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Visconti/Woodmansey/Gregory, Norwich Arts Centre, 17th June 2015

Tony Visconti (bass)
Mick “Woody” Woodmansey (drums)
Glenn Gregory (vocals)
James Stevenson (guitar)
Paul Cuddeford (guitar)
Terry Edwards (12-string guitar, saxophone, percussion)
Berenice Scott (keyboards)
Lisa Ronson (backing vocals)
Jessica Lee Morgan (backing vocals)
Hannah Berridge (backing vocals, keyboards)

Philip Rambow (vocals, guitar)

Jessica Lee Morgan (vocals, guitar)
Chris Thomas (bass)

Norwich Arts Centre
51 St. Benedict’s Street,

TheManWhoSoldtheWorldReleased in the very early 1970’s (November 1970 in the U.S. and April 1971 in the U.K.) by Mercury Records, David Bowie’s “The Man Who Sold The World” album was his third studio recording and the musicians involved were, essentially, the buildng blocks of the “Spiders From Mars”, made famous on that other classic Bowie album (with a need to be specific here as they are all classics in their own right – in my opinion of course!!!) “The Rise and Fall of Ziggy Stardust and the Spiders from Mars”. “The Man Who Sold The World” saw Bowie departing from his previous album’s (“Space Oddity”) more folkier leanings and presenting a seriously heavier suite of hard rock songs that is deemed to be where the David Bowie story really started, and some say, spawned a new cult of music – Glam Rock (it can be argued that Marc Bolan started the Glam thing, but that’s a discussion that’s not for here). With it’s political-ish/sci-fi-ish/Lovecraft-ish lyrics, rock guitars and tight production, it cast the mold for successive Bowie albums, a template for what was to come.

“The Man Who Sold The World”, interestingly, didn’t enjoy the kind of commercial success in the U.K. that it did in the U.S. despite reasonably favourable reviews from the music press of the time, there were no singles released from it and the album was never played live at the time of it’s issue. All that said, and taken into consideration, it is often cited as being one of Bowie’s finest albums and influenced a new generation of bands such as Siouxsie and the Banshees, The Cure, Gary Numan, John Foxx and Nine Inch Nails.

Jumping into our musical time machine and forwarding ourselves to 2014, the album’s producer and bassist Tony Visconti and drummer Woody Woodmansey, joined forces with Woodmansey’s Holy Holy, Heaven 17’s Glenn Gregory and an ensemble of high calibre musicians to play a small U.K. tour performing “The Man Who Sold The World” album in it’s entirety and throwing in a few Bowie songs from the same era. It was very well received and so in June 2015, Visconti, Woodmansey, Gregory and crew once again took to the road on a lengthier tour of the U.K., and yes, you’ve guessed it, this review covers their appearance in the fine East Anglian city of Norwich on the 17th June.

The venue for tonight’s performance was the Norwich Arts Centre, a small, independently run venue with charitable status, sited close as it is, to the centre of Norwich. The NAC is located in a converted church (originally called St. Swithin’s, built in 1349 and with many of it’s original features still intact) and has an auditorium that can hold both seated and standing events. Considering it’s size, it hosts a surprisingly diverse and vibrant mix of live music, theatre, live art, comedy and live literature, actively supporting creativity and creating opportunities for the development of new talent. There is also a highly cultural mix in their programming, offering as they do a wide range of presentations that cover rock and pop, world, jazz and folk music, alongside rising comedy stars, performance opportunities, children’s theatre and creative workshops. It has a very intimate, but engaging atmosphere and creates a cool feeling of involvement when watching a performance, such is the close proximity to the stage.

The support for the evening consisted of two half-hour performances from Philip Rambow and Jessica lee Morgan.

viswoodgregnac17615-16Canadian singer/songwriter Philip Rambow quietly came to the stage for a one man and his guitar performance – and what a performance. The quality of Philip’s set comes as no surprise when you take into account his background, his original U.K. band, The Winkies, influenced The Clash and he has collaborated with the likes of Kirsty MacColl, Brian Eno, Mick Ronson (a name that will surface again in the coming paragraphs) and Ellen Foley, in a career that has, according to Philip’s website, been an “eclectic and exciting musical journey”. His style of a cross-fusion of rock and folk really worked well in the context of the headline act with good songs and a great voice.

viswoodgregnac17615-19Next up was Jessica Lee Morgan. And what an interesting lady she was too. The daughter of Tony Visconti and singer Mary Hopkin, Jessica was joined on stage by bassist Chris Thomas, effortessly performing a memorable collection of acoustic folky songs with sincerity, a smile and an obvious passion for what she does. All in all, quite delightful. Jessica later joined the headline act as one of the three backing vocalists.

The turnaround between the support acts was quick, so there was no lengthy waiting and this continued through to the headline act. A few restrained bars of classical music (it sounded like Beethoven) played as the band came on stage, picked up their instruments and played their hearts out for the best part of two hours. The line-up was what one could only describe as high calibre and as impressive as the evening’s performance. It was also a line-up that was definitely something of a family affair, as you will see!!! Up front was lead vocalist Glenn Gregory (lead singer with Heaven 17 as you probably already know if you follow this website), on guitars viswoodgregnac17615-6were Paul Cuddeford (who has played guitar with Sir Tom Jones, Sir Bob Geldof, Ian Hunter, McFly, Cat Stevens and Paul Young to name but a few) and James Stevenson (having played guitar with amongst many others Chelsea, Gen X, Gene Loves Jezebel, The Alarm, Kim Wilde and The Cult). On bass was the legendary producer Tony Visconti who, alongside producing artists such as Marc Bolan and T-Rex, The Moody Blues, Ralph McTell, Sparks, Thin Lizzy and the Kaiser Chiefs, also produced and played bass on “The Man Who Sold The World” album  as well as producing much of the rest of David Bowie’s catalogue. On drums was Mick “Woody” Woodmansey, who played on a number of David Bowie’s earliest albums and, along with guitarist Mick Ronson, was a member of the original Spiders from Mars who backed David Bowie on the corresponding album and subsequent tours. And speaking of the late great Mick Ronson, he was very well represented by his daughter Lisa Ronson and niece Hannah Berridge on backing vocals (Hannah also playing keyboards), alongside Jessica Lee Morgan (Tony Visconti’s daughter – see, I told you it was a family affair). On 12-string guitar, percussion and saxophone was the very talented Terry Edwards (worked with PJ Harvey, Nick Cave, The Jesus and Mary Chain, Department S, Lydia Lunch, Tom Waits, The Blockheads and Hot Chip) and on keyboards was Berenice Scott (keyboardist with Heaven 17 and daughter of Robin Scott who enjoyed success with the iconic “Pop Muzik” in 1979 under the moniker of “M”). A line-up such as this carries a lot of promise, and let me tell you before I go any further, that promise was delivered, and then some.

viswoodgregnac17615-22The evening’s performance was basically split into two, the first half being the tracks that made up “The Man Who Sold The World”, performed in the same order as they were on the album. So, things kicked off straight away with “The Width of a Circle”, played fatihfully to the original with the feel and spirit of a Bowie performance, not least because of Paul Cuddeford’s guitar. And Glenn Gregory had this audience on side from this first song, his interpretation spot on because he sung it, as he did the rest of the set, as Glenn Gregory and not David Bowie, something that people I spoke to after the gig really felt was a massive plus for the evening. Following this was “All the Madmen”, deliriously performed by Glenn, capturing the lyrically manic nature of the original and a splendidly crunchy rendition of “Black Country Rock”. “After All” was perfectly handled, the near-gothic weirdness of the original captured with Glenn’s vocal hitting that “on the edge” feel, one of a number of highlights for this reviewer. I was impressed with Glenn Gregory’s note perfect handling of “Running Gun Blues”, singing rock vocals was something I had never really considered hearing from him, but tonight was an eye-opener in the most viswoodgregnac17615-23positive sense. “Saviour Machine” was one of a number of tracks that I had been looking forward to hearing, being a fan of sci-fi (the song is about machines controlling society etc). It’s a complex piece with time signatures and chord structures that challenge the listener and the performer alike, so it pleases me to say that it was right on the money. Another song that really suited Glenn Gregory’s vocal – again I have to emphasise that he did not perform it in any way as a kind of Bowie tribute, but as himself. The next track was “She Shook Me Cold” – another highlight for me. Guitarist James Stevenson really blew the whole thing onto another level with his Ronson inspired solo during this song, throwing himself into it with much harmonically screaming gusto – I was standing in front of him at the time and it was seriously top drawer stuff. And then the title track. Another highlight. Glenn Gregory’s performance, stage presence and vocal intonation (that again did NOT copy Bowie) really made this song stand out for me, as well as the ethereal backing vocals from the Ronsonettes or perhaps Viscones, they didn’t quite decide on what they were called. The last song on the album and for this part of the set was, of course, the fabulous fabulous fabulous “The Supermen” (yes I like this song), gloriously and shamelessly Lovecraft throughout. And it was brilliantly performed by everyone; Glenn captured the maniacal edginess of the viswoodgregnac17615-28original (still not being Bowie, but being Gregory), the guitarists relentlessly drove it forward, Tony Visconti’s insistent bass provided a solid underpin, Woody Woodmansey worked it like a demon and the backing vocalists sold the near operatic backing. A really cool ending to this first part, a small group of people close to where I was standing enthusiastically claimed it sounded better than the original. Me? I could have listened to it all over again, along with the rest of this part of the evening. “The Man Who Sold The World” was a tragically under-rated album, it was where Bowie found his voice and everything fell into place for the Ziggy Stardust era. Tonight’s ensemble gave it new life and made a 45 year old collection of songs sound fresh whilst still staying true to the original arrangements.

But it wasn’t over.


Not by a long chalk.

We now went into a kind of “greatest hits” of the 1969-1974 Bowie era with, it seemed at one point, a lot of emphasis on “The Rise and Fall of Ziggy Stardust and the Spiders from Mars” album – and why not, it’s another Bowie classic (perhaps even another tour?). “Five Years”, “Soul Love” and “Moonage Daydream” exploded from the PA, hands were in the air and the audience was singing-along-a-Glenn, the already electric atmosphere turned up a notch. Another highlight followed in the form of a medley comprising “Wild Eyed Boy from Freecloud” (from the “Space viswoodgregnac17615-36Oddity” album), “All the Young Dudes” (the audience nearly drowning out the band with “that” chorus and in my opinion, much better than the Bowie/Mott the Hoople versions) and “Oh! You Pretty Things” (from “Hunky Dory” and showing again how tight the band was). Then another highlight – Lisa Ronson taking lead vocals on “Lady Stardust”. Her vocal was perfectly suited to the song and it was quite an emotional performance. Glenn Gregory returned to the stage and introduced a very interesting young lady called Vita Ross (from up-and-coming electro-pop/rock band Vita and the Vicious), before they performed a positively blinding rendition of “Watch That Man” (from the “Aladdin Sane” album). Vita gave a very assured and confident performance, positively sizzling and clearly enjoying every single moment of her time on stage – and with that line-up who wouldn’t!!! The chemistry between Glenn and Vita was electric and with it possibly being something of a one-off, I for one, was very glad to have been there to enjoy it – the viswoodgregnac17615-38response from the crowd was nothing short of positive and I heard a lot of good things being said about Vita – a nice one for young lady’s CV methinks. The opening bars of “Life On Mars” (from “Hunky Dory”) brought the place down and we all had no choice but to join in, once again giving the band a run for their money in the volume stakes, the nostalgia factor running high on this one before we got another highlight. “Ziggy Stardust”. As soon as that guitar riff played and Glenn Gregory “oooh’d” before singing that classic first line……”And Ziggy played guitar, jamming good with Weird and Gilly and The Spiders from Mars”, the Norwich Arts Centre became a place of pure time travel as we experienced 1972 in 2015 – I found it interesting that this song, along with pretty much the whole of the rest of the set, didn’t sound dated unlike many other songs from the 1970’s and other eras such as the 1980’s, interesting in that these arrangements were the same as the originals and not re-hashed to suit modern tastes/styles etc. Obviously this is why these songs are true classics as they are proving quite timeless. Anyway, I’m digressing. The nostalgia vein continued with another crowd pleaser in the form of “Changes” – that opening piano/string phrase never sounded so good. This was another iconic Bowie song that Glenn Gregory, again, made his own, his stagecraft as well as his vocal undeniably good. And yes, we all j-j-joined in with the chorus. After this, Glenn informed us that this was the point at which they would normally go off stage whilst we, the attended throng, would shout, yell and clap for more and they would return with a couple of songs to finish the evening off. However, the Norwich Arts Centre isn’t a big place and the area to which they would go whilst we shouted, yelled and clapped, was quite small and would take too long to do. So, he told us that they would turn their backs to us whilst we shouted, yelled and clapped for  more, and if it was loud enough, they viswoodgregnac17615-14would turn around and do another couple of numbers. So, they turned around with their backs to us. We shouted. We yelled. We clapped. They turned around then started with perhaps the most emotionally charged song of the night, “Rock and Roll Suicide” from the “Ziggy Stardust” album. Closing in on two hours, Glenn Gregory’s voice wasn’t faltering, something I picked up on when I saw him with Heaven 17 a couple of weeks back. Another crowd pleaser with hands in the air, the audience singing at some volume and the immortal line of this song, the screamed “you’re not alone”, was probably heard in Wales. The last two songs came in the form of a medley. First up was “Time” (from the “Aladdin Sane” album), executed with precision and capturing the fabulously manic feel of the original, providing the perfect lead into the final song of the night. The guitarists kicked it off with Terry Edwards’ persistent sax adding to the tension before Glenn Gregory launched into “Suffragette City”. It was raw, dirty, aggressive and full on, the volume cranked up to 12 and no prisoners being taken. I bloody loved it. And I just don’t know that any other song could have finished off this incredible evening of music. Talk about “wham bam thank you ma’am”!!!


Okay, I’ve waxed very lyrical in this blow-by-blow account of the set, which is all very well, but I feel a certain responsibility to explain why I was so impressed by this gig. For one, great support artists that had connections with the headline act and performed music that provided the right kind of pathway to the final destination. Secondly, an ensemble of revered and highly talented viswoodgregnac17615-9professionals, all connected and all pulling in the same direction. Thirdly, this wasn’t a cheap tribute act, this wasn’t about a group of aging musos trying to recapture/cash in on past glories and this wasn’t a gig that was trying to pretend that it was anything other than what it was – this was a group of seasoned professionals playing timeless songs their way whilst keeping to the original arrangements. And lastly, my three-part equation to the secret of a successful gig – style, performance and presentation. These are three things I will always bang on about, because I genuinely believe that to miss just one of these, which I have seen so many newer, as well as established, bands doing, leaves a gig wanting. Tonight, the style was there – these people looked good, plain and simple. The performance was without question the whole way through. Of note were Glenn Gregory (naturally) who has a certain stage presence that demands you look at him and he carried off viswoodgregnac17615-3the songs like they were his own; guitarists James Stevenson and Paul Cuddeford giving it good with their performances, both of them throwing the kind of the shapes (I swear I will soon have Tim Dorney charging me royalties for that expression!!!) you want to see from a rock guitarist; Tony Visconti playing it cool throughout, yet throwing the shapes when you least expect it; the one song appearance of Vita Ross who came a little bit close to stealing the show, she was loving it, it showed; and of course, Woody Woodmansey, every inch the rock drummer and completely at one with his drum kit throughout the evening. And so to the third part of my gig formula – presentation – this was a show with no flashy lights or video backdrops (not that there’s anything wrong with flashy lights and video backdrops), this was a show that relied completely on the music and the artists. It scored on both points – lights and video weren’t necessary. But the one thing really that stood out for me most of all and that was very apparent all the way through the evening, was that these people were really enjoying what they were doing – they smiled, they laughed and they got into the music, unafraid to let it show – that’s seriously infectious stuff.

So, another fantastic evening of quality music, professionally presented and expertly executed. I was fortunate enough to have a quick chat with Glenn Gregory just before he went on stage. I said that “The Man Who Sold The World” was one of my favourite Bowie albums, and he laughed telling me that he didn’t want to hear that because of expectations, well Glenn, no need to worry, from the people I spoke to after the gig, it’s fair to say that their expectations were exceeded. I also asked him how he felt the tour was going at this stage, of which he was very positive, telling me that he was enjoying it all and that he felt it was a great show. Well I have to disagree, it isn’t a great show, it’s a fantastic show, and you need to go and see it if you can.



Concert Images (courtesy of Neil Fellowes Photography):
Visconti/Woodmansey/Gregory and support

Heaven 17, The Waterfront, Norwich, 29th May 2015

Heaven 17:
Glenn Gregory (vocals)
Martyn Ware (synthesizer, vocals)
Berenice Scott (synthesizer)
Billie Godfrey (backing vocals)
Rachel Mosely (backing vocals)

Chris Pidgeon (vocals, guitar)

The Waterfront
139-141 King Street

h17wf29515-20Way back in 1980, during a rather routine music lesson at school, the teacher (a somewhat delectable soul called Daphne King) introduced us to the music of The Human League (in the dim and distant days when they were the “proper” League – i.e. no out of tune girls). Most of the class quietly died from lack of interest and/or teenage angst (yes, we had teen angst back in 1980 – it’s nothing new). However, a small core of us sat up and actually took notice. The album was “Travelogue” and the track that the lovely Mrs. King had chosen for us to listen was “Dreams of Leaving”, a curious sequence driven piece, almost but not quite Tangerine Dream, European sounding but at the same time very British. I was already into the EM thing, wooed as I had been by the likes of the afore-mentioned Tangerine Dream, Kraftwerk, Jean-Michel Jarre, Isao Tomita, Walter/Wendy Carlos and the recently emerged solo offerings from John Foxx, but this amazing piece of the purest English electronic music captured not just my attention, but also my imagination and musical soul. And just as I got the League sound in my hormone saturated blood, two of the founding members, Martyn Ware and Ian Craig Marsh only went and bloody well left the band!!! As history has recorded, singer Phil Oakey and visualist Adrian Wright went on to recruit “the girls” and we had the album “Dare” which was basically great. I loved it, no really, I did (I even went to see them at the Ipswich Gaumont in December 1981 and they were really good), but for me the “new” League lacked the sound that I had found in both “Travelogue” and the debut album “Reproduction”. Anyway, I have seriously digressed. Martyn Ware and Ian Craig Marsh went off to set up a new outfit called Heaven 17 (the name taken from a fictional pop group mentioned in the classic Anthony Burgess tome, “A Clockwork Orange” – if you haven’t read it, read it, it’s frighteningly prophetic) and a production company called the British Electric Foundation. Through the 1980’s they enjoyed a modicum of success with tracks such as “Let me Go”, “Crushed By The Wheels of Industry” and the seminal classic “Temptation” which featured the wonderful vocals of session singing favourite, Carol Kenyon. The 90’s were a much quieter time with the band members seeing themselves in h17wf29515-17various roles working with other artists, not releasing anything new as Heaven 17 until 1996 and playing their first live shows a year later (interestingly, the very first H17 gig was at the Waterfront in Norwich, the scene of this here review!!!) and it was at this time that the very talented vocalist Billie Godfrey started working with the band. Ian Craig Marsh left Heaven 17 in 2006-ish to return to university. Heaven 17 have been something of a regular feature on the gig circuit, developing and maintaining a solid reputation for their shows, joined in 2011 by keyboardist Berenice Scott (her dad is none other than Robin Scott, better known as M, who had a massive hit in 1979 with “Pop Muzik” – small world huh?) and in recent times by Rachel Mosely on backing vocals.

So, to the venue itself. This was my first visit to The Waterfront in Norwich (I’ve only lived in Norwich for 10 years!!!), situated as it is in King Street not far from Norwich’s busy city centre and Riverside leisure development. It has a 700 person capacity and is a standing only venue. It was originally built as a venue for local musicians to play in, however, after a few years, it suffered significant financial difficulties, finally failing in 1993. It was at this point that the Union of UEA Students approached the local council with an offer which was duly accepted and it’s safe to say that it has gone from strength to strength, playing host to some major music acts from around the worlds of pop and rock in the time since. The Union Of UEA Students still support local musicians, regularly holding events at which bands (and individuals) from the area can perform at. It’s quite an intimate place and I can see why it’s popular with audiences and musicians.

The evening was quite lovely with a late Spring sunset washing the venue with a warm light, the lighter evenings making for quite a lovely riverside scene and the prospect of some good live music ahead. My photo pass was ready waiting for me a the box office (huge “thank you” to Marc Wiles for that) and the staff were really friendly. Being a regular at other venues, particularly Epic Studios, I’ve come to know some of the security personnel, so it was nice to exchange “hello’s” and “how are you’s” with the guys who keep the venues safe for the rest of us, they have a tricky job and are often un-necessarily criticised by many, so I will always make a special mention for them.

h17wf29515-7Opening was a local muso in the form of singer/songwriter Chris Pidgeon – one man and his guitar playing a nice blend of acoustic rock with folky elements thrown in, some very strong Damian Rice influences in there. His songs are all about growing up, playing in bands, the joys of work and most recently about becoming a father, with clever lyrics that are easy to relate to. I really liked his voice, perfect for the cool material he was playing, strong without being harsh, smooth without being insipid. His half hour set came to an all too quick end, I could have happily listened on, he was that good. It’s always really good to see a strong support act and hopefully, the days of the major acts fielding below average bands with bad sound mixes are now far behind us. Keep an eye out for Chris, he’s well worth going to see performing.

Absolutely bang on time, it was the turn of Heaven 17.

The crowd was instantly engaged when the immortal words “well in just a few moments we’re off to Hawaii to join Steve McGarrett and the team for tonight’s adventure……” thundered out over the PA and the Human League classic, “Circus of Death”, pulsed us into the world of H17.

h17wf29515-2The line-up comprised of Martyn Ware and Berenice Scott on a pair of Roland V-Synths with Billie Godfrey and Rachel Mosely on backing vocals. Lead singer Glen Gregory appeared from stage right, tall and imposing, watching out over the audience with the most intense of stares before launching into the song with his commanding vocals – I read somewhere that he was to have been the original lead singer of The Human League but was unavailable, in these first few minutes of the H17 set, I saw why he was the first choice. This was a powerful opening, H17 took charge and we were basically theirs for the remainder of the set.

All too quick this first track was done, the Gregory smile came into play and we moved into “(We Don’t Need This) Fascist Groove Thang”. Real high energy stuff with the essence of the 1980’s sound wonderfully captured, but not coming across as dated. Looking at the audience, they were already up with it and feeling the groove, and Billie Godfrey’s bluesy vocal really added to the atmosphere. The pace didn’t let up, as soon as “FGT” finished, a small amount of great on-stage banter and straight into “Crushed By the Wheels of Industry” – a great live track allowing for audience participation and hands-over-heads handclaps a-plenty.h17wf29515-28The pace softened slightly with a great rendition of “Geisha Boys and Temple Girls”, the opening synth sequencing beautifully realised by Martyn Ware, followed by another crowd favourite, “Come Live With Me”, one of the evening’s many highlights as it showed the strength of Glenn Gregory’s voice with it’s meandering melody line. And then, perhaps my personal favourite of the evening, was the track that I didn’t see coming. Martyn Ware using the D-Beam facility of the Roland V-Synth to control the synth with hand movements rather than the keyboard and a small delicate sequence that heralded the start of “You’ve Lost That Loving Feeling”. Martyn came out from behind the synth to join Glenn in a truly excellent duet, great harmonies throughout, playing the audience with banter and singing to one another (!!!). Fabulous.h17wf29515-11

“Pray” and “Dive” (and NOT “Dave” as someone had apparently thought it was called, according to Mr. Gregory) followed with great vocals from Glenn once again before the pace picked up once more with the brilliant “Sunset Now”, another personal favourite H17 song which came across  brilliantly live and once again demonstrating in performance how tight and solidly together Heaven 17 are as a live act. The up-beat tempo and fun element continued with the H17 single “Play to Win” – and another crowd pleaser it was too, great tempo and great vocal performances from all. Next up was perhaps my own personal favourite H17 song, “Let Me Go”, which sounded as good live as it does on record. Great vocals again, and Glenn’s voice was still sounding spot on this far into the set, not something many other performers of the same era who are on the live circuit can claim to be able to do (having looked at various videos of H17 live on YouTube since, I’ve seen this is a pretty consistent thing – up and coming performers please note this).

h17wf29515-25The penultimate song of the main set was next, a full on rendition of “Penthouse and Pavement”, again that certain 80’s vibe dominating without sounding dated, leading into the song that I suspect everyone was waiting for – yeah, “Temptation”. Billie Godfrey and Rachel Mosley absolutely nailed it good and proper, with Billie taking the principle lead female vocal. Featuring a new ending (according to the printed set list I stole!!!), a dynamite vocal from Glenn and a storming club beat throughout, it did exactly what Mr. Gregory wanted the audience to do – take the roof off. That, I feel with all levels of certainty, happened. I have to say again about Billie Godfrey, because she really belted out pitch-perfect flourishes and leads with that massive voice of hers, a perfect match to Glenn Gregory’s vocal. Audience participation was high on this one with Billie leading the audience over the thundering club beat. A brilliant ending to this part of the set.

The band left the stage and allowed a few welcome minutes to catch the breath before they returned for a two song encore. Now, the first of these was an interesting choice, and quite appropriate considering that Glenn Gregory is about to embark on a tour with acclaimed producer Tony Visconti and drummer Woody Woodmansey, performing in it’s entirety, David Bowie’s “The Man Who Sold the World” album. An absolutely belting version of Bowie’s “Boys Keep Swinging” pounded out of the speakers, Glenn’s voice still strong and easily up to the task. It was a great choice and the crowd loved it (as a side note, I’m hoping to get Review Elektro to the Visconti/Woodmansey/Gregory gig as they are playing in Norwich as part of the tour).


How could this be topped? Simple. Finish with a classic Human League track and leave the crowd wanting more when they’ve left the stage after performing “Being Boiled”. They performed the newer version that was on the “Travelogue” album, and it was the perfect finish to what was a terrific night of live music.

So, once again, another “retro” act comes to town and seriously shows how it’s done. Heaven 17 perfectly lived up to my personal formula for a top class concert, the three simple elements of style, performance and presentation. They oozed style, they looked great and it was clear that looking good was as important as sounding good, too many younger/newer bands I see are not taking this into account. H17 performed and presented their show with the professionalism and ease of a band of their standing and years in the business and lived up to the title of an early BEF release – music of quality and distinction. I’ve not seen Heaven 17 live before this gig, but I had heard many good things about their concerts, so my expectations were understandably quite high.

Those expectations were exceeded.



Concert Images (courtesy of Neil Fellowes Photography):
Heaven 17/Chris Pidgeon

“The Observatory” by The Voice Project, Sainsbury Centre for Visual Arts, Norwich, 8th May 2015

The Astronomy Choir Conducted by Sian Croose

Sianed Jones (soprano)
Sharon Durant (soprano alto)
Sian Croose (alto)
Greg Tassel (tenor)
Jonathan Baker (bass)

BJ Cole (pedal steel guitar)
Joby Burgess (percussion)
Lewis Edney (trombone)
Stephen Saunders (trombone)
Adrian Lever (keyboards)

Music composed by:
Jonathan Baker
Orlando Gough
Karen Wimhurst

Sainsbury Centre for Visual Arts
University of East Anglia

Every once in a while, you come across a performance that simply leaves you completely spellbound, lost for words and wanting more. That was how the performance of “The Observatory” by Norwich-based open-access choir, The Voice Project, at the Sainsbury Centre for Visual Arts as part of the annual Norfolk and Norwich Festival left me feeling. But before I heap every positive noun, verb and adjective I can find upon this truly excellent evening of contemporary modern music, a little bit of background about the project, it’s founders and what exactly it does.

As stated above, The Voice Project is an open-access choral project which offers members a chance to explore the many ways in which to creatively use the voice. It was conceived and brought into being back in 2008 by Sian Croose and Jonathan Baker. Since that time, The Voice Project has brought together literally hundreds of singers, publicly performing amazing new vocal works alongside workshops that aim to create, increase and build upon vocal confidence through the exploration of a whole range of uplifting and inspiring choral/vocal music.

Sian Croose has run choirs  and vocal groups for 25 years, singing on her own and with a cast of thousand as well as creating music projects in the  UK, Ireland and France and being a co-founder of The Voice Project.

Jon Baker is a founder member of alt-rock group, The Neutrinos, as well as being a singer, teacher and composer who has written extensively for TV, radio and theatre. He is also a co-founder of The Voice Project.

The Voice Project is enjoying something of a fast-developing and well-earned reputation for creating beautiful contemporary choral works that are designed to be performed in familiar places that they hope will (and I actually believe, do) inspire their audiences and performers (yes both) to walk through and see these places from a different perspective. As you might imagine, “The Observatory” has a space theme and it was felt that the open spaces, lighting conditions and modernist architectural lines of The Sainsbury Centre for Visual Arts would be the perfect place to give the performance form and inspiration.

So, to the concept of “The Observatory”. According to The Voice Project, it explores humanity’s relationship with space and the gradual attempts to understand and explore it, using the mediums of  poetry, science and music. Aspects such as weightlessness, distance, the unknown, infinity and astronomical geometry all act as parts of the puzzle to bring together this inspired and completely original work.

The three composers (Jonathan Baker, Orlando Gough and Karen Wimhurst) set texts from such sources as the metaphysics of George Herbert and the unbroadcast bulletins about Apollo 11, to name but a few, to a series of musical passages especially written for 150 plus choreographed voices and an ensemble of instruments including a full percussion set and pedal steel guitar.

The actual performance.

I can easily sum the whole thing up before I start. What I witnessed, nay, experienced, on this night was the glorious meeting of Star Trek with the love child of Ligeti and the Radiophonic Workshop. And yes, it was THAT good. Something I will no doubt say again during the course of this unashamed love-fest for The Voice Project.

vpobs8515-2As my partner was one of the 150-plus Astronomy Choir, I found myself as a member of the audience, supporting her by way of a change, instead of my usual place at the front, in the photo pit and/or lurking around the sides for the duration of the performance. And for this unique presentation, such a thing as “being at the front” was somewhat irrelevant because this was something of a promenade performance. I’ll explain. The audience gathered at a small shed-like construct some 100 metres away from the Sainsbury Centre for Visual Arts (SCVA), and dead on the dot of 9.00 p.m., a voice boomed out welcoming us to the evening and to follow the ushers to the various parts of the performance. We were then guided around seven separate areas of the SCVA whereupon we were able to enjoy that which The Voice Project had to offer. It’s a really cool and very immersive way of doing things, keeping the audience engaged and instilling that sense of “what next?” A major plus point in the originality stakes. So, we were led to one of the walkways that criss-cross the University of East Anglia’s brutalist structures, at the far edge of the SCVA, and we walked the twilight path towards the site of the first piece to be performed (called “As Dark As Light”), the choir were lined up alongside the outside of the SCVA, all holding small blue lights, which I took to be stars. When we reached the walkway, we could see the silhouettes of other choir members along the said walkway above us – standing like silent sentinels in the half-light. And then a light came up as the singing began and the performance took off.


We moved to the rear of the SVCA where we found another smaller choir, soloists and a chromatic percussionist (mainly vibraphone) ready waiting for us, blue lights scattered across the  grass and members of the company dotted about, standing statue-still and holding blue lights. It was a fantastic effect. They performed “Donne the Spaceman”, beautifully contemporary and blending so many influences from the kitsch TV soundtracks of the 1960’s and 1970’s (for me it was the original “Star Trek” and “Planet of the Apes”) to the curious musique concrete oft heard in the science programs of the era.

vpobs8515-7From here we were led into the ultra-modernist surroundings of the SCVA itself, the exhibits covered in white cloth and the wonderfully ethereal tones of the pedal steel guitar, played with perfect beauty and restraint by BJ Cole, as we took our places ready for the next part of the performance. As I looked around, I could see already waiting for us, across a high-up walkway, down a spiral staircase (where I spotted my good lady in a white lab coat) and forming a kind of a semi-circle around us audience types, what I thought was the full Astronomy Choir, all of whom were stood statue-silent. But no, as the next part of the performance started, a distant choir down the far end of the SVCA started to sing, before they all began the utterly beautiful “The Lakes of the Moon, leading into gloriously contemporary spoken word/choral piece “The Unknown Knowns”, then the amazing “Orbit” before the final piece for this section, “We Are Listening”. These four pieces ranged from beautiful to surreal, from contemporary to experimental, from tonal to dissonant. How could this possibly be topped? I was about to find out.

As the last bars of “We Are Listening” were performed, we were ushered to the next performance area via a series of exhibits that are a part of the SCVA’s current display. What was completely surreal, freaky and totally brilliant was that individual members of the choir were stood at an exhibit each, staring at it whilst whispering unintelligibly. Inspired!!! I loved that effect and couldn’t hide an appreciative grin – this was proper performance art.

vpobs8515-1Through now into the middle section of the SCVA. Instrumentalists and soloists at the front (can’t really comment on that bit as I couldn’t see a thing, but no matter), and the choirs appearing on two balconies that flanked either side of this section. The next part was for me, the high-light of the evening. This was where I found my personal definition of sublime, a suite of music so incredibly intense and rich in form and texture that passing out may have been the only other option. Dramatic percussion, avant-garde brass, inspirational readings and then the Ligeti inspired section. If I never see another concert or arts performance again, I will always have that Ligeti section. György Ligeti was a Hungarian composer of contemporary classical music, described as one of the most important avant-garde composers of the mid-late 20th century, and seen as one of the most innovative and influential progressive figures of his time. Most  people will probably recognise his work from the Stanley Kubrik film adaptation of “2001: A Space Odyssey”, which includes excerpts from four of his pieces, these being “Atmosphères” (the StarGate sequence with portions heard in the Overture and Intermission), “Lux Aeterna” (the moon-bus scene en route to the TMA-1 monolith), “Requiem” (the “Kyriewas used when the monolith appears), and an electronically altered version of “Aventures” (in the cryptic final scenes). Looking at the title of the piece, “The Great Darkness”, I could see exactly what Orlando Gough, the composer of this section of “The Observatory”, was trying to achieve. I hope he was pleased with it because he achieved it. Drama gave way to the most thrillingly sublime micropolyphonic choral music I have ever heard.  A crescendoing cluster of human voices morphing and evolving over a what I really wanted to be an eternity, such was it’s power, presence and intensity, which took me the edge of a great unknown, a truly dark place that ebbed and flowed fear, wonder and yearning. Powerful stuff and worthy of a larger audience. Even the lack of visual stimulus at this point (lighting was, at best, minimal, however I understand this was down to no fault of the organisers, but a result of a number of venue-related issues, the old health and safety chestnut no doubt) could not detract in anyway from the enormity of the delicate wall of sound that surrounded us. My smile grew exponentially.

vpobs8515-6From here we were moved to the opposite end of the SCVA to where we came in. Awaiting us were the choirs, who had silently moved away during the last part of the Ligeti bit to take their places on the balcony and in front of the massive windows, the instrumentalists and the soloists. This penultimate piece was called “A Report” and gave the audience a wonderful blend of sounds from the near operatic tones of the soloists, to the intricate and highly skilled percussionist. Once again, they pulled back the volume and pace, leaving only the soloists singing as the choirs (armed with their blue starlights) moved out of the SCVA, with the audience in tow, for the final and beautiful ending, out on the lawns, and under the stars (something of a special nod to the weather for performing so brilliantly on this evening), lit by three large flaming candles and performing the most lovely reprise of “The Lakes of the Moon” before the singing stopped, the choirs with their little blue starlights, turned away from us and it was done.


I don’t have enough words to commend this performance. I wanted to spend £20 on another ticket for the following evening, but they were sold out (I’m not above a bit of blagging my way in either – I’ll get back to you on that one!!!). All I can say is, if you see that The Voice Project are going to be performing, don’t waste any time thinking about it, don’t umm and ahh, don’t hesitate, delay or procrastinate. Just get a ticket and go.



Performance Images (courtesy of Neil Fellowes Photography):
The Voice Project – “The Observatory”

The Blockheads, Epic Studios, Norwich, Norfolk, 17th October 2014

theblockheadsepic1710140006acopyrightThe Blockheads:
Derek “The Draw” Hussey (vocals)
Chaz Jankel (guitar, keyboards, backing vocals)
Norman Watt-Roy (bass, backing vocals)
Johnny Turnbull (guitar, backing vocals)
Gilad Atzmon (saxophone)
John Roberts (drums)
Seamus Beaghan (keyboards)

Eva Black (support):
Sam Norfolk (vocals, guitar)
Dave Warren (guitar)
Olly Simmonds (drums)
Kev Goff (bass)

Epic Studios
112-114 Magdalen Street

After the less-than-enjoyable experience that was Chase and Status the previous week, I was delighted to have found my musical gate of golden light in the form of the phenomenon that is The Blockheads. On this evening, the consistently excellent Epic Studios played host to a night of excellent music, performed (yes, performed) by proper musicians who were playing proper instruments. No backing tracks, tape sync or computers, actual live performance.

So, here we go.

evablkepic1710140003acopyrightThe support were a local outfit called Eva Black. And mighty fine they were too, playing some excellent alternative rock to get things warmed up, a good tight, polished and clearly well-rehearsed set. Sam Norfolk did an excellent job on lead vocals with some very strong guitar work from Dave Warren. Checking out their Facebook page, they do seem to be regular performers in and around the area, so if you get a chance to see them, do so, I don’t think you’ll be disappointed.

And so to our main act. The Blockheads.

theblockheadsepic1710140021acopyrightMistakenly, when you talk about The Blockheads, the first thing you kind of think of is Ian Dury and quite likely, “Hit Me With Your Rhythm Stick”. That’s great as far as it goes, and whilst Ian Dury was, without any doubt, one of the finest lyricists of his time, his “sound” was that of The Blockheads. And this evening’s performance sealed the deal for me on that one. Personal opinion, but there you go.

It all kicks off when Derek “The Draw” Hussey walks up to the mic, and says “we are The Blockheads and we sound like this……” and we get to hear exactly what The Blockheads sound like – slick, professional and tight. I’ll confess that I’ve never seen The Blockheads live,  with or without Ian Dury, but loved the music and have all the albums (including their very latest one “Same Horse Different Jockey” released in 2013 – get it!!!), so this evening was a real icing on the cake experience for me.

theblockheadsepic1710140010acopyrightDid it matter that Ian Dury wasn’t front-manning it all? No. “The Draw” is about as good as it gets for a band of The Blockheads stature and prowess. He didn’t try to be Ian Dury, he didn’t try to sing like Ian Dury and he didn’t try to make you think he was trying be or trying to sound like Ian Dury. He looked and sounded the part of the perfect front-man for a band of this nature, presenting the persona of a retired hippy wide-boy with long silver hair and beard to match, Ray-Ban style sunglasses (later changed to a circle-rimmed pair with laser etched peace symbols), the gravelly London twang and perhaps the only truly discernible nod to Mr. Dury, was a white scarf that he hung over the mic stand. I’ve seen him described as Cockney Kris Kristofferson, and yeah, not far wrong. He performed the set with very apparent ease, a wonderfully dry/wry sense of humour and consummate professionalism. This is all adds up to the fact that Mr. Hussey has seriously filled the shoes of the afore-mentioned Mr. Dury, and it shouldn’t really come as any surprise because the gentlemen were good friends and The Draw was Ian’s minder.

theblockheadsepic1710140012acopyrightWe were treated a nicely balanced mixture of newer material (demonstrating The Draw’s more than very acceptable wordsmith skills) and the “classic” songs. Every song was performed with utmost skill, performance and style, all members of the band really giving it their all, not least Norman Watt-Roy, a man who gave his bass guitar more life and character than I’ve ever seen in a bassist and gave pure performance throughout with no let up. These truly are group of  proper musicians, performing a solid fusion of pop, funk, jazz and good old rock ‘n’ roll music that has unquestionably stood the test of time, all of which was genuinely appreciated by the audience, particularly when legendary songs such as “Billiericay Dickie”, “Wake Up And Make Love With Me” and “Clever Trevor” were played. Newer songs such as “Look the Other Way”, “Boys Will Be Boys” and “Undercover” fitted in seamlessly with the likes of “Plaistow Patricia”, “The Inbetweenies” and “I Want To be Straight”.

theblockheadsepic1710140003acopyrightSo, highlights. Tough one as there were so many, but of course we have to look to the more iconic tracks such as “What A Waste” and the dual personalitied “Sweet Gene Vincent” which brought the roof down.  “Sex and Drugs and Rock ‘n’ Roll” and “Reasons To Be Cheerful part 3” never sounded better, as though they were written for live performance alone – sterling vocal work by The Draw on these two. The number that closed the evening was “Blockheads” and again, it gained a whole new lease of life live. But the one song that really stood out for me was “Hit Me With Your Rhythm Stick”. Okay okay, beat me with it now for being so passé, the thing is I really don’t care so get over it, because this song really showed everything that is so fantastic about The Blockheads from the voice of The Draw, the keyboard work of Seamus Beaghan and the guitaristings of Messrs Jankel and Turnbull to the insanely brilliant and frenetic bassings of Norman Watt-Roy and sax work of Gilad Atzmon, at one point the latter was playing two saxes!!!


All in all, a great gig, in a great venue. One slightly dour note was that the promoters had booked The Blockheads into three venues in as many days in less than a 30 mile radius which hit audience numbers markedly – in my opinion that’s bad. Bad for the venues, bad for the band and bad for audiences, perhaps a little more thought should have been applied which would have seen better attendances. However, the sound of Epic Studios was once again fantastic and walking around talking to people, that seemed to be the consensus of opinion with many stating that it would be great to see a continuation of the big name acts using Epic Studios. I echo that completely.



Concert Images (courtesy of Neil Fellowes Photography):
The Blockheads

Chase & Status, Epic Studios, Norwich, Norfolk, 10th October 2014


Chase & Status:
Saul Milton
Will Kennard (in name only)
MC Rage

Dimension (support)

Epic Studios
112-114 Magdalen Street

Okay, I’m going to be up front from the beginning here – I found it really difficult to write this piece because, essentially, I’m not really sure I saw a performance of any kind that I could adequately respond to, and I have genuinely struggled to be as positive as I have in my views. I was told by several people “in the know” that these guys were the “ones to see” and that “they filled stadiums”. And you know, whilst drum ‘n’ bass isn’t my thing, I was actually quite looking forward to this, such was the promise of what I had been told.

casepic1010140003acopyrightAll I saw on this night were two very mediocre DJ sets.

Dimension was the first on and basically, all he did was just stand there playing a load of “tunes” and every now and again, he actually raised his arm in salute. Without wishing to be unkind or rude, I can honestly say that I have seen far more animated and entertaining wedding DJ’s. Ultimately, that was it and all that I can really say is that it was dull, lacklustre and boring.

Anyway, keep an open mind I thought, the main act will obviously show why the tickets were the price they were and why Chase and Status enjoy the success they do.

Oh dear.

casepic1010140015acopyrightI sat through the most cumbersome and monotonous conveyor belt of played-out, done-to-death beats ever, with some bloke (I had to assume he was the much revered MC Rage, these guys were obviously way too cool to make introductions of any kind) prancing around the stage shouting “Chase and fucking Status” every five minutes, in between him also shouting “wicked” (very 90’s) or shouting “Make some noise!” (which thankfully, the attendant crowd did). And, it would seem that Norwich was deserving of only one half of the act, that being Saul Milton (Chase), who was nothing more than a slightly more animated version of the “warm-up” DJ. I don’t know what happened to the other one, I don’t know if he was even there or not as nothing was said. And I’m not really sure what kind of message that gave out to people who had paid good money (£23) for their ticket. When one considers the performances that were witnessed the night before (Public Service Broadcasting, Radiophonic Workshop and Ulrich Schnauss), I can’t help but feel a whole lot of “let down, disappointed and unimpressed”. That said, I want to highlight the real star performers tonight – Epic Studios and their security personnel. They all did an excellent job of organising the crowd, maintaining a great atmosphere and providing an excellent venue, so I think it’s important that they and their security should be praised for ensuring both people’s safety and enjoyment throughout the evening.

casepic1010140021acopyright casepic1010140026acopyright

Okay enough already, let’s finish things and sum this one up: no performance, poor presentation and zero style.

The capacity crowd loved it.

I did not.



Concert Images (courtesy of Neil Fellowes Photography):
Chase and Status

Hazel O’Connor, Open, Norwich, Norfolk, 8th August 2014

Hazel O'Connor live at Open, Norwich 8/8/2014

Hazel O’Connor live at Open, Norwich

Hazel O’Connor (vocals)
Clare Hurst (saxophone, vocals)
Sarah Fisher (piano, vocals)

Tensheds (support)

Bank Plain,

An evening that turned out to be an unexpected delight.

Open, is a relatively new Norwich live music venue, housed in the former regional headquarters of Barclays Bank and comprises two live music spaces, a recording studio, dance studio and media lab. This evenings’ performance was held in the smaller and more intimate “Club Room”, which proved the perfect space for Hazel O’Connor’s set. For it’s size, the sound is very good and visibility of the small main stage is, by and large, quite good from most parts of the room.


Tensheds, Open, Norwich

This most excellent evening of acoustic music kicked off with a genuinely excellent set from one-man-band, Matt Millership, aka Tensheds, interestingly describing himself as “a piano bashing, guitar swinging husky voiced hobo freewheelin’ around the U.K.” – nice. Without fanfare, Tensheds (legend has it that the name came about after hearing a bloke in a pub bragging about the number of sheds he owned) took to the stage, resplendent in velvet jacket and grey woollen Trilby hat blasting off with a boogie number. “Jeepers!!!” thought I, totally didn’t expect that – but you know what, it worked, it was great and it was the perfect start to his set. The set that followed was an amazing showcase of this man’s talent from his rich husky voice to his intricate piano playing and buskeresque piano/voice/harmonica tracks, all carried along with intelligent and clever lyrical depth and sincerity.  The Tensheds set was a carefully blended recipe of blues, boogie, a bit of soul and in places, a little something of a nod to Bob Dylan, and for some that’s not a bad thing. Without doubt, it set the bar for the evening and it really didn’t take long for the audience to be won over. I hope to see Tensheds live again one day, and if you get the chance, so should you. A great choice for a support.

So, once Tensheds had finished wooing us with his unarguable talent, it was time for the lady we had come to see, Hazel O’Connor. A little bit background on Hazel here before I continue. Hazel is probably best remembered for her fantastic performance in the 1980 film, “Breaking Glass” which also starred Phil Daniels (“Scum”, “Quadrophenia” and “Eastenders”) and Jonathan Pryce (“Miss Saigon”, “Pirates of the Caribbean” and “Tomorrow Never Dies”), and for the soundtrack album from the film which went (deservedly so) platinum and peaked at number 5 in the U.K. album charts, and proving to be the most commercially successful aspect of her career. Hazel has continued recording and has a very healthy 19 album  catalogue to her name, the latest being the 2014 release “Here She Comes”, which the current tour is promoting.

And so the time came for the main act. Joining Hazel on stage are two incredible musicians who have worked with her for the last few years, Clare Hurst (Bellestars, Communards, David Bowie) on sax  and Sarah Fisher (Eurythmics) on keyboards.

         hazel98140004acopyright hazel98140007acopyright hazel98140017acopyright

I was immediately surprised by the fact that we were to watch a three-piece and not a band as I had expected. However, from the moment they started, I knew this was going to be quite something and ultimately, the three-piece set up more than worked in my view. The set was a perfect mix of Hazel’s newer material and the anticipated “Breaking Glass” tracks, but this wasn’t an evening of nostalgia. No sir, gone are the post-punk snarling attitudes and fierce coiffure we’re talking little black dress and red head-scarf, all presented with a gloriously jazz/blues ambience and Hazel’s all-encompassing stage presence.

And so to the performance. As mentioned before, the set comprised material from Hazel’s newer work and the iconic “Breaking Glass” songs, the latter of which had been deftly re-worked for the piano/sax/voice set up. Hazel, Sarah and Clare have been working together for roughly 6 years and it’s very obvious from the standard of the performance. Throughout, Hazel is both chatty and engaging, relating anecdotes from her 30 plus years in the music business including her preferred modes of travel (he doesn’t do planes, but she does do boats and loves her home, perfectly presented in the song “Going Home”), a heart-warming moment regarding the passing of her mother (the associated song, “I Give You My Sunshine”, was simply beautiful), the sexism that’s still rife in the music scene (the song “Don’t You Call Me Darling” was simply great) and of course plenty of tales surrounding the “Breaking Glass” songs.

hazel98140016acopyrightAnd talking of the “Breaking Glass” songs, they were very well represented by really clever and involving re-workings of “Decadent Days”, “Black Man”, “Who Calls The Tune”, “Shape of Things To Come” and of course the two that really took Hazel to the top, the apocalyptic “Eighth Day” and the one that we all wanted to hear, “Will You?”. I was hugely curious as to how “Eighth Day” could possibly be performed with just piano and sax, bearing in mind it’s epic stance on the album and in the film. “Eighth Day” done in jazz-style, surely not. Oh my, I simply could not have been happier with what I heard – it was fantastic and still had that certain something that the original version had, and even that quieter, slowed down section when machine just got upset, a problem man had not foreseen as yet, which has me on the edge of my chair every time I listen it at home, gave me that same sense of awe, the camera was lowered, as was my jaw, and yes, I was on the edge of some virtual, imaginary, unseen chair before Hazel, Sarah and Clare burst into the final chorus. A-mazing. Then there was the performance of “Will You?” where we all sang along, marvelled at Clare Hurst’s gut -wrenching sax solo and then roared with appreciative applause. The intimacy of the venue was lost for a moment as collective cheering and clapping of the assembled crowd brought the place down.

The encore was blinding. The trio played their take on the Snow Patrol song “Chasing Cars” – it was moving, beautiful and musical perfection, for me, one of the highlights of the set, far superior to the original. After this was a sing-a-long. Yes, you read that right, a sing-a-long. The lovely Sarah Fisher took the mic to teach us the words and melody to the chorus of a really fun and up-beat little something called “Still breathing”. A fantastic end to a fantastic evening of music.

Throughout the entire performance, Hazel’s voice was nothing short of powerful, Sarah Fisher and Clare Hurst played with precision, perfection and total professionalism throughout. When you see your favoured artists so many years after they were truly at their peak (in commercial terms of course), it can be a bit hit and miss, we’ve all seen them, the ones we all think, “oh dear” – let me tell you now that Hazel O’Connor most definitely NOT one them. I would go as far as to say that her voice is better now than it was 30 years ago and her stage-craft should be looked at by many younger performers on the circuit today.

I like this more intimate style of venue and I liked the fact that Hazel was out amongst the audience within minutes of coming off stage. I was fortunate enough to get a little time with her, during which time she employed my back as to sign autographs(!!!) and found her to be one of the most pleasant and engaging artists I have ever met, no sign of ego at all and she’s fun, a lot of fun with a big laugh. If she’s playing near you, go. You won’t be disappointed.

        hazel98140019acopyright neilhazel98140001acopyright



Concert Images (courtesy of Neil Fellowes Photography):
Hazel O’Connor