My first gig for over a month; I was beginning to suffer from withdrawal feelings! The gig also afforded me the opportunity to meet up with old school-chum Steve Gash once more, his sister Joanne (whom I hadn’t seen since about 1976) and regular gig-goer Rob Mellor, all of which made for a memorable night out. 🙂
Jayler
James Bartholomew (guitar, vocals) / Tyler Arrowsmith (guitar) / Ricky Hodgkiss (bass) / Ed Evans (drums & percussion)
Another band that was new to my ears, I primed myself by listening to their 6-track EP, ‘A Piece in Our Time’, on Spotify and a fine recording it is too. As a result, I was very much looking forward to seeing the band live.
The publicity machine tells us that “Jayler are a hard hitting energetic young rock band from the Midlands that produce a full-on energetic rock set. Inspired by Led Zeppelin, Jimi Hendrix, and Greta Van Fleet, they leave the crowd screaming for more.” which all sounded very promising indeed.
What you actually get for your money is Led Zeppelin. I kid you not. And the use of the word “kid” there is highly appropriate too. When singer Bartholomew called out “How are ya feelin’?” I shouted back “OLD!!” because I did. These were just lads in their late teens at best. My pal Steve later chatted to guitarist Arrowsmith at the bar who revealed that he is 19 and that they had been together for three years already. Ah, the innocence of youth. As to the band’s name – and I’m guessing here – it looks like they’ve taken the names James and Tayler to come up with ‘Jayler’. I could be wrong of course.
Anyway… Led Zeppelin? Well, yes. Bartholomew declared that “we love the 70s and want to bring them back from the grave” and this they really do. Clearly styling himself upon LZ front man Robert Plant, both visually and sonically, he sported an open shirt and sang in Plant’s unmistakeable style, transporting me back to the raw Zep of the early 1970s. And Arrowsmith also clearly fancies himself as Jimmy Page-lite too, even down to bowing his guitar at one stage. The similarities in approach and song-writing (all their own material, by the way) were both uncanny and blindingly obvious.
And they were good. Playing out a necessarily short set of only six songs in thirty minutes they went down really well. It was very noticeable that there was quite a contingent of folk wearing black ‘Jayler’ t-shirts and it would seem that their band of acolytes is growing at a very healthy rate. It also struck me that the middle-aged chap in front of me, bedecked in the aforementioned t-shirt and giving it his all throughout their set could easily have been one of the lads’ dad! 😀
In conclusion, if you get chance to see Jayler, do; they are excellent. But I wouldn’t worry too much if you don’t catch them immediately because I think that they will be around for quite a while. They most definitely have a future in the game.
The setlist here is missing the first and last song titles; I have contacted the band for an accurate list but in the meantime, if you can help me out with those then please do.
Setlist: Unknown; No Woman; When You Go; The Getaway; Love Me; The ?? (something about a Viking Warrior?)
Kira Mac
Kira Mac (aka Rhiannon Kira Hill) (vocals) / Joe Worrall (guitars) / Bret Barnes (bass) / Max Rhead (drums & percussion)
And so to the main course of the night. I first came across this band when Kira and guitarist Joe Worrall played an acoustic set in support of The Sweet in December 2022 and they were very good albeit with a very short set. Back then I determined that I would hunt them out again if they ever played a full gig nearby, and so here I was!
The band’s publicity informs us that, “Kira Mac, the UK’s hottest rock sensation, is reinventing the classic genre with a a modern twist. Their music bursts with the raw power of old-school rock, fused seamlessly with contemporary flair, soulful melodies, and a generous dose of rock ‘n’ roll attitude. This dynamic band, a diverse collective of musicians hailing from various corners of the UK, serendipitously crossed paths in the heart of Manchester in 2018. United by a shared passion for crafting authentic music inspired by working-class struggles, they embarked on a journey to create something truly extraordinary. Kira Mac’s influences span the rich tapestry of rock and diverse musical genres. Their unique talent is honed from grassroots beginnings, rooted in an unbridled love for music’s eclectic and acoustic dimensions. Fronted by Rhiannon Hill’s powerhouse vocals, and Joe Worrall’s blistering guitar skills, and Bret Barnes’ bass playing, the band delivers a fresh take on rock ‘n roll songwriting with a distinctive sound. Kira Mac is poised to set UK stages ablaze once again, bringing their electrifying sound to festivals and live shows. Brace yourself for a rock revival like no other, led by the unstoppable force that is Kira Mac! “
And they were great. Kira is a really ballsy singer with one of the best female voices out there in the rock world right now. And she looks good too (yes, I know it’s a misogynistic comment but, let’s face it, it’s an image that she is keen to project) although tattoos are not to my liking, but I am obviously in the minority where they are concerned.
The tone for the next ninety minutes was set with the opening number, ‘Save Your Whiskey’, a power rocker which led into more songs from the band’s excellent debut album. In fact we got every song from the ‘Chaos is Calling’ album plus several new ones as yet not committed to vinyl/CD/stream (there is, apparently, a new album in the pipeline).
After a hectic first half dozen or so songs, concluding with Spotify‘s most-played Kira Mac song, ‘(Hell Hath No Fury Like a Woman) Scorned’, we settled down for an altogether quieter, acoustic session, beginning with Kira on her own. I have to own up and say that this is where I went wrong in my recording of the song titles. I have no idea what Kira played on her own, but when she was joined by Joe Worrall I think that they played ‘Say Something’ by Justin Timberlake & Chris Stapleton, followed by their own ‘Back for More’, and ‘Imagine What We Could’ve Been’, (both songs taken out of the original KM sets and unlikely to be played again after this tour, apparently) before finishing this section with the Oasis song ‘Half the World Away’, but the order could be wrong. Maybe someone will be able to correct me?
And then the full band was back on stage and straight into some new songs and a few oldies. They were rockers, one and all, with a very raw, bluesy feel, songs which were going down really well with the audience. I don’t know how their album sales are faring, but one would guess that the CD and LP sales of their debut album, together with the streaming figures suggest that this is a very popular band, one that is on the up. They gig hard and fully deserve the rave reviews online for both their recordings and their performances.
Even though Kira was the obvious focus of attention, there were nevertheless opportunities for the other members of the band to hog a bit of limelight (with the exception of drummer Max Rhead). Everyone up there was clearly having a ball as was the audience. There were cheers when required, “Hey!”s as required and the odd shout from the floor in response to things that Kira said, most notably when she told us about being ill for the few days previous and that she’d had an accident with the flies on her trousers. “Don’t you worry about that!” was the comment from the floor.
And what was the blonde girl dashing around the stage all about? Surely she could only have been filming for a DVD or YouTube? She was on and off the stage more often than a stressed roadie, circling individual musicians and catching audience reactions too. Perhaps something to look out for in the future? 🤷♂️
The final two songs of the encore came around too soon, although I will admit that my old back had given out long before then and I had retired to the balcony where I could sit for a while but still hear and glimpse the band through a forest of bodies.
All in all, this was a thoroughly enjoyable evening of great music with a really good band which is on the up, and an enthusiastic audience. What more could a rock fan ask for?
As to the setlist, it’s as accurate as I can get right now. All was going well until the acoustic section when things were changed around from previous lists featured on setlist.fm and from then on it just went to pot! I think that the second half is correct but if you know better then please get in touch.
Setlist: Tribute (Tenacious D taped intro); Save Your Whiskey; Dead Man Walking; Chaos Is Calling; Take it to a Level Below?; Play the Game; No Way Out; Scorned; unknown Kira solo acoustic song; Say Something (Justin Timberlake feat. Chris Stapleton cover); Back for More (Kira & Joe acoustic); Imagine What We Could’ve Been (Kira & Joe acoustic); Half the World Away (Oasis cover) (Kira & Joe acoustic); Free; You Ought to Know; Hit Me Again; Hell Fire and Holy Water; Never Going to Stay; Mississippi Swinging; Farewell; Climbing; Encore: Downfall; One Way Ticket
Creeper
Paul Canning (acoustic guitar, vocals)
10cc were originally four highly talented musicians who composed short(ish) songs with great hooks and melodies, occasionally straying into prog-land (‘Une Nuit à Paris’, ‘Somewhere in Hollywood’, ‘Don’t Hang Up’, ‘Feel the Benefit’ etc.) and were also wonderful wordsmiths whose lyrics were always witty and clever. Gouldman is, of course, the only original standing member (how good would it be to see all of the four originals back together? 😢) although both Burgess and Fenn have been with the band since Godley and Creme walked away back in the late 1970s. Burgess had been touring with the band from 1973 as Kevin Godley stepped from behind the drum-kit on stage. I also have an LP by Rick Fenn, a collaboration with Pink Floyd’s Nick Mason with contributions by Dave Gilmour, and very good it is too.
As promised by the tour title, what followed was a blast through their greatest hits. Performed with enthusiasm and no little skill, the audience was captivated from start to finish, joining in with rhythmic clapping when appropriate and, by the end, up on their feet and dancing around. The band has so many great songs in their back-catalogue, I don’t think that they missed out any of their most popular ones. My personal highlight was the very proggy ‘Somewhere in Hollywood’ and I was delighted to see that this was accompanied by another specially produced Godley video featuring the man himself on lead vocals. Brilliant! That song came, of course, from the ‘Sheet Music’ album; it’s my favourite and it must be generally acknowledged to be one of their very best because the band played five songs from it.
As a footnote, I do have one little memory relating to ‘The Original Soundtrack’ which I recall buying somewhere around mid to late 1975 from what used to be Rowntrees department store (now part of the Brunswick Shopping Centre) at the top end of Westborough, Scarborough. This was a treat for myself as a reward for a traumatic after school visit to the dentist on York Place where I flaked out after an aborted extraction caused me much pain. I would love to be able to say that when I came around in a small side room I responded like Chevy Chase who, after fainting in the action-comedy film ‘Fletch’, asks the nurse…
Gong
me. So why did I attend this gig? Well, I’ll be honest – the fact that this was a ‘double-header’ at a bargain price, and it was relatively close to me in Nottingham was all the encouragement that I needed. You can, however, imagine my disappointment to discover only days after buying my ticket that they would play Lincoln just two days later, which would have involved a much shorter journey. Hey-ho.
Ozric Tentacles
A print-at-home ticket
A bit of background to the album itself… Having released the wonderful ‘Foxtrot’ on 15th September 1972 the band were busy crafting their next new album – ‘Selling England…’ – which wouldn’t see the light of day until just over a year later, 28th September 1973. In the interim the band’s label, Charisma, decided to cash in on the groundswell of support for the band by releasing the budget-priced ‘Genesis Live’. Initially recorded for radio broadcast on the American rock programme King Biscuit Flower Hour, the album is formed from the recordings of shows at Free Trade Hall, Manchester and De Montfort Hall, Leicester in February 1973 during the band’s tour supporting ‘Foxtrot‘. The group’s manager, Tony Stratton Smith said that the low price would allow it to be sold in stores such as Woolworths and W.H. Smith. Having bought ‘Foxtrot’ after first being exposed to it, I remember going out and buying this album for just £1.49 and playing it endlessly (still do). Whilst contemporary critics were not too fond of it, more modern reviews are of the opinion that the tracks presented here are better than any of their studio counterparts. Either way, it filled a gap…
Fast forward to September 1973 and I know for a fact that I went into town (Scarborough) from school to buy a copy of ‘Selling England By The Pound’ from Oz Records on Victoria Road, quite probably the day that it was released. This album was – and is – exquisite. Gabriel’s lyrics were as witty and clever as ever (much to the chagrin of the miserable Tony Banks) and Steve Hackett’s guitar work was probably never better on a Genesis record. I do remember there being a bit of an outcry that the band had ‘sold out’ by releasing a single that actually charted, but in later days I have bought this single too because the B-side is the non-album ‘Twilight Alehouse’, an old live favourite.
And so, here we are in 2024, just over fifty years since the album hit the racks. I hadn’t been to Sheffield City Hall for several years and this was the first time that I had gone under my own steam (I’m not good driving around towns and cities that I am not familiar with) so it was a relief to get parked up and discover that I was only a five minute walk away from the venue. 🙂
And what a seat I had! Sixth row stalls, dead centre! Perfect – until you get the usual basketball player come to sit directly in front at five minutes before kick-off! Tiered seating is a must these days and I shall remember this when booking again. And finally where seating is concerned, can I just add that I certainly paid heavily for the privilege of such a good seat; this is the first and last time that I will ever pay anywhere near £63 to see a tribute band.
At this juncture I might normally say that if I closed my eyes I could imagine that this really was 1973/74 vintage Genesis, but on this occasion that deception applied to the visuals too. Apparently many years ago Genesis sold all of their props to the band and so what we see are exactly the same costumes and backdrops. The musicians themselves – especially lead vocalist Gagné – replicate the performance style and mannerisms too, right down to the tuning-up between songs and Gabriel’s original stories used to fill the gaps caused by these interruptions. Part of the band’s publicity quotes Peter Gabriel as having said, “The recreation is faithfully accurate,”, and Phil Collins as saying, “I think these guys play it better than we did,” and he is known to have once drummed for them during an encore.
And then, of course, there were the songs themselves. If I had been allowed to hand-pick a setlist from this era then all of these songs would be included, with the greedy addition of ‘Return of the Giant Hogweed’, ‘Happy the Man’ and ‘Twilight Alehouse’ all three acknowledged fan favourites, but perhaps I will need to wait for a celebration of the ‘Nursery Cryme’ album before I ever get to see those live. And, of course, the songs were performed in almost note-perfect fashion, with one unfortunate exception. Keyboards player Benhamou made a bollox of the intro to ‘Firth of Fifth’, but this is not unusual as it is known that Tony Banks himself struggled to get this right every time. To date, of the keyboards players that I have seen attempt it, only Roger King of Steve Hackett‘s touring band has managed to nail this particular piece.
All of the genuine original props and costumes were in evidence: the bat wings and cloak for ‘Watcher of the Skies’; the Britannia costume for ‘Dancing with the Moonlit Knight’; the country bumpkin hat and wheat for ‘I Know What I Like‘; the old man mask for ‘The Musical Box’; the black stocking mask and Reverend’s collar and tie for ‘The Battle of Epping Forest‘; and famously the flower, the Magog box mask and the white catsuit and light tube for the conclusion to ‘Supper’s Ready’. What more could a fan ask for?
My two hours passed most pleasantly surrounded by like-minded people although many obviously have very low bladder thresholds these days, such was the number of times rows of people had to stand to allow folks to leave and re-enter. It was a night of perfection: perfect music from a bygone age; and a perfect show (for that was what you always got from Genesis).
I have now seen the original 
Gigs'n'Stuff 