Keith Moon, because he has a really serene look in that portrait.

Gilson Well, thank you. There are many, many images of Keith being crazy, that’s what he’s famous for, but I really wanted that sort of innocence of the young lad before he went on that crazy journey. I think that’s what I was aiming for, that innocent, lost look, not even knowing what’s going on. What went on of course was craziness and death in the long run.

 Allan That was what immediately grabbed me about that particular image, the innocence. I understand that you’ve got a book of some of your images out as well.

Gilson Do you mean the one with the drummer portraits?

Allan That’s the one.

Gilson It was released two months ago actually. It’s eighteen portraits of drummers that have influenced me with a short snippet of a quote by each of them. I was asked many times, who influenced me as a drummer and eventually I thought “I know, I’ve got a good idea, what I’ll do is I’ll paint my influences and put them in a book” and it seems to have worked really well, it’s popular and it’s selling quite well, I’m pleased to say. It’s called “Drummers” by Gilson Lavis.

Allan I understand there’s an exhibition coming up in New York as well.

Gilson There is, yeah, at the Salomon Arts Gallery in Tribeca and it opens on the fourteenth of September. I’m really excited about it; I’ve been fortunate enough to have a few exhibitions in Great Britain but this’ll be the first in New York and I’m really excited by it and a bit nervous, to be honest, because we’re all deeply insecure, us painters, we’re all waiting to be laughed at.

Allan I think photographers are exactly the same. Your career must have had so many highlights, is there anything that really stands out in your memory as a real high point?

Gilson Yes, there is. It was when I was fortunate enough to get the phone call to play drums with Smokey Robinson on Later and on rhythm was Eric Clapton, Jools Holland on piano and Dave Swift on bass and me on drums. In fact there’s a little story about that, we were there, Eric, myself and Jools were there ready to rehearse with Smokey and he was flying in from America and it got to his allotted rehearsal time and we got the message he was a bit tired so he’ll be here in a couple of hours. We all downed tools and waited and then he didn’t show up, he was still a bit tired, and the show started to be recorded and we still hadn’t seen him and I’m sitting behind the drum kit and Eric’s looking a bit sort of worried. We knew the song, everybody know Smokey’s songs. The band before us was playing and thirty seconds before they finished, Smokey Robinson walked out on to the set and I’ve never seen anybody look more like a star than he did; he glistened. His skin was beautiful, his hair was just perfect, he had an incredibly dapper suit; he walked out and I counted the song in and we played it and he was just magnificent and then he turned round and nodded at Eric, he ignored me completely but I don’t mind and off he went and that was it, that was my experience of Smokey Robinson. But it was fantastic, it was a real buzz to play with one of my heroes, and there have been many.

Allan Johnny actually stole my thunder earlier because I was going to say at the end, did you know that Johnny’s a big fan of Squeeze and Jeff Kazee’s also a huge Squeeze fan.

Gilson I didn’t know. I had no idea.

And with that, we had to clear out of the Jukes’ dressing room as the band prepared for the show, but not before Gilson presented Johnny with an ink portrait of Mr Lyon himself. A couple of hours later, Gilson joined The Jukes on stage, taking the drum stool for “Key to the Highway”. And here’s the Keith Moon portrait:

Keith Moon Gilson portrait

Horns ScrollerWant to know why Southside Johnny still has a fanatical fanbase after over forty years? It’s really simple: he has a stellar group of musicians working with him, they have a lot of fun, and the audience never knows what’s coming next. There are a few songs that are non-negotiable, but for the remainder of the set it’s like “Thunderbirds”; anything can happen. Where else would you hear someone drop a verse of the Ramones classic “I Wanna be Sedated” in the middle of an instrumental break. And, talking of surprises, who expected Gilson Lavis (Squeeze and the Jools Holland Rhythm and Blues Orchestra) to make a guest appearance for the blues classic “Key to the Highway”? And did you know that Johnny and Jeff Kazee are huge fans of Squeeze?

It isn’t just about Southside Johnny; it’s about a group of eight people who are very good at what they do – take a bow Jeff Kazee (keys), John Conte (bass), Tom Seguso (drums), Glenn Alexander (guitar), John Isley (tenor sax), Chris Anderson (trumpet) and Neal Pawley (trombone) – and to enjoy every minute of it. They can all sing, so the harmonies are spectacular, and they’re a band, not eight individuals (don’t take my word for it, read Jay Lustig’s just-published interview with the man himself).

Now if you come to a Jukes show expecting a carefully-choreographed run-through of the same songs they played last night, and the night before and so on, you came to the wrong show. The audience at a Jukes show expects to be surprised, they expect randoms (though I bet not too many expected “I Wanna be Sedated”) and they want the thrill of not knowing what’s going to happen next. Hell, most of the band don’t even know that. And what they got, from the piano intro and horn riff of “Love on the Wrong Side of Town” was about 135 minutes of old songs, new songs, Lyon/Kazee songs, Little Steven songs, covers, blistering solos from the horns, guitar and keys and just enough quiet moments to offer a contrast to the power of the rest of the set.

And standouts for the night? Well, they hit the ground running with punchy versions of two early classics, “Love on the Wrong Side of Town” and “This Time It’s for Real” and then time-warped forward forty years to “Spinning” from “Soultime” and for over two hours it was a roller-coaster; all killer, no vanilla. You wanted blues; you got it. You wanted soul; you got it. You wanted rock; you got it. You got a singer who’s been in the business over forty years and still wants to go out every night and give every audience a unique experience aided and abetted by the best band in the business. It really doesn’t get any better than that, and every UK gig now is a bonus; make the most of it. Ladies and gentlemen, I give you Southside Johnny and the Asbury Jukes – living legends.

You can see the photos from the gig here.

Johnny ScrollerNow listen up, because I’m only gonna say this once; well, this year anyway. You have one, and only one, chance to witness the musical phenomenon that is Southside Johnny and the Asbury Jukes live in the UK this year. Sorry to anyone living outside the home counties, but this one’s in London, at The Forum on Thursday June 22. Now, go on, ask me why you would want to see (and hear) Mr John Lyon and his soulful/bluesy/funky/rockin’ rebels? It’s easy; they are dynamite live, with years of experience behind them, and a lot more in front of them. But why are they so good? Well, it all dates back to the Jersey shore in the early seventies. If you’ve read Springsteen’s excellent autobiography, you might have noticed the name Southside Johnny crop up once or twice.

They played in the same bars on the Jersey shore and they learned the same lessons. You had to be good and you had to work hard; five sets a night wasn’t uncommon. It’s a philosophy Bruce, Johnny and Steven Van Zandt (Little Steven or Miami Steve) share; get the best musicians you can and work them hard every night. If you don’t, then good musicians get bored and fractious. So the E Street Band and The Jukes play long sets where the written setlist point roughly in the direction of the actual set. Both singers like to throw the band curve balls to make sure the attention doesn’t start to drift; Bruce picks requests from placards in the crowd and Johnny calls the tune that he thinks continues the journey best. With a huge back catalogue of great songs written by Springsteen, Little Steven and Johnny himself (along with keyboard player Jeff Kazee) and the odd cover, the band never plays the same set twice. You might get lucky on the night and hear an a cappella version of “Walk Away Renee” (or at least part of it) that will stop you in your tracks, or you might hear a horn solo suddenly morph into full-blown New Orleans jazz. You might hear bass player John Conte sing “Tutti Frutti”; you just never know.

And that’s why Southside Johnny still has a fanatical following in the UK; you go to a Jukes show with only two expectations; you’ll be entertained by great musicians and you won’t know what’s coming next. And those expectations will be met, and surpassed, every time. It’s real songs, real instruments, no autotune, no sneaky recorded fill-ins or ‘vocal reinforcement’; it’s for real. You can find out just how good they are at The Forum on June 22. See you down at the front.

And, in a bit of breaking news, Southside’s new vinyl EP “Live from E Street” made the Billboard Blues Album Chart last week at #10.

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-stevenLittle 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

02-eleanorI’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

pete-wylieAs 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

Martin Harley scrollerRewind 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

08-michaelI 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.

High Fives? Is it that time already? Another year gone, loads of gigs attended and some pretty good pics, if I say so myself. Looking through this year’s galleries, it’s really obvious that it I have to claim two entries for the feature again, one for male artists, one for female; well, they do it at the Oscars, why shouldn’t MusicRiot do it as well. So, in no particular order, here we go. Click on any of the thumbnail images to expand the photo.

Southside Johnny @The Picturedrome, Holmfirth April 2016

05) JohnnyThis is dedication to the cause. I’ve been a fan of Southside for a long time. Only two gigs in the UK in 2016, and one of those on the day I flew back from Thailand. That was never going to happen, so I went for the next best thing, the following day in Yorkshire. Jet-lagged and bone tired, I drove 250 miles to the gig and then the same distance back home but in a snowstorm. No photo pit at the gig and (very unusually) some very uncooperative punters (and I’m very polite, before you ask). So, not the best position, but I was pretty chuffed with this attempt at giving Southside a blue rinse. See the full gallery here.


Crispian Mills (Kula Shaker) @The Roundhouse February 2016

03) Crispian MillsIn February of this year, I discovered that Riot Squad favourites Black Casino and the Ghost were supporting Kula Shaker on a European tour that included a gig at The roundhouse in Chalk Farm, a venue I’ve never visited; before you could say ‘Photo pass’, I was there, in a very busy photo pit which was actually very civilised (no dailies represented obviously). The stage lighting was up to eleven during Kula Shaker’s set creating some really contrasty situations which were crying out for black and white treatment. This is one of those. See the full gallery here.


John Fairhurst @The Borderline October 2016

01-john-fairhurstIt was a lovely surprise to discover that John was supporting The Eskies in London on their tour to promote their first album. I’d seen John before at Rich Mix in Shoreditch with his electric band, but this gig was a solo stint with a resonator and stompbox. Electric or acoustic, it really doesn’t matter, he’s equally convincing either way, and well worth seeing. Having photographed John before, I was looking out for facial expressions and watching his hands. This time the hands won. Having a chat later, I discovered that John and The Eskies (also very good) were old friends from a time when they used to busk in Dublin. See the full gallery here.

David Ryder Prangley (Sister Witch) @ The Unicorn, Camden July 2016

10) DavidSister Witch is an alt-London supergroup featuring DRP, Lux Lyall and Lilygun members Anna Christina and Belle Star, so this was a great night to meet up with some musicians I hadn’t seen for a while. It’s fair to say that each member of the band is worth photographing in their own right, but the honours on the night went to David, strutting his stuff with a six-string instead of a bass and looking every inch the underground legend that he is. This is someone that doesn’t need to play a part; he is a rock star. See the full gallery here.


Gareth John of Stone Foundation @Under the Bridge, Chelsea May 2016

07) Gareth JohnIt’s sometimes a huge advantage as a photographer if you know the songs well. I love Stone Foundation and I’d go to Chelsea to see them, even if I’m normally with Elvis Costello on that one. It’s a bit of a hike home from Chelsea, so I’m normally poised at the bottom of the stairs at UTB, waiting for the dying notes of the encore before I peg it over to Fulham Broadway to jump on the Tube. As the second encore started, trumpet player Gareth John and keyboard player Ian Arnold emerged from backstage and I knew that they were about to play “Old Partners, New Dances”, a smoky (and very short) jazz instrumental and Gareth would take centre stage, playing a flugelhorn, which somehow makes it even more romantic. I just managed to get a camera and lens assembled as the song started and was rewarded with this. As my Dad used to say ’Never take your eye off the ball’. See the full gallery here.